Matches in DBpedia 2016-04 for { ?s ?p "Trouble No More Live at Town Hall is a live album by singer/songwriter John Mellencamp released on July 8, 2014 on Mercury Records. The album captures Mellencamp's live performance at Town Hall in New York City on July 31, 2003, in which he performed every track from his 2003 Trouble No More covers album as well as several other songs, including his own \"Small Town,\" \"Paper in Fire,\" and \"Pink Houses.\" The album omits two songs he performed on the night—renditions of \"House of the Rising Sun,\" a traditional folk song made popular by The Animals, and \"The End of the World,\" a 1962 Skeeter Davis hit that was on the original Trouble No More album.In his original review of this performance in the New York Times, Jon Pareles wrote that Mellencamp's \"scruffy baritone and its deep-seated rasp are rooted in 1960's soul, and he treated the old songs the way he would treat his own: adding instrumental hooks and often using a broad-shouldered beat direct from the Rolling Stones. He was seeking the spirit of the music, not its original performance style.\""@en }
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- Trouble_No_More_Live_at_Town_Hall abstract "Trouble No More Live at Town Hall is a live album by singer/songwriter John Mellencamp released on July 8, 2014 on Mercury Records. The album captures Mellencamp's live performance at Town Hall in New York City on July 31, 2003, in which he performed every track from his 2003 Trouble No More covers album as well as several other songs, including his own \"Small Town,\" \"Paper in Fire,\" and \"Pink Houses.\" The album omits two songs he performed on the night—renditions of \"House of the Rising Sun,\" a traditional folk song made popular by The Animals, and \"The End of the World,\" a 1962 Skeeter Davis hit that was on the original Trouble No More album.In his original review of this performance in the New York Times, Jon Pareles wrote that Mellencamp's \"scruffy baritone and its deep-seated rasp are rooted in 1960's soul, and he treated the old songs the way he would treat his own: adding instrumental hooks and often using a broad-shouldered beat direct from the Rolling Stones. He was seeking the spirit of the music, not its original performance style.\"".