![]() The album was released via BNA Records in 1994. When Copeland, his band, and the orchestra took their final bow, everyone in attendance understood they had experienced a singular and sublime event.War Paint is the fourth studio album released by American country music artist Lorrie Morgan. A group of people, of all ages and walks of life, loosened up and let themselves go, dancing and enjoying the music with abandon. As “Every Little Thing She Does is Magic” began to play, the crowd was the most animated and elated they had been all night. Music, staying there for the concert’s second ovation.Īs the ovation continued, the fans were rewarded when Copeland and team returned to the stage for an encore. ![]() The crowd once again were compelled to their feet by the Strongest performances, “I Can’t Stand Losing You”, featuring an audience “callĪnd response” to the lyrics, big drums, and strings that spiraled down into theįinal crescendo. “Message” an air of familiarity, which the audience responded to with its firstĬopeland and Company ended the set with one of the concert’s Next came the elegant, “Message in a Bottle”, with a light breezy string opening, building into a booming bass,Īssisted by six talented celloists. Stand So Close to Me” were played, with Copeland happily conducting several Such as “Walking in Your Footsteps”, “The Bed’s Too Big Without You” and “Don’t With what can only be characterized as jubilation and delight, as favorites That had always been played by a group of three men. With every song, it was surprising (but neverĭisappointing), to hear female vocalists and an entire orchestra perform songs The concert went on, as Copeland continued to deconstruct and Holds performances in Atlanta throughout the year. Orchestra,” announced Copeland, as he reminded the audience that the symphony “We are all blessed to have this wonderful Video, as the singers made lovely, otherworldly sounds between choruses, finishing Reminiscent of the string quartet that appeared in the song’s haunting 1983 The strings created a beautiful backdrop for the anthem, The audience was now “all in” with this remarkable concoction, and they repaid the players with their adulation.Īfter a brief intermission, the second set began with The Police’s biggest The combination of orchestra, guitars, vocals and Copeland’s outstanding drums came together, as all of the musicians found their groove. “Murder By Numbers”, came next, with another glowing shoutout to the writer – this time, his other longtime colleague, Andy Summers. Innovative and intoxicating way that defied categorization. Song, along with all the others, comingled the familiar and the strange, in an Identify each newly “deranged” song, calling it a game of “hide the hits.” This Pain”, he gave credit to his bandmate, friend and sometimes nemesis, “Stingo,”įor his incredible song-writing talents, then challenged the audience to Copeland has remained charming, likeable and incrediblyĮnergetic, belying his nearly 70 years. His mask (which was required for both performers and audience members), youĬould make out his still youthful face, though his famous blonde locks were nowĪ silvery grey.
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