Neil Young & Crazy Horse - Rust Never Sleeps [Japanese Ed.] (1979)

Year: June 22, 1979 (CD Sep 21, 2005)
Label: Warner Music (Japan), WPCR-75096
Style: Folk Rock, Country Rock, Hard Rock
Country: Toronto, Ontario, Canada (November 12, 1945)
Time: 38:22
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

Neil Young ended off the seventies on a great note. Before releasing the live album Live Rust, Young finished the decade that was perhaps his most successful with one of this finest works up until then and remains now, ‘Rust Never Sleeps’. Although the album was recorded live on the tour of the same name, it consisted entirely of new material and with most of the audience track removed and later overdubbing, it felt like a studio recording but with a rawer, more intense and intimate feel of a live performance. Young makes some of his most memorable work ranging from the gentle, cryptic folk of the opening track to a heavier, rocking alteration of the same song to conclude. Divided into two separate sections, acoustic first and electric tunes on the second half with his famous backing band Crazy Horse, Rust Never Sleeps is one of his most unique and self representative works.
Opening with powerful, atmospheric My My Hey Hey (Out of the Blue), the albums distinctive tone is set. Possessing the infamous line “It’s better to burn out than to fade away”, an inside look at the music industry and an era as well as a modest salute to the King Elvis Presley and embracing the modern punk age with a nod to Johnny Rotten, the track is one of Young’s most prominent and for good reason. Thrasher solidifies the albums brilliant start with a beautiful, warming and intimate story telling song with some of his best and most descriptive lyrics that read like an autobiography with lines such as “And I was just getting up, hit the road before it's light; trying to catch an hour on the sun, when I saw those thrashers rolling by; looking more than two lanes wide I was feeling like my day had just begun” and a excerpt from the final verse “But me I'm not stopping there got my own row left to hoe; just another line in the field of time”. Ride My Llama and Pocahontas are also both wonderful songs that fit along side his best, especially the latter. The majority of the lyrics are written cleverly, sometimes laced with obscure metaphors, imagery and passages that may have numerous meanings, but are bound to make the listener think. What to think about depends.
The electric second half is highlighted by Powderfinger, which actually works as a transitional song in the middle with its blending of softer, mid tempo melodies with heavier guitar parts. One of Young’s undisputed highlights, the five minute plus song combines a folk country melody with mesmerizing guitars including a remarkable, yet straightforward solo and Young’s distinctive tenor. Only contending with the opener and Thrasher, this track leaves the longest lasting impression.
(sputnikmusic.com/review/12378/Neil-Young-Rust-Never-Sleeps/)

01. My My, Hey Hey (Out Of The Blue) (03:47)
02. Thrasher (05:39)
03. Ride My Llama (02:30)
04. Pocahontas (03:23)
05. Sail Away (03:48)
06. Powderfinger (05:29)
07. Welfare Mothers (03:48)
08. Sedan Delivery (04:38)
09. Hey Hey, My My (Into The Black) (05:15)

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Neil Young - After The Gold Rush [Japanese Ed. SHM-CD] (1970)

Year: September 1970 (CD Dec 10, 2008)
Label: Warner Music (Japan), WPCR-13241
Style: Folk Rock, Country Rock
Country: Toronto, Ontario, Canada (November 12, 1945)
Time: 35:15
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

The album opens with three of its quieter songs, highlighted by the piano-led title track in which Young demonstrates just how perfectly he can generate melancholy with his voice. Soon after comes "Southern Man," which is Crazy Horse at their finest. This is one of the most furious, apocalyptic songs that Neil ever put out, and also one of his best. His trademark solo style is in full effect, playing off of a pounding piano line.
"Southern Man" is a brief diversion in sound, but it fits the overall tone because, like every good Neil Young song, it has something to say. And every one of these songs has something to say--or at least feels like it. Whether the instrumentation is bare or Young is using the full Crazy Horse band, every song on After the Gold Rush feels important. It doesn't matter if Young is being introspective or socially critical, he demands that you listen to him. Nobody sounds like they've had as much life experience and wisdom as Neil Young does, even if he was only 24 when he recorded this album.
These days I still feel like I respect Neil Young more than I enjoy him. I don't care for the country and folk music that he so obviously embraces. But it's almost impossible to listen to an album like After the Gold Rush and not hear his genius, even if "Southern Man" and "When You Dance You Can Really Love" are the only two songs that fit my general listening habits. It's only my fifth-favorite album of 1970 and it gets the 4.0 rating that I bestow upon the majority of music that I enjoy, but in an attempt to speak objectively, After the Gold Rush is not only at the very top of 1970, but one of the greatest albums of the decade. A mandatory listen for anyone who appreciates rock music in general.
(sputnikmusic.com/review/62604/Neil-Young-After-the-Gold-Rush/)

01. Tell Me Why (02:59)
02. After The Goldrush (03:46)
03. Only Love Can Break Your Heart (03:08)
04. Southern Man (05:32)
05. Till The Morning Comes (01:20)
06. Oh, Lonesome Me (03:50)
07. Don't Let It Bring You Down (02:57)
08. Birds (02:33)
09. When You Dance You Can Really Love (04:05)
10. I Believe In You (03:27)
11. Cripple Creek Ferry (01:34)

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The Doors - The Doors (1967)

Year: January 4, 1967 (CD 1988)

Label: Elektra Records (Germany),7559-74007-2

Style: Psychedelic Rock, Classic Rock, Rock

Country: 1965–1973, 1978; Los Angeles, California, U.S.

Time: 44:31

Format: Flac Tracks 16/44,1 kHz

Size: 273 Mb

Sgt. Pepper’s bestrode 1967 like a kaleidoscopic colossus, but another album arguably even more revolutionary appeared that year. The eponymous debut of The Doors took popular music into areas previously thought impossible: the incitement to expand one’s consciousness of opener Break on Through was just the beginning of its incendiary agenda.
The Doors were those most dangerous of revolutionaries: populists. Their hooky melodies and the tousle-headed Greek God looks of lead singer Jim Morrison opened gates and hearts that their intellectualism and frequent musical exoticism might otherwise have caused to be closed to them. Meanwhile, that they made a concession to The Man they loudly despised by cutting down their awe-inspiring percolating anthem of lust Light My Fire from seven minutes to three for single release set them on the path to being Hit Parade regulars.
Light My Fire is the highlight of this set, but there are several other gems, particularly the glittering, stately The Crystal Ship and the playfully sensual Twentieth Century Fox. Though often excellent, The Doors is never warm. Icicles seem to hang off its organ-dominated music, however beautiful, while Morrison’s bombastic baritone is never going to lend intimacy.
Willie Dixon’s Back Door Man, covered competently herein, is a song of insinuation but the shocking innovation going on in epic closer The End inhabits a realm beyond innuendo. At a time when frank discussion of sex is still taboo, Morrison gleefully and comprehensively explores Freudian theory and Oedipal myth. That rock had never heard anything as daring gave The End a feeling of quality by default at the time, but the track has not dated well. Liberalisation of media content made it seem banal, then even ludicrous, surprisingly quickly. The End’s transition from radical to risible was rather unfortunate for the original vinyl side two of the album: much of it consisted of songs that seemed like the watery dregs of side one’s flavoursome casket.
The best parts of The Doors remain remarkable even where their revolutionary nature has been obscured by time. In fact, time has provided a disappointment of a different sort: subsequent corrected remasters have revealed we were enjoying The Doors all these years at – Ye Gods! – the wrong speed.
(bbc.co.uk/music/reviews; Sean Egan 2011)

The Doors is the debut album by the American rock band the Doors. Recorded in 1966 at Sunset Sound Recorders, Hollywood, California, it was produced by Paul A. Rothchild and released on January 4, 1967. The album features their breakthrough single "Light My Fire" and the lengthy song "The End" with its Oedipal spoken word section. The Doors was central to the progression of psychedelic rock, and has been critically acclaimed. In 2012 it was ranked No. 42 in Rolling Stone magazine's 500 greatest albums of all time.
(en.wikipedia.org)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Break On Through (To The Other Side) (02:30)
02. Soul Kitchen (03:35)
03. The Crystal Ship (02:34)
04. Twentieth Century Fox (02:33)
05. Alabama Song (Whisky Bar) (03:20)
06. Light My Fire (07:08)
07. Back Door Man (03:34)
08. I Looked At You (02:22)
09. End Of The Night (02:52)
10. Take It As It Comes (02:17)
11. The End (11:43)

Listen. Full Album: The Doors - The Doors (1967)

 

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King Crimson - The ConstruKction Of Light (2000)

Year: 23 May 2000 (CD Sep 24, 2007)
Label: Discipline Global Mobile (Europe), DGM0514
Style: Progressive Rock, Avant-garde
Country: London, England
Time: 58:19
Format: Flac Tracks 16/44,1 kHz
Size: 366 Mb

It is the first of two studio albums to feature the "double duo" line-up of Adrian Belew, Robert Fripp, Trey Gunn and Pat Mastelotto. It is the group's longest studio album and the only one not to chart in the United States.
In the late 1990s, drummer Bill Bruford and bassist Tony Levin left King Crimson, ending the "double trio" era documented on THRAK. For the first time in the group's history, Robert Fripp was the only Englishman in the lineup.
The Construkction of Light bears a sound similar to the "rock gamelan" 1980s incarnation of King Crimson, with Mastelotto primarily playing electronic drums and Belew, Gunn and Fripp often playing sophisticated, interlocking parts. However, the pace of these interlocking parts is often slower than it was in the 1980s, with Belew and Fripp often trading single notes back and forth in hocket.
The album also contains two sequels to instrumental pieces by 1970s incarnations of the band. "Larks' Tongues in Aspic – Part IV" continues the series of pieces started on Larks' Tongues in Aspic and continued on Three of a Perfect Pair. "FraKctured" began as a fifth entry in the "Larks" suite, but was renamed after being judged as more reminiscent of "Fracture" from Starless and Bible Black.
(en.wikipedia.org/wiki/The_Construkction_of_Light)

01. ProzaKc Blues (05:28)
02. The ConstruKction of Light (05:49)
03. The ConstruKction of Light (02:50)
04. Into the Frying Pan (06:54)
05. FraKctured (09:06)
06. The World's My Oyster Soup Kitchen Floor Wax Museum (06:24)
07. Larks' Tongues in Aspic, Part IV (03:41)
08. Larks' Tongues in Aspic, Part IV (02:50)
09. Larks' Tongues in Aspic, Part IV (02:36)
10. Coda: I Have a Dream (04:51)
11. Heaven and Earth (07:46)

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Extreme - III Sides To Every Story [Japanese Ed. SHM-CD] (1992)

Year: September 14, 1992 (CD Sep 17, 2008)
Label: Universal Music (Japan), UICY-93682
Style: Hard Rock, Glam Metal
Country: Boston, Massachusetts, U.S.
Time: 76:09
Format: Flac Tracks 16/44,1 kHz
Size: 516 Mb

Nuno and the boys split this album into three parts based on the three sides of every story: “Yours” “Mine,” and “The Truth.” They rather cleverly weave their political views into some songs, while they don’t cram anything down your throat either. Once again, I listened intently to Nuno Bettencourt’s guitar playing. Although, I didn’t hear the fire I witnessed on “Pornograffiti,” I still heard some funky playing.
This release seemed to be more constructed than previous releases; not controlled, but more compartmentalized and that was the band's purpose by dividing the album into three sections. “Yours” (songs 1-6), deal with political views. “Mine” (songs 7-11) has some romantic overtones. “The Truth” (songs 12-14) have some progressive offerings. Clocking in at seventy-six minutes, "III" is a lot of music to digest. I did get a little bored near the end because the mood changes from song to song in a strange way. The music is still good and taking a few minutes to listen closely will help you appreciate their direction.
Gary Cherone really uses all his vocal ability on this disc. You can see why he was chosen to front Van Halen (albeit briefly). I find it odd that Nuno has said he always wanted to be Eddie Van Halen and then Gary got to sing with him. It’s funny how the music biz works.
Since this disc didn’t have any Top 40 hits, you may not have heard most of the songs here so, if you haven’t heard this CD, consider this fresh music from Extreme.
I do like the Martin Luther King Jr. speech in “Peacemaker Die.” It gives the song and the band's lyrics more depth.
(roughedge.com/cdreviews/e/extreme.htm)

01. Warheads (05:18)
02. Rest In Peace (06:01)
03. Politicalamity (05:04)
04. Color Me Blind (05:00)
05. Cupid's Dead (05:56)
06. Peacemaker Die (06:03)
07. Seven Sundays (04:18)
08. Tragic Comic (04:44)
09. Our Father (04:02)
10. Stop The World (05:57)
11. God Isn't Dead? (02:02)
12. Rise 'n Shine (06:22)
13. Am I Ever Gonna Change (06:56)
14. Who Cares? (08:19)

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Extreme - Pornograffitti [Japanese Ed. SHM-CD] (1990)

Year: August 7, 1990 (CD Sep 17, 2008)
Label: Universal Music (Japan), UICY-93681
Style: Hard Rock, Glam Metal
Country: Boston, Massachusetts, U.S.
Time: 64:28
Format: Flac Tracks 16/44,1 kHz
Size: 444 Mb

The album begins with “Decadence Dance”, which gives the listener a good sampling of what’s to follow both musically and thematically. Released as a single, the opener was a minor success in the UK, peaking at #36. “Li’l Jack Horny” features intro guitar harmonics for melodic effect by Bettencourt before he changes direction with a strong, bluesy riff. A fine track overall with good melody of lyrics that use nursery rhymes and fables, the song borrowed its title from the six member “Li’l Jack Horn Section”, who performs on this track and “Get the Funk Out”. The latter track is driven by the bass pattern of Badger and features Pat Travers on co-lead vocals.
“More Than Words” is a fine finger-picked ballad where Cherone and Bettencourt are free to fully display their talents at the fullest. For how over-produced most of the rest of the album is, the sparse arrangement here is a brilliant break in the action, and worked well to make this a quasi-classic. Lyrically, the song examines the diminished meaning of phrase “I love you”, as actions speak louder. The song became a #1 smash on the Billboard charts in the US. The subsequent single, “Hole Hearted”, another acoustic track, was also successful, rising to No. 4 on the same popular music chart.
Extreme II: Pornograffitti has some weak moments through the middle of the album. “Money (in God We Trust)” starts with a slight dialogue about the tooth fairy before the upbeat core tries to be anthemic and preachy at the same time. Not very original or interesting and, in fact, the hook borrows heavily from AC/DC’s “What Do You Do for Money Honey”. Likewise, “It’s a Monster” 4:28 – really covers no new ground at all and, while the title track “Pornograffitti” begins with some blistering guitar riffs by Bettencourt and eventually settles into a rudiment-fused groove with steady beat, it really amounts to more Van Halen-style cloning.
The second break from form, “When I First Kissed You”, is jazzy piano ballad, completely sans guitar. Here, Badger appears to be using a stand-up, double bass which adds to the song’s feel of authenticity as well along with the fine orchestral strings over the bridge. “Suzi (Wants Her All Day What?)” is another hard rock narrative, while “He-Man Woman Hater” includes an excellent guitar intro that borrows from “Flight of the Bumblebee” with Bettencourt’s guitar accompanied by rapid, percussive tapping by Geary. Dweezil Zappa makes a cameo with the cartoonish voice of the title character. This is followed by “Song for Love”, a slow ballad with a dark feel throughout.
(full version: classicrockreview.com/2015/03/1990-extreme-ii-pornograffitti/)

01. Decadence Dance (06:49)
02. Li'l Jack Horny (04:51)
03. When I'm President (04:21)
04. Get The Funk Out (04:24)
05. More Than Words (05:33)
06. Money (In God We Trust) (04:10)
07. It ('s A Monster) (04:25)
08. Pornograffitti (06:16)
09. When I First Kissed You (04:00)
10. Suzi (Wants Her All Day What?) (03:38)
11. He-Man Woman Hater (06:20)
12. Song For Love (05:55)
13. Hole Hearted (03:40)

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Fargo - I See It Now (1969)

Year: 1969 (CD 2017)
Label: Lion Records (Germany), Lion 223
Style: Folk Rock, Psychedelic Rock
Country: Salt Lake City, Utah, U.S.
Time: 25:25
Format: Flac Tracks 16/44,1 kHz
Size: 239 Mb

Dean Wilden and Tony Decker are Fargo. Their home is Salt Lake City, Utah. People who meet them or hear their music find that fact incongruous, for thinking of Salt Lake City brings to mind the Tabernacle with its mysteries and its majesty and the descendents of Brigham Young quietly living their lives by that oddly isolated sea in the heartland of America. Somehow it's hard to imagine young contemporary singers-composers at work against this backdrop. 
Twenty-one years of living in and around Utah and Colorado have been etched into their memories and have made the personalities of Tony and Dean. A mother plays the violin to entertain her children; a father softly strums his guitar in the evening; Sundays echo the magnificent music of the church. 
There is always music—choir practice, school concerts and the radio bringing in the sounds of New York, Nashville and Hollywood. Two distinct musical personalities evolve, and upon meeting they merge, and the halfthought- out melodies of childhood can no longer wait to become songs.
I See it Now by Tony and Cross with No Name by Dean are new songs about Jesus. A Castle in Wales is about a castle in Wales, unless you want to search for hidden meanings. Lady Goodbye is a timeless morality ballad.
Here are Tony Decker and Dean Wilden with their songs and music. Not New York, Nashville or Hollywood – not even pure Salt Lake City - just FARGO.
(therockasteria.blogspot.com/2025/10/rep-fargo-i-see-it-now-1969-us-charming.html)

01. 'round About Way Of Describing Our Situation (02:31)
02. Lady Goodbye (01:49)
03. The Sound Of It (02:39)
04. Places Everyone (02:26)
05. A Castle In Wales (02:20)
06. Talks We Used To Have (02:30)
07. When The Dew Drops Change To Teardrops (02:13)
08. Promises Of Love (02:16)
09. You Need Me (01:23)
10. Cross With No Name (02:47)
11. I See It Now (02:25)

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May Blitz - The 2nd Of May [Japanese Ed. SHM-CD] (1971)

Year: 1971 (CD Oct 27, 2010)
Label: Universal Music (Japan), UICY-94683
Style: Hard Rock, Heavy Metal
Country: England
Time: 38:28
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

MAY BLITZ were formed by vocalist/guitarist Jamie Black who recruited Tony Newman on drums, (ex Sounds Incorporated and Jeff Beck Group), and Reid Hudson (bass, vocals) in 1969. The original lineup featured bassist Terry Poole and drummer Keith Baker, from Bakerloo, but both left before recording anything for the band. Baker had a better offer from Uriah Heep, and went to record "Salisbury" with the band.
The band survived long enough to record two incredibly heavy, powerful and psychedelic albums with strong blues undertones and progressive tendencies, despite the lack of keyboards. These were released on Vertigo, who we also associate with Black Sabbath and Uriah Heep - but the music is probably heavier than either. Their style comes in somewhere around High Tide and the Pink Fairies - but these are really ballparks.
Their debut album is a must-hear for anyone curious about the development of heavy music, and features a production in which it is not only almost possible to smell the ganja smoke, but is also rich and clear enough to provide the striking dynamic contrasts the music needs, as it occasionally veers from ambience to crushing riffs in the blink of an eye. It is certainly very unpredictable, even now.
Why this artist must be listed in progarchives.com :
Because they're an overlooked progressive blues/rock/psychedelic band with a massive scarcity value, and music that is original and highly progressive to boot!
(progarchives.com/artist.asp?id=1756)

01. For Mad Men Only (04:16)
02. Snakes And Ladders (04:42)
03. The 25th Of December 1969 (03:12)
04. ''In Part'' (06:09)
05. 8 Mad Grim Nits (04:33)
06. High Beech (05:02)
07. Honey Coloured Time (04:14)
08. Just Thinking (06:18)

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May Blitz - May Blitz [Japanese Ed. SHM-CD] (1970)

Year: 1970 (CD Oct 27, 2010)
Label: Universal Music (Japan), UICY-94682
Style: Hard Rock, Heavy Metal
Country: England
Time: 43:12
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

May Blitz was a Canadian-British hard rock power trio that was active in the early 1970s.
The group was formed in 1969 by bassist Terry Poole and drummer Keith Baker, the rhythm section of the blues-rock trio Bakerloo, both of whom left the group when guitarist Clem Clempson departed to join Colosseum. Jamie Black joined the group on vocals and guitars but both Poole and Baker left the group before it recorded, Poole and Baker joining Vinegar Joe and Uriah Heep respectively. Black then added fellow Canadian Reid Hudson on bass and Tony Newman, who had played with Jeff Beck, The Hollies and Sounds Incorporated, on drums.
After playing UK pubs, the group signed with Vertigo Records (in the US they were on Paramount Records) and released their debut album in 1970. A second album followed in early 1971, but due to lack of commercial success the trio disbanded in late 1971. Black and Hudson, both originally from Canada, returned to their native country while Newman joined Three Man Army, founded and led by the Gurvitz brothers, Adrian and Paul. Newman later went on to a long career as a session drummer, including for David Bowie, Donovan, and George Harrison, and others.
(en.wikipedia.org/wiki/May_Blitz)

01. Smoking The Day Away (08:23)
02. I Don't Know? (04:52)
03. Dreaming (06:45)
04. Squeet (06:56)
05. Tomorrow May Come (04:52)
06. Fire Queen (04:17)
07. Virgin Water (07:04)

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Ekseption - Mindmirror (1975)

Year: 1975 (CD 2019)
Label: 6423 082
Style: Progressive Rock, Pop Rock, Jazz Rock
Country: Haarlem, Netherlands
Time: 36:26
Format: Flac Tracks 16/44,1 kHz
Size: 199 Mb

Ekseption was a Dutch rock band active from 1967 to 1989, playing mostly-instrumental progressive rock and classical rock. The central character in the changing roster, and the only band member present on every album, was conservatory-trained trumpeter Rein van den Broek (10 September 1945 - 11 May 2015). The band saw some commercial success in the 1970s, having Dutch top ten hit singles with their adaptations of Beethoven's "Fifth" and Bach's "Air". The second album, Beggar Julia's Time Trip (1969), won the Dutch Edison Award for album of the year, and the first five albums all went gold.
(en.wikipedia.org/wiki/Ekseption)
Following the departure of keyboardist and founder Rick van der Linden, the Dutch band Ekseption took a rapid downhill turn under new leader Hans Jansen. Unlike the earlier mix of classics, rock, and jazz, this edition of the band seems absolutely directionless. The opener to this dreadful LP is a cover of The Average White Band's hit "Pick Up the Pieces," one of the most monotonous songs ever to hit the airways in America. The treatment of Bach's "Bourree" is laughable. Since there is no personnel listing on the album jacket, it's hard to tell if the remaining five numbers are by members of Ekseption, though none of them are very special, relegating the horns to dull background work while tending to emphasize electric guitar and Jansen's unimpressive keyboard work. The lengthy title track is a mix of different styles that seem like pieces that don't fit together. It's hardly puzzling that Ekseption disbanded following the release of this very disappointing LP.
(allmusic.com/album/mindmirror-mw0000838613)

01. Pick Up The Pieces (06:06)
02. Bourree (03:15)
03. Tramontane (04:18)
04. Electric Swamp (04:07)
05. Ramses (01:06)
06. Mindmirror (17:31)

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Benny Andersson (ABBA) - November 1989 (1989)

Year: 1989 (CD 1989)
Label: Mono Music (Sweden), MMCD 003
Style: Folk, Classical, Instrumental
Country: Stockholm, Sweden (16 December 1946)
Time: 34:54
Format: Flac Tracks 16/44,1 kHz
Size: 179 Mb

November 1989 is an album by Benny Andersson that released in 1989. This album of Swedish folk music was a hit in Scandinavia. The first track, "Skallgeng", was used to open the 2022 virtual concert residency ABBA Voyage. Word meaning search party (lit. echo walk).
(en.wikipedia.org/wiki/November_1989_(album))
Benny's second solo album "November 1989" was finished. The track "Stockholm By Night" is from the film "Den hemliga vannen" (The secret friend). "Malarskolan" is music from a TV series. He received a Grammy award in Sweden for this record.
(abba-intermezzo.de/estory.htm)

01. Skallgеng (03:44)
02. Machopolska (03:19)
03. Vals Efter Efraim Andersson (03:40)
04. Sekelskiftesidyll (03:25)
05. Dans Pе Vindbryggan (02:29)
06. Stjuls (02:57)
07. Trostevisa (03:46)
08. Mеlarskolan (02:33)
09. Novell #1 (02:02)
10. The conducator (03:57)
11. Stockholm By Night (02:57)

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Supertramp - Breakfast In America (1979)

Year: 16 March 1979 (CD 1983)
Label: A&M Records (US), CD-3708
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 45:58
Format: Flac Tracks 16/44,1 kHz
Size: 300 Mb

Charts: UK #3, AUS #1, CAN #1, FRA #1, GER #1, NL #1, NOR #1, SWE #2, SWI #1, US #1. SWI: Gold; UK, FRA, GER & NL: Platinum; US: 4x Platinum; CAN: Diamond.
The album went through two rounds of demos. The first were home demos, each of which consisted of the chief songwriter (either Rick Davies or Roger Hodgson) singing and playing either acoustic piano or Wurlitzer electric piano. The second were eight-track demos recorded at Southcombe Studios in Burbank, California during late April and early May 1978. It was in recording these demos that the band worked out the backing track arrangements for all the songs (with the exception of "Take the Long Way Home") and determined the order in which they would appear on the album.
In order to avoid spending a lot of time on mixing, the band and their production team devoted a week to experimenting with different sound setups until they found the perfect arrangement. The effort proved to be wasted, as the engineering team would end up spending more than two extremely stressful months searching for the right mix, and were finished after that length of time only because the deadline had arrived, not because they felt at all satisfied with the results.
Tensions between Hodgson and Davies were reportedly almost non-existent on the album. Engineer Peter Henderson recalled: "They got along fantastically well and everyone was really happy. There was a very, very good vibe and I think everyone was really buoyed up by the recordings and A&M's response to them." Hodgson contested this, saying that he and Davies had increasingly different lifestyles, and that he felt that Davies disliked many of his songs and kept quiet about his displeasure only because he sensed that he would be voted down. Melody Maker journalist Harry Doherty offered a third take on the duo's interactions during the album sessions: "In three days with the band, I don't think I saw Davies and Hodgson converse once, other than to exchange courteous greetings."
(en.wikipedia.org/wiki/Breakfast_in_America)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Gone Hollywood (05:19)
02. The Logical Song (04:11)
03. Goodbye Stranger (05:50)
04. Breakfast In America (02:39)
05. Oh Darling (03:48)
06. Take The Long Way Home (05:09)
07. Lord Is It Mine (04:09)
08. Just Another Nervous Wreck (04:25)
09. Casual Conversations (02:58)
10. Child Of Vision (07:25)

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The Youngbloods - Elephat Mountain [Japanese Ed. BSCD2] (1969)

Year: April 1969 (CD Jul 23, 2014)
Label: RCA Records (Japan), SICP 30556
Style: Folk Rock, Psychedelic Rock
Country: Greenwich Village, New York City, U.S.
Time: 60:34
Format: Flac Tracks 16/44,1 kHz
Size: 352 Mb

The album's style is characterized as "blending affective pop/rock melodies and lyrics with their good time jug band roots." Jesse Colin Young's basslines are described as "propulsive" and Joe Bauer's drum work is described as "nimble." The album makes use of electric piano and harpsichord. Some of the material present on the album has been described as "jazzy." The album's third track, "On Sir Francis Drake," is an instrumental, and the ninth track "Trillium" employs musical improvisation from the band. "Sham" is described as a "straightforward rocker," drawing comparisons to other Bay Area music acts such as Stoneground. "Ride the Wind" takes stylistic cues from Latin music.
(en.wikipedia.org/wiki/Elephant_Mountain)

BSCD2: When a standard CD is mastered, an Infared beam is used to make the digital notches on the master disc (mother matrix). With the Blu-spec master, a blue laser is used which is a finer etching process. With this technology, the notches are therefore more precise which reduce playback errors. The notches on a Blu-spec CD have a width of 125 nm compared to the 500 nm width on a standard CD.
(en.wikipedia.org/wiki/Blu-spec)

01. Darkness, Darkness (03:50)
02. Smug (02:11)
03. On Sir Frances Drake (06:45)
04. Sunlight (03:07)
05. Double Sunlight (00:41)
06. Beautiful (03:49)
07. Turn It Over (00:13)
08. Rain Song (Don't Let The Rain Bring You Down) (03:13)
09. Trillium (03:08)
10. Quicksand (02:41)
11. Black Mountain Breakdown (00:40)
12. Sham (02:44)
13. Ride The Wind (06:40)
14. Pool Hall Song / Bonus Track (03:07)
15. On Sir Francis Drake (Alternate Mono Version) / Bonus Track (03:04)
16. Beautiful (Alternate Mono Version) / Bonus Track (08:26)
17. Smug (Alternate Mono Version) / Bonus Track (02:15)
18. Sham (Alternate Mono Version) / Bonus Track (02:47)
19. Radio Spot for Elephant Mountain (01:05)

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Lindsey Buckingham Christine McVie (Fleetwood Mac) - Lindsey Buckingham Christine McVie (2017)

Year: June 9, 2017 (CD Jun 9, 2017)
Label: Warner Music UK (Europe), 0190295828318
Style: Pop Rock
Country: U.S. / UK
Time: 39:38
Format: Flac Tracks 16/44,1 kHz
Size: 298 Mb

Lindsey Buckingham Christine McVie (also referred to as simply Buckingham McVie) is a studio album by Fleetwood Mac vocalists Lindsey Buckingham and Christine McVie, released on June 9, 2017. Four of the five "classic members" of Fleetwood Mac are featured on the album; vocalist Stevie Nicks is the sole member absent. The album was recorded at The Village Recorder, where Fleetwood Mac had recorded their Tusk album. Work on the album began soon after Christine McVie rejoined Fleetwood Mac in 2014 and resumed following the conclusion of the band's On with the Show tour. Lindsey Buckingham Christine McVie sold over 22,000 units in the United States in its first week and debuted within the top 20. It debuted at No. 5 in the United Kingdom and was certified silver in November 2017 for sales exceeding 60,000 units.
(en.wikipedia.org/wiki/Lindsey_Buckingham_Christine_McVie)

01. Sleeping Around The Corner (03:47)
02. Feel About You (03:27)
03. In My World (04:24)
04. Red Sun (03:15)
05. Love Is Here To Stay (04:25)
06. Too Far Gone (03:20)
07. Lay Down For Free (03:56)
08. Game Of Pretend (04:33)
09. On With The Show (03:46)
10. Carnival Begin (04:40)

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