What surprises me is it's taken so long for something like this to happen. Bastards.
Remember - you heard these tracks, these actual versions, here first!
Spread the word far and wide, all but the Moonlight tracks are available, FREE - and lossless, right here on this blog.
On to our regularly-scheduled programming....
Friday, October 8, 2010
Sunday, September 26, 2010
Episode 93: A New Hope
This weekend marks an important milestone for the blog, necessitating a critical rethink of my objectives, future postings and considerations of "what should I post?".
You see... this weekend I learned that my next (or very shortly thereafter) post will be done with the full consent and cooperation of the band I'll be blogging. Not to give any spoilers, but the record I will be blogging has never seen any sort of widescale (or even mediumscale) release, and I'd never heard it - despite seeking it for 20 years - until this weekend when I finally landed my mitts on a copy. This band in question has experienced the trials and tribulations of being on a major label, as well as doing quite well as an independent-label band. They've, suffice it to say, been around the block.
One thing led to another, and what it comes down to is that the band in question will be writing liner notes for the post. What I've asked for is a detailed track-by-track breakdown of the recording sessions, their thoughts on the song(s), etc., but whatever they choose to give me, I'll be grateful for and post. Furthermore, the band has gracefully given their consent for the blog to host this record in lossless format (FLAC). I'm pretty excited!
What this means, though, is that a *lot* of the records I've posted, either as whole albums, or in the various compilations I've posted, were made by friends of the band in question. While the vast majority are out of print, a few aren't, and the ethical blogger in me tells me to remove the links for those records in print. And the ethical blogger in me also is voicing, quite loudly, concerns that I should take a *very* sharp look at what I will be posting in the future. Is the blog entering a new period of semi-legitimacy? Should I wish for this burden?
Now I've already blogged this band before, and they are aware of it. Fortunately the record(s) I've blogged are out of print!
Please share your thoughts about this whole "what this means going forward" bit. Very curious to hear the reactions!
You see... this weekend I learned that my next (or very shortly thereafter) post will be done with the full consent and cooperation of the band I'll be blogging. Not to give any spoilers, but the record I will be blogging has never seen any sort of widescale (or even mediumscale) release, and I'd never heard it - despite seeking it for 20 years - until this weekend when I finally landed my mitts on a copy. This band in question has experienced the trials and tribulations of being on a major label, as well as doing quite well as an independent-label band. They've, suffice it to say, been around the block.
One thing led to another, and what it comes down to is that the band in question will be writing liner notes for the post. What I've asked for is a detailed track-by-track breakdown of the recording sessions, their thoughts on the song(s), etc., but whatever they choose to give me, I'll be grateful for and post. Furthermore, the band has gracefully given their consent for the blog to host this record in lossless format (FLAC). I'm pretty excited!
What this means, though, is that a *lot* of the records I've posted, either as whole albums, or in the various compilations I've posted, were made by friends of the band in question. While the vast majority are out of print, a few aren't, and the ethical blogger in me tells me to remove the links for those records in print. And the ethical blogger in me also is voicing, quite loudly, concerns that I should take a *very* sharp look at what I will be posting in the future. Is the blog entering a new period of semi-legitimacy? Should I wish for this burden?
Now I've already blogged this band before, and they are aware of it. Fortunately the record(s) I've blogged are out of print!
Please share your thoughts about this whole "what this means going forward" bit. Very curious to hear the reactions!
Monday, September 13, 2010
I'm going stupid once again: PARIS ANGELS revisit
Way back in the beginning of time, I blogged this band. Made some noise about posting a complete discography or somesuch.
I lied.
The discography was (relatively) nowhere near complete. Oh, I didn't miss anything "major", but I've since obtained at least another half-dozen tracks that should have been in the previous post.
Don't let anyone tell you The Power of Independent Trucking doesn't fix its errors ;)
So as long as we're fixing errors, we may as well post the 99.9% Complete Discography of this woefully underappreciated Manchester band, but this time we'll do it right and in FLAC no less.
And I'll come clean: The reason this is only 99.9% complete is that there are a couple questionable 7" edits out there that may or may not be relevant, and there is one last track available on some mega ultra rare compilation that they've all probably disintegrated by now (a track called "Don't Fake Mine" - if any reader has it lossless, please let me know!).
If I do locate any additions to this compendium, I will certainly post them, fear not.
So onward. Let's do this Factory Records band (that never was on Factory, but reading the names of persons involved in all aspects of this band's existence you'd sure think they were a classic Factory act) justice as all their records are LONG out of print, and they need to be heard.
It's long been my opinion that that this band, with the right label or anything beyond total label indifference (hello Virgin), could have escaped Madchester intact as the Charlatans did. They weren't simply a product of their time (listen to the music), they had gobs of talent, and the songs to go along with it. They had everything needed to be a mini-New Order (minus Hooky). They had New Order's engineer producing their records (Michael Johnson), their original label came from a strong Factory/New Order background (their initial label Sheer Joy having been started by an ex-Factory Records employee), they had that really nice blend of electronics and acoustics so wonderfully exploited by the best New Order tracks. They received dancefloor play at the Hacienda, and gigged there too (in fact the Hac is the reason I first became aware of this band, when a mate heard "Perfume" there well before release in 1990 and couldn't stop gabbing about it for months upon return to the States). They even had half of Factory's nearly-in-house design team (Craig Johnson of Johnson and Panas, who did a LOT of design for Factory and Electronic in the later years of Factory's existence) which often gave Peter Saville a run for his money (see the "Perfume" 12" cover, nearly iconic in its own right - which I've re-engineered below to serve as the cover for this compilation).
So that this band has been utterly neglected for the past almost 20 years is beyond my simple grasp. It's borderline criminal. Someone needs to step in, license these records, and give them the proper reissue treatment they deserve. Their entire catalog - the whole damn thing - has been out of print for nearly every single one of these past twenty years. It's shameful.
A few key additions to the last post:
1) New mixes "discovered" of their classic, best track "Perfume", including one which very quickly became my by-a-thousand-miles favorite interpretation of the track. I'm speaking of a previously-unknown (to me) mix called, simply, "Perfume (version)" which was tucked away as the extra track on the 12" vinyl release of their debut single. It is, in a word, spellbinding. As brilliant as I believed the "original" mix (simply entitled "Perfume" no modifiers) to be, the "(version)" variant beats it in all possible ways. How? By knifing out the sequenced drums and focusing on the nearly Steve Morris-esque drums buried in the "original" mix. Secondly, the "(version)" variant has a quite lovely harmony/alternate vocal line from other singer Jane starting about midway through the track that all other variants sadly lack. All put together, the "(version)" variant is the perfect "Perfume". And now here it is, in glorious mastered FLAC, mastered from original vinyl, and spotlessly mastered at that. Not a clue at all it's vinyl sourced.
2) The only two *released* BBC session tracks now are included - a track from their first Peel session in September 1990, and a track from a Mark Goodier session in October 1990.
3) Remixes from their last-ever single, "Fade", now included. Also included is another vinyl-only mix, the "Fade (Part 2)" mix, which was the extra track on the "Fade" 12" vinyl single, like "Perfume (version)" spotlessly mastered from original vinyl.
4) And yet another vinyl-only track, an alternate edit of "Perfume" which was titled and released as the extra track on the Virgin re-release 12" as "Perfume (summer version)". This is simply an edit of the Virgin-spawned "Perfume (all on you)" and really here for completist sakes only, I don't see people wanting this as their only example of this track. Again, mastered from original vinyl, and spotlessly mastered at that without a clue of vinyl lineage.
5) All the Virgin-released "Perfume" mixes were mis-pitched. I've fixed them. Specifically, "Perfume (loved up" / "Perfume (all on you)" / "Perfume (summer version)" all suffered from incorrect mastering, at the wrong pitch.
See the prior post for the illustrated discograpy, I'll just run down the tracklisting and at the end, detail out lineage.
- - - - -
PARIS ANGELS
the 99.9% Complete Discography, 1989-1991
00 Don't Fake Mine (recorded for Piccadilly Radio March 1990)
01 Stay
02 Perfume
03 All On You (Perfume)
04 Muffin 2
05 Techno (Live at Subterania)
06 Perfume (version)
07 Stay (Peel session, 27 September 1990)
08 Scope
09 Give Me More...Scope
10 Scope Two
11 GBF
12 Oh Yes
13 I Understand
14 Oh Yes Instrumental
15 Too Easy
16 Oh Yes (Mark Goodier session, 27 October 1990)
17 Perfume (loved up)
18 Pure
19 Perfume (all on you)
20 Perfume (summer version)
21 Eternity
22 Fade
23 Smile
24 Slippery Man
25 What Goes On
26 Perfume (all on you)
27 Louise
28 Breathless
29 Chaos (Stupid Stupid)
30 Purest Values
31 Oh Yes (extended)
32 Fade
33 Fade (Tag mix)
34 Fence
35 Fade (Polo mix)
36 Fade (part two)
00 from Hit The North, various artists (Bop Cassettes, BIP 806 CD)
1 from HOME, various artists (Sheer Joy, Sheer 001CD)
2-5 from the original "Perfume" CD single (Sheer Joy, Sheer 002/CD)
6 from the original "Perfume" 12" vinyl single (Sheer Joy, Sheer 002/T)
7 from New Season - The Peel Sessions, various artists (Strange Fruit, SFRCD205)
8-11 from the "Scope" CD single (Sheer Joy, Sheer 004/CD)
12-15 from the "Oh Yes" CD single (Sheer Joy, Sheer 005/CD)
16 from the best of The Mark Goodier Radio1 Sessions Volume 1, various artists (Nighttracks, MARK 1)
17-19 from the re-released "Perfume" CD single (Virgin, VSCDT 1360)
20 from the re-released "Perfume" 12" vinyl single (Virgin, VST 1360)
21-31 from the Sundew CD album (Virgin, CDV 2667)
32-35 from the "Fade" CD single (Virgin, VSCDG 1365)
36 from the "Fade" 12" vinyl single (Virgin, VST 1365)
All the above in glorious lossless FLAC, gently remastered by your host, here! Warning - it's spread across 12 RAR files.
****** SPECIAL EDIT ******
a kind reader forwarded on a lossless rip of "Don't Fake Mine" from a various artists compilation, could be the rarest Paris Angels track!
grab the FLAC here!
enjoy...
Alternate color combos (click for full-size):
I lied.
The discography was (relatively) nowhere near complete. Oh, I didn't miss anything "major", but I've since obtained at least another half-dozen tracks that should have been in the previous post.
Don't let anyone tell you The Power of Independent Trucking doesn't fix its errors ;)
So as long as we're fixing errors, we may as well post the 99.9% Complete Discography of this woefully underappreciated Manchester band, but this time we'll do it right and in FLAC no less.
And I'll come clean: The reason this is only 99.9% complete is that there are a couple questionable 7" edits out there that may or may not be relevant, and there is one last track available on some mega ultra rare compilation that they've all probably disintegrated by now (a track called "Don't Fake Mine" - if any reader has it lossless, please let me know!).
If I do locate any additions to this compendium, I will certainly post them, fear not.
So onward. Let's do this Factory Records band (that never was on Factory, but reading the names of persons involved in all aspects of this band's existence you'd sure think they were a classic Factory act) justice as all their records are LONG out of print, and they need to be heard.
It's long been my opinion that that this band, with the right label or anything beyond total label indifference (hello Virgin), could have escaped Madchester intact as the Charlatans did. They weren't simply a product of their time (listen to the music), they had gobs of talent, and the songs to go along with it. They had everything needed to be a mini-New Order (minus Hooky). They had New Order's engineer producing their records (Michael Johnson), their original label came from a strong Factory/New Order background (their initial label Sheer Joy having been started by an ex-Factory Records employee), they had that really nice blend of electronics and acoustics so wonderfully exploited by the best New Order tracks. They received dancefloor play at the Hacienda, and gigged there too (in fact the Hac is the reason I first became aware of this band, when a mate heard "Perfume" there well before release in 1990 and couldn't stop gabbing about it for months upon return to the States). They even had half of Factory's nearly-in-house design team (Craig Johnson of Johnson and Panas, who did a LOT of design for Factory and Electronic in the later years of Factory's existence) which often gave Peter Saville a run for his money (see the "Perfume" 12" cover, nearly iconic in its own right - which I've re-engineered below to serve as the cover for this compilation).
So that this band has been utterly neglected for the past almost 20 years is beyond my simple grasp. It's borderline criminal. Someone needs to step in, license these records, and give them the proper reissue treatment they deserve. Their entire catalog - the whole damn thing - has been out of print for nearly every single one of these past twenty years. It's shameful.
A few key additions to the last post:
1) New mixes "discovered" of their classic, best track "Perfume", including one which very quickly became my by-a-thousand-miles favorite interpretation of the track. I'm speaking of a previously-unknown (to me) mix called, simply, "Perfume (version)" which was tucked away as the extra track on the 12" vinyl release of their debut single. It is, in a word, spellbinding. As brilliant as I believed the "original" mix (simply entitled "Perfume" no modifiers) to be, the "(version)" variant beats it in all possible ways. How? By knifing out the sequenced drums and focusing on the nearly Steve Morris-esque drums buried in the "original" mix. Secondly, the "(version)" variant has a quite lovely harmony/alternate vocal line from other singer Jane starting about midway through the track that all other variants sadly lack. All put together, the "(version)" variant is the perfect "Perfume". And now here it is, in glorious mastered FLAC, mastered from original vinyl, and spotlessly mastered at that. Not a clue at all it's vinyl sourced.
2) The only two *released* BBC session tracks now are included - a track from their first Peel session in September 1990, and a track from a Mark Goodier session in October 1990.
3) Remixes from their last-ever single, "Fade", now included. Also included is another vinyl-only mix, the "Fade (Part 2)" mix, which was the extra track on the "Fade" 12" vinyl single, like "Perfume (version)" spotlessly mastered from original vinyl.
4) And yet another vinyl-only track, an alternate edit of "Perfume" which was titled and released as the extra track on the Virgin re-release 12" as "Perfume (summer version)". This is simply an edit of the Virgin-spawned "Perfume (all on you)" and really here for completist sakes only, I don't see people wanting this as their only example of this track. Again, mastered from original vinyl, and spotlessly mastered at that without a clue of vinyl lineage.
5) All the Virgin-released "Perfume" mixes were mis-pitched. I've fixed them. Specifically, "Perfume (loved up" / "Perfume (all on you)" / "Perfume (summer version)" all suffered from incorrect mastering, at the wrong pitch.
See the prior post for the illustrated discograpy, I'll just run down the tracklisting and at the end, detail out lineage.
- - - - -
PARIS ANGELS
the 99.9% Complete Discography, 1989-1991
00 Don't Fake Mine (recorded for Piccadilly Radio March 1990)
01 Stay
02 Perfume
03 All On You (Perfume)
04 Muffin 2
05 Techno (Live at Subterania)
06 Perfume (version)
07 Stay (Peel session, 27 September 1990)
08 Scope
09 Give Me More...Scope
10 Scope Two
11 GBF
12 Oh Yes
13 I Understand
14 Oh Yes Instrumental
15 Too Easy
16 Oh Yes (Mark Goodier session, 27 October 1990)
17 Perfume (loved up)
18 Pure
19 Perfume (all on you)
20 Perfume (summer version)
21 Eternity
22 Fade
23 Smile
24 Slippery Man
25 What Goes On
26 Perfume (all on you)
27 Louise
28 Breathless
29 Chaos (Stupid Stupid)
30 Purest Values
31 Oh Yes (extended)
32 Fade
33 Fade (Tag mix)
34 Fence
35 Fade (Polo mix)
36 Fade (part two)
00 from Hit The North, various artists (Bop Cassettes, BIP 806 CD)
1 from HOME, various artists (Sheer Joy, Sheer 001CD)
2-5 from the original "Perfume" CD single (Sheer Joy, Sheer 002/CD)
6 from the original "Perfume" 12" vinyl single (Sheer Joy, Sheer 002/T)
7 from New Season - The Peel Sessions, various artists (Strange Fruit, SFRCD205)
8-11 from the "Scope" CD single (Sheer Joy, Sheer 004/CD)
12-15 from the "Oh Yes" CD single (Sheer Joy, Sheer 005/CD)
16 from the best of The Mark Goodier Radio1 Sessions Volume 1, various artists (Nighttracks, MARK 1)
17-19 from the re-released "Perfume" CD single (Virgin, VSCDT 1360)
20 from the re-released "Perfume" 12" vinyl single (Virgin, VST 1360)
21-31 from the Sundew CD album (Virgin, CDV 2667)
32-35 from the "Fade" CD single (Virgin, VSCDG 1365)
36 from the "Fade" 12" vinyl single (Virgin, VST 1365)
All the above in glorious lossless FLAC, gently remastered by your host, here! Warning - it's spread across 12 RAR files.
****** SPECIAL EDIT ******
a kind reader forwarded on a lossless rip of "Don't Fake Mine" from a various artists compilation, could be the rarest Paris Angels track!
grab the FLAC here!
enjoy...
Alternate color combos (click for full-size):
Saturday, September 4, 2010
as promised: Joy Division 'Recycle' Sampler - lossless
I don't think this needs any introduction.
JOY DIVISION
A Recycle Sampler
Selections from the Recycle project
including one track completely unused in the "official" set!
Presented in lossless FLAC
01 At A Later Date (from the 'An Ideal For Living' set)
02 No Love Lost (from the 'An Ideal For Living' set)
03 Digital (Hannett version) (from the FAC 2 set)
04 Transmission (Strawberry version) (from the FAC 13 set)
05 Atmosphere (from the 'Licht und Blindheit' set)
06 Dead Souls (pitch corrected) (from the 'Licht und Blindheit' set)
07 Ice Age (pitch corrected) (from the 'Licht und Blindheit' set)
08 Love Will Tear Us Apart (single A-side) (from the FAC 23 set)
09 These Days (pitch corrected) (unissued)
10 The Sound Of Music (from the FAC 23 set)
11 Komakino (from the FAC 28 set)
12 Colony (pitch corrected) (unissued)
13 She's Lost Control 12 inch version (pitch corrected) (unissued)
14 Twenty Four Hours (live from the High Hall, Birmingham 2 May 1980) (from the FACUS 2 set)
15 These Days (live from the Lyceum, London 29 February 1980) (from the FACUS2 set)
16 She's Lost Control full mix (pitch corrected) (unissued)
17 Atmosphere (live from the Paradiso, Amsterdam 11 January 1980) (from the FAC 213 set)
Find it here!
enjoy....
JOY DIVISION
A Recycle Sampler
Selections from the Recycle project
including one track completely unused in the "official" set!
Presented in lossless FLAC
01 At A Later Date (from the 'An Ideal For Living' set)
02 No Love Lost (from the 'An Ideal For Living' set)
03 Digital (Hannett version) (from the FAC 2 set)
04 Transmission (Strawberry version) (from the FAC 13 set)
05 Atmosphere (from the 'Licht und Blindheit' set)
06 Dead Souls (pitch corrected) (from the 'Licht und Blindheit' set)
07 Ice Age (pitch corrected) (from the 'Licht und Blindheit' set)
08 Love Will Tear Us Apart (single A-side) (from the FAC 23 set)
09 These Days (pitch corrected) (unissued)
10 The Sound Of Music (from the FAC 23 set)
11 Komakino (from the FAC 28 set)
12 Colony (pitch corrected) (unissued)
13 She's Lost Control 12 inch version (pitch corrected) (unissued)
14 Twenty Four Hours (live from the High Hall, Birmingham 2 May 1980) (from the FACUS 2 set)
15 These Days (live from the Lyceum, London 29 February 1980) (from the FACUS2 set)
16 She's Lost Control full mix (pitch corrected) (unissued)
17 Atmosphere (live from the Paradiso, Amsterdam 11 January 1980) (from the FAC 213 set)
Find it here!
enjoy....
Monday, August 23, 2010
how slow can you go: CODEINE Frigid Stars LP
Sometimes a record so perfectly encapsulates a mood, references such a specific time and/or place that there's no other way for that mood or that experience to be the same without the accompanying record in there somewhere.
I hadn't planned to blog this record for another few months but I think that because I've been going to it for solace, when breaking from the Smiths mastering for that other blog, it was time.
Now dealing with Morrissey on the one, and Codeine on the other, I'd imagine people are either lining up the pills for your humble blogger, or preparing the rubber room for my impending confinement. Ha! I say. I just like the damn thing.
This 1990 release is a VERY powerful record - a record that gains its power not only from its breathless lack of speed, but from its immense sheets of guitars. Stephen Immerwahr's vocals sound as if they're vocalized from the depths of despair, an icy sheen that just adds to the remoteness, the emotional gravity, of the record. And indie legend Chris Brokaw - doubling up here on both guitars *and* drums - has to be an utterly fantastic drummer just due to the nature of how precisely slow a timekeeper he had to be.
With a name like Frigid Stars, and the cover shown below, you can just picture the emotional desolation of this record.
It's not a record for a bright, sunny summer August day. For a chilly, windswept January winterscape, or blustery, rainy fall day with the onset of a brutal winter on the horizon, it's perfect. And while some songs individually are standouts, it's a record best enjoyed as a piece.
There is a stylistic, and (after this record) musical link between Codeine and one of this blog's other favorite set of acts, the Bitch Magnet/Seam axis. BM/Seam fellow Sooyoung Park gifted this record's "New Year's" to Codeine several years before one of his own bands recorded it (Seam did so in 1993 on the Headsparks LP), and not only does Codeine thank the Bitch Magnet folks in the credits, their next record (an EP not blogged here, though I may in the future) featured BM's Jon Fine and part-time BM David Grubbs in various guesting roles.
"Cave In", for that matter, sounds like a track that fell off the master reels for Bitch Magnet's Umber LP, and "Cigarette Machine" could have spun off from Ben Hur. Really great songs, all of them.
So enjoy, lossless FLAC for your pleasure.
CODEINE
Frigid Stars LP
1990 Sub Pop
01 D
02 Gravel Bed
03 Pickup Song
04 New Year's
05 Second Chance
06 Cave In
07 Cigarette Machine
08 Old Things
09 3 Angels
10 Pea
edit: removed link
enjoy!
I hadn't planned to blog this record for another few months but I think that because I've been going to it for solace, when breaking from the Smiths mastering for that other blog, it was time.
Now dealing with Morrissey on the one, and Codeine on the other, I'd imagine people are either lining up the pills for your humble blogger, or preparing the rubber room for my impending confinement. Ha! I say. I just like the damn thing.
This 1990 release is a VERY powerful record - a record that gains its power not only from its breathless lack of speed, but from its immense sheets of guitars. Stephen Immerwahr's vocals sound as if they're vocalized from the depths of despair, an icy sheen that just adds to the remoteness, the emotional gravity, of the record. And indie legend Chris Brokaw - doubling up here on both guitars *and* drums - has to be an utterly fantastic drummer just due to the nature of how precisely slow a timekeeper he had to be.
With a name like Frigid Stars, and the cover shown below, you can just picture the emotional desolation of this record.
It's not a record for a bright, sunny summer August day. For a chilly, windswept January winterscape, or blustery, rainy fall day with the onset of a brutal winter on the horizon, it's perfect. And while some songs individually are standouts, it's a record best enjoyed as a piece.
There is a stylistic, and (after this record) musical link between Codeine and one of this blog's other favorite set of acts, the Bitch Magnet/Seam axis. BM/Seam fellow Sooyoung Park gifted this record's "New Year's" to Codeine several years before one of his own bands recorded it (Seam did so in 1993 on the Headsparks LP), and not only does Codeine thank the Bitch Magnet folks in the credits, their next record (an EP not blogged here, though I may in the future) featured BM's Jon Fine and part-time BM David Grubbs in various guesting roles.
"Cave In", for that matter, sounds like a track that fell off the master reels for Bitch Magnet's Umber LP, and "Cigarette Machine" could have spun off from Ben Hur. Really great songs, all of them.
So enjoy, lossless FLAC for your pleasure.
CODEINE
Frigid Stars LP
1990 Sub Pop
01 D
02 Gravel Bed
03 Pickup Song
04 New Year's
05 Second Chance
06 Cave In
07 Cigarette Machine
08 Old Things
09 3 Angels
10 Pea
edit: removed link
enjoy!
Monday, August 9, 2010
biting off more than I can chew?
Our latest endeavour:
Smiths: Extra Track (and a tacky badge)
Modeled after the ultra-successful New Order and Joy Division Recycle blog.
Same people behind it too!
One day the labels will see the value of involving the fans. If not, their loss.
Now, back to our regularly scheduled posting...
Smiths: Extra Track (and a tacky badge)
Modeled after the ultra-successful New Order and Joy Division Recycle blog.
Same people behind it too!
One day the labels will see the value of involving the fans. If not, their loss.
Now, back to our regularly scheduled posting...
Sunday, July 25, 2010
summer break / Joy Division RECYCLE musings
Well only a brief one...
Our next post, unless the mood strikes differently, will be this blog's alternative masterings of the RECYCLE blog's Joy Division packages. There are enough curios either left out of RECYCLE, or tracks released there to warrant additional consideration, that it would warrant its own post over here (and as lossless FLAC).
I'm just waiting for our friend £50 Note to wrap up his end of the deal with Atmosphere 1988, which I promise will be a spectacular treat to wind up the series ;)
So, with the caveat that no, I will *not* be posting every part of the Joy Division RECYCLE series as lossless FLAC, which individual tracks, from the Joy Division series, would you like to see over here?
Our next post, unless the mood strikes differently, will be this blog's alternative masterings of the RECYCLE blog's Joy Division packages. There are enough curios either left out of RECYCLE, or tracks released there to warrant additional consideration, that it would warrant its own post over here (and as lossless FLAC).
I'm just waiting for our friend £50 Note to wrap up his end of the deal with Atmosphere 1988, which I promise will be a spectacular treat to wind up the series ;)
So, with the caveat that no, I will *not* be posting every part of the Joy Division RECYCLE series as lossless FLAC, which individual tracks, from the Joy Division series, would you like to see over here?
Tuesday, July 6, 2010
R.E.M. Fables demos, unleashed!
I've probably said it here before, but if not, let me put it out there for once and for all:
My all-time favorite R.E.M. record is 1985's Fables Of The Reconstruction.
Oh, it battled over the years with 1984's Reckoning, 1986's Lifes Rich Pageant, and in more modern times, 1992's Automatic For The People. But unlike those records, something about Fables always drew me back in. Whether it was the oppressively gauzy production, the absolutely beautiful songwriting, the ribbons of melody streaming off the record, it was always there for me. It's a very dark, gloomy record, and it's a stunningly beautiful record. Southern Gothic, yes.
As the band has done over the past two years with 1983's Murmur and the followup Reckoning, the 25th anniversary of this record's release comes this year and with it a deluxe remaster/repackaging of the record. Murmur and Reckoning saw their CD2's filled with live sets, and while there were plenty of good contemporary gig candidates for Fables, the band instead dug deep into the vaults for the recording session arranged in Athens, Georgia just prior to jetting off to London to record with Joe Boyd.
It's been said by the band that Fables was rather underwritten (which I disagree). These demos put lie to this myth - R.E.M. went to London with perhaps their strongest collection of songs to date, needing only minute changes in the studio from what they demoed in Athens, GA prior to leaving.
So while these aren't ripped directly from the record (which isn't released for another week), they are captured from the kcrw.com streaming audio and sound far better than what one would expect from such a thing.
Unlike the final release of these tracks (henceforth called the Athens Demos, as the band has entitled them), this blog's version has them in actual Fables order, with the non-album songs tacked onto the end.
I'll leave it to the listener to decide their favorites, but I will point out a few things that immediately struck me at first listen:
Overall the Athens Demos sound very much like Reckoning in actual sound. The tracks were mostly live in the studio, as was Reckoning. There were minimal overdubs, again like Reckoning. There was little time to mess with the tracks, and the raw recordings really bring out how well written these songs are overall.
FEELING GRAVITYS PULL
I think if you listen really, REALLY carefully to the final album recording, you can hear hints of Bill Berry's manic drum pattern deep in the murk.
MAPS AND LEGENDS
This demo recording puts the emphasis more on melody than the final recording, which emphasizes mood.
DRIVER 8
If Murmur/Reckoning producers Mitch Easter and Don Dixon produced the third R.E.M. LP, this is what it would sound like.
LIFE AND HOW TO LIVE IT
The final recording doesn't stray too far from this blueprint, and you still can't completely decipher Michael Stipe.
OLD MAN KENSEY
Nearly interchangeable with the final recording, which makes sense as it had been played live for nearly 8 months before this (along with "Driver 8") and the band had a pretty good handle on where it was going.
CANT GET THERE FROM HERE
Missing the horns that featured on the final recording, still a good blueprint for the album track.
GREEN GROW THE RUSHES
I really like Stipe's "la la la, laaaa" intro melody, I wish he'd kept it for the final recording. Another track which ultimately trades this version's emphasis on melody with the final recording's emphasis on mood.
KOHOUTEK
Perhaps my favorite track of all time on the actual Fables LP, here it sounds strangely denuded. The one case where I prefer the final recording to the demo. I think because Joe Boyd and the band had such terrible times mixing the record, things were tried on this album track that made it work (on the actual record, "Kohoutek"'s drum sound is completely dissimilar to any other song on the record, and is better for it).
AUCTIONEER (ANOTHER ENGINE)
More manic than the final recording. I like the stick clicks continuing during the guitar breaks, which doesn't feature on the final recording.
GOOD ADVICES
A beautiful track either way you shake it, again more of a melodic emphasis here than the moodiness of the final recording. The complete lyric gives lie to the myth that the overall lyrical tone of the final LP, and this song in particular, was influenced by the terrible time the band was having away from home in a miserable London winter (since this recording predates that London trip). Lovely Mike Mills vocal countermelodies that are VERY prominent at 2:38 onwards, missing from the final recording.
WENDELL GEE
One of my favorite tracks ever, this out-beautifuls the final recording (if that's even possible). I suppose they've always been there, but Stipe/Mills/Berry create some absolutely stunning vocal harmonies, and Peter Buck's subdued guitar really keeps the mood throughout the track. Stipe's whistling starting at 1:40 doesn't detract at all, in fact I wish he did this on the final recording!
BANDWAGON
Stipe already sounds bored with the track.
HYENA
Not quite as manic as the 1986 recording with Don Gehman as featured on Lifes Rich Pageant, the extra gestation time gave the band more opportunity to tighten up the track. A better fit on Pageant than would have been on Fables.
THROW THOSE TROLLS AWAY (aka WHEN I WAS YOUNG)
Finally we hear a studio version of the track listed on the inner sleeve tracklisting on Fables, but dropped from the lineup at the last minute and never before heard except at a couple early 1985 gigs (and poorly-bootlegged thereafter). I can see why it was dropped, it's frankly not very good. The lyric was famously recycled and rewritten as the infinitely superior "I Believe" for 1986's Lifes Rich Pageant.
- - - - -
edit: Removed link.
My all-time favorite R.E.M. record is 1985's Fables Of The Reconstruction.
Oh, it battled over the years with 1984's Reckoning, 1986's Lifes Rich Pageant, and in more modern times, 1992's Automatic For The People. But unlike those records, something about Fables always drew me back in. Whether it was the oppressively gauzy production, the absolutely beautiful songwriting, the ribbons of melody streaming off the record, it was always there for me. It's a very dark, gloomy record, and it's a stunningly beautiful record. Southern Gothic, yes.
As the band has done over the past two years with 1983's Murmur and the followup Reckoning, the 25th anniversary of this record's release comes this year and with it a deluxe remaster/repackaging of the record. Murmur and Reckoning saw their CD2's filled with live sets, and while there were plenty of good contemporary gig candidates for Fables, the band instead dug deep into the vaults for the recording session arranged in Athens, Georgia just prior to jetting off to London to record with Joe Boyd.
It's been said by the band that Fables was rather underwritten (which I disagree). These demos put lie to this myth - R.E.M. went to London with perhaps their strongest collection of songs to date, needing only minute changes in the studio from what they demoed in Athens, GA prior to leaving.
So while these aren't ripped directly from the record (which isn't released for another week), they are captured from the kcrw.com streaming audio and sound far better than what one would expect from such a thing.
Unlike the final release of these tracks (henceforth called the Athens Demos, as the band has entitled them), this blog's version has them in actual Fables order, with the non-album songs tacked onto the end.
I'll leave it to the listener to decide their favorites, but I will point out a few things that immediately struck me at first listen:
Overall the Athens Demos sound very much like Reckoning in actual sound. The tracks were mostly live in the studio, as was Reckoning. There were minimal overdubs, again like Reckoning. There was little time to mess with the tracks, and the raw recordings really bring out how well written these songs are overall.
FEELING GRAVITYS PULL
I think if you listen really, REALLY carefully to the final album recording, you can hear hints of Bill Berry's manic drum pattern deep in the murk.
MAPS AND LEGENDS
This demo recording puts the emphasis more on melody than the final recording, which emphasizes mood.
DRIVER 8
If Murmur/Reckoning producers Mitch Easter and Don Dixon produced the third R.E.M. LP, this is what it would sound like.
LIFE AND HOW TO LIVE IT
The final recording doesn't stray too far from this blueprint, and you still can't completely decipher Michael Stipe.
OLD MAN KENSEY
Nearly interchangeable with the final recording, which makes sense as it had been played live for nearly 8 months before this (along with "Driver 8") and the band had a pretty good handle on where it was going.
CANT GET THERE FROM HERE
Missing the horns that featured on the final recording, still a good blueprint for the album track.
GREEN GROW THE RUSHES
I really like Stipe's "la la la, laaaa" intro melody, I wish he'd kept it for the final recording. Another track which ultimately trades this version's emphasis on melody with the final recording's emphasis on mood.
KOHOUTEK
Perhaps my favorite track of all time on the actual Fables LP, here it sounds strangely denuded. The one case where I prefer the final recording to the demo. I think because Joe Boyd and the band had such terrible times mixing the record, things were tried on this album track that made it work (on the actual record, "Kohoutek"'s drum sound is completely dissimilar to any other song on the record, and is better for it).
AUCTIONEER (ANOTHER ENGINE)
More manic than the final recording. I like the stick clicks continuing during the guitar breaks, which doesn't feature on the final recording.
GOOD ADVICES
A beautiful track either way you shake it, again more of a melodic emphasis here than the moodiness of the final recording. The complete lyric gives lie to the myth that the overall lyrical tone of the final LP, and this song in particular, was influenced by the terrible time the band was having away from home in a miserable London winter (since this recording predates that London trip). Lovely Mike Mills vocal countermelodies that are VERY prominent at 2:38 onwards, missing from the final recording.
WENDELL GEE
One of my favorite tracks ever, this out-beautifuls the final recording (if that's even possible). I suppose they've always been there, but Stipe/Mills/Berry create some absolutely stunning vocal harmonies, and Peter Buck's subdued guitar really keeps the mood throughout the track. Stipe's whistling starting at 1:40 doesn't detract at all, in fact I wish he did this on the final recording!
BANDWAGON
Stipe already sounds bored with the track.
HYENA
Not quite as manic as the 1986 recording with Don Gehman as featured on Lifes Rich Pageant, the extra gestation time gave the band more opportunity to tighten up the track. A better fit on Pageant than would have been on Fables.
THROW THOSE TROLLS AWAY (aka WHEN I WAS YOUNG)
Finally we hear a studio version of the track listed on the inner sleeve tracklisting on Fables, but dropped from the lineup at the last minute and never before heard except at a couple early 1985 gigs (and poorly-bootlegged thereafter). I can see why it was dropped, it's frankly not very good. The lyric was famously recycled and rewritten as the infinitely superior "I Believe" for 1986's Lifes Rich Pageant.
- - - - -
edit: Removed link.
Saturday, June 19, 2010
I think he likes it: TAR - Jackson (lossless revisit)
Tap tap. Is this thing on?
Apologies again for the (relatively) lengthy delay in new postings. With the onset of summer comes additional projects to tackle in and around the homefront, taking more and more of my tiny slice of available time to devote to the blog.
So it is at the risk of repeating myself that we revisit Tar (as we've done before).
Now last year I posted most of this Chicago proto-grunge noiserock band's Amphetamine Reptile catalog, as MP3. Tar's whole AmRep catalog is now out-of-print, and only selectively available via your usual download-only retailers. This includes one of my favorite records of all time, their 1991 LP Jackson.
If heavy duty factory machinery had a soundtrack to their day, it would be Tar. Dual guitars relentlessly threshing and grinding away, propelled by propulsive bass and drumming, gloriously captured by Steve Albini (in "beautiful downtown Chicago in July, 1991" at Chicago Recording Company). Vocalist John Mohr doesn't need to "sing" to this soundtrack, so he doesn't. There is no singing at the factory. I don't understand how the hands of progress could be so cold, indeed ("Trauma").
So rather than burying this wonderful record amongst a Tar mega-pack, here be it freed as lossless FLAC. Please enjoy responsibly, keep your hands out of the equipment, wear hard hats at all times, etc. Slight remastering from an original 1991 CD issue (as if there are any others, considering this record probably sold less than 10,000 units)...
But first - a video! This is exactly how I imagined a Tar video would look, when I only heard there was one for this song. Now thanks to the magic Internets you can enjoy it too! Also this is perhaps close to the most melodic Tar song in existence, at least chording-wise.
"Goethe"
So enjoy. And a slight warning: the second side of the LP (starting with "Dark Mark") is slightly better than the first - bar "Short Trades", one of the best tracks by any band ever.
- - - - -
TAR
Jackson
1991 Amphetamine Reptile Records
01 Short Trades
02 Cross Offer
03 Walking The King
04 On A Transfer
05 Trauma
06 Dark Mark
07 Goethe
08 Tellerman
09 Land Luck
10 Viaduct Removal
Get it here.
And, if the interest is there, I recently acquired 1990's Roundhouse/Handsome CD (also out-of-print) and would be happy to FLAC it here.
Apologies again for the (relatively) lengthy delay in new postings. With the onset of summer comes additional projects to tackle in and around the homefront, taking more and more of my tiny slice of available time to devote to the blog.
So it is at the risk of repeating myself that we revisit Tar (as we've done before).
Now last year I posted most of this Chicago proto-grunge noiserock band's Amphetamine Reptile catalog, as MP3. Tar's whole AmRep catalog is now out-of-print, and only selectively available via your usual download-only retailers. This includes one of my favorite records of all time, their 1991 LP Jackson.
If heavy duty factory machinery had a soundtrack to their day, it would be Tar. Dual guitars relentlessly threshing and grinding away, propelled by propulsive bass and drumming, gloriously captured by Steve Albini (in "beautiful downtown Chicago in July, 1991" at Chicago Recording Company). Vocalist John Mohr doesn't need to "sing" to this soundtrack, so he doesn't. There is no singing at the factory. I don't understand how the hands of progress could be so cold, indeed ("Trauma").
So rather than burying this wonderful record amongst a Tar mega-pack, here be it freed as lossless FLAC. Please enjoy responsibly, keep your hands out of the equipment, wear hard hats at all times, etc. Slight remastering from an original 1991 CD issue (as if there are any others, considering this record probably sold less than 10,000 units)...
But first - a video! This is exactly how I imagined a Tar video would look, when I only heard there was one for this song. Now thanks to the magic Internets you can enjoy it too! Also this is perhaps close to the most melodic Tar song in existence, at least chording-wise.
"Goethe"
So enjoy. And a slight warning: the second side of the LP (starting with "Dark Mark") is slightly better than the first - bar "Short Trades", one of the best tracks by any band ever.
- - - - -
TAR
Jackson
1991 Amphetamine Reptile Records
01 Short Trades
02 Cross Offer
03 Walking The King
04 On A Transfer
05 Trauma
06 Dark Mark
07 Goethe
08 Tellerman
09 Land Luck
10 Viaduct Removal
Get it here.
And, if the interest is there, I recently acquired 1990's Roundhouse/Handsome CD (also out-of-print) and would be happy to FLAC it here.
Wednesday, June 2, 2010
essential: Neil Young - Time Fades Away HDCD
While today's record may seem incongruous from my typical blogpost, in all reality, it's not.
You see, your humble blogger has been a Neil Young fan for over 20 years. And while many of his songs are classic rock anthems, he's not been called the "godfather of grunge" for nothing. He once called Sonic Youth's "Expressway to Yr Skull" the greatest guitar song of all time, he's championed many an indie act via his annual Bridge School Benefit gigs to support the Bridge School (an organization set up by the Youngs in 1986 to help children impaired by severe physical and speech impairments), and he's never seen fit to kowtow to his fans or public.
Case in point is today's featured record, 1973's Time Fades Away.
On the back of the massive blockbuster success of his 1972 acoustic record Harvest ("Heart of Gold" among others), Young put together an all-star band and toured to an audience raptly anticpating recasts of the classic commercial Neil. However.... In his words: "'Heart of Gold' put me in the middle of the road. Traveling there soon became a bore so I headed for the ditch."
Writing an entirely new body of work on the road, the Harvest tour soon saw Neil performing sets of never-before-heard material to audiences expecting "Heart of Gold". And the all-star band backing Young didn't get it - not like Young wanted them to, at least. But Young had an idea, why not make the next record a record of these new songs, played live in front of audiences completely unfamiliar with the material? So he did, releasing the results (assembled from a multitude of live dates) as Time Fades Away.
And he hated it, as did contemporary critics (though you'll not find a critic today who doesn't love the record).
It was a bad period in Neil's career, with the deaths of several musicians in the Young orbit from drugs hanging heavily on his back at the time. The music and the lyrics of this period (the oft-termed "Ditch Trilogy" series of LPs Time Fades Away, Tonight's The Night and On The Beach, recorded in that order from 1973-1974) reflect this entirely.
In an interview from 1987 with the BBC, Young stated that his "least favorite record is Time Fades Away. I think it's the worst record I ever made - but as a documentary of what was happening to me, it was a great record. I was onstage and I was playing all these songs that nobody had heard before, recording them, and I didn't have the right band. It was just an uncomfortable tour. It was supposed to be this big deal - I just had Harvest out, and they booked me into ninety cities. I felt like a product, and I had this band of all-star musicians that couldn't even look at each other. It was a total joke."
And that's the funny thing - it's absolutely NOT a bad record. In fact it's many a fan's favorite Neil LP of all time. Perhaps this is because the record's been out of print for nearly 35 years, and it's the sole remaining "canon" piece from Neil's extensive catalog not to see a CD release (in 2003, 4 of the 6 Neil LPs that up to then had not been on CD were finally issued as HDCD CD's by Reprise, though TFA and 1972's soundtrack LP Journey Through The Past were not).
I think Neil's recollection of this record is colored by the events of the time within his orbit. He's completely dismissing the fantastic songwriting on this record, and while the performances may not be up to par (which is completely fitting with Neil Young records, as any semi-serious fan will know), the record, as a piece, is stunning.
So as mentioned, this record - to this day - has never seen an official CD release anywhere in the world.
That being said........ in 1995, when Reprise Records first seriously considered officially issuing the "Missing 6" mentioned previously on CD, HDCD-encoded "test pressing" CDs of this - and several other at-the-time unavailable Young LPs - circulated. Not test pressings per se, more likely they were review copies or promo releases that escaped Reprise clutches before Young put his official DNR tag on the product. Of course the 1995 campaign ended with no Missing 6 CDs actually being released, but the escaped copies are still out there in the wild, and sound completely gobsmackingly fantastic.
You see, TFA was mixed by computer in 1972, as the songs rolled off the multitrack reels into the mastering house. There was no "master tape" per se, the mixdown was mastered direct to disk. Neil Young collector Jef Michael Piehler of SideStreet Records: "The problem with Time Fades Away is even worse, as it naively stated on LP labels: "This Recording Was Mastered 16-Track Direct To Disc (acetate) by Computer"; the multi-track master tape was recorded/mixed LIVE, leaving little room for remixing the "warts & all" tape hiss, bad notes & crowd noise. To reassemble the album, someone would need to sort through fifty or so ¼" and/or 2" multi-track reels & "a few" cassettes. Finding the right version by date would be easy enough, but at what stage would the mix be at? Raw recording? Truck monitor mix? Mono PA monitor recording? And what about necessary over-dubs ("LA", "Last Dance")? Where are Crosby's vocals? How'd they layer the voices like that? ...impossible."
So how'd they do it in 1995? Well, the record did see release on 8-track and cassette in the 70s, and it's presumed a backup safety reel of the live-as-she-goes computer mixdown was simultaneously made at the same time the LP was mastered, and Young may have used this to master the '95 HDCD encoding. But it's never actually been discussed, so we'll never know until the official release (if that ever comes).
So enjoy. I certainly do, this record, by leaps and bounds, is the most played Neil Young LP in my entire collection (and I've got most of 'em).
1995 CD:
1995 tray card inlay:
- - - - -
NEIL YOUNG
Time Fades Away
1973, Reprise Records
this version ripped from a 1995 HDCD-encoded mastering, subsequently withdrawn
*still entirely out-of-print*
01 Time Fades Away
02 Journey Through The Past
03 Yonder Stands The Sinner
04 LA
05 Love In Mind
06 Don't Be Denied
07 The Bridge
08 Last Dance
Get yer FLACs here!
You see, your humble blogger has been a Neil Young fan for over 20 years. And while many of his songs are classic rock anthems, he's not been called the "godfather of grunge" for nothing. He once called Sonic Youth's "Expressway to Yr Skull" the greatest guitar song of all time, he's championed many an indie act via his annual Bridge School Benefit gigs to support the Bridge School (an organization set up by the Youngs in 1986 to help children impaired by severe physical and speech impairments), and he's never seen fit to kowtow to his fans or public.
Case in point is today's featured record, 1973's Time Fades Away.
On the back of the massive blockbuster success of his 1972 acoustic record Harvest ("Heart of Gold" among others), Young put together an all-star band and toured to an audience raptly anticpating recasts of the classic commercial Neil. However.... In his words: "'Heart of Gold' put me in the middle of the road. Traveling there soon became a bore so I headed for the ditch."
Writing an entirely new body of work on the road, the Harvest tour soon saw Neil performing sets of never-before-heard material to audiences expecting "Heart of Gold". And the all-star band backing Young didn't get it - not like Young wanted them to, at least. But Young had an idea, why not make the next record a record of these new songs, played live in front of audiences completely unfamiliar with the material? So he did, releasing the results (assembled from a multitude of live dates) as Time Fades Away.
And he hated it, as did contemporary critics (though you'll not find a critic today who doesn't love the record).
It was a bad period in Neil's career, with the deaths of several musicians in the Young orbit from drugs hanging heavily on his back at the time. The music and the lyrics of this period (the oft-termed "Ditch Trilogy" series of LPs Time Fades Away, Tonight's The Night and On The Beach, recorded in that order from 1973-1974) reflect this entirely.
In an interview from 1987 with the BBC, Young stated that his "least favorite record is Time Fades Away. I think it's the worst record I ever made - but as a documentary of what was happening to me, it was a great record. I was onstage and I was playing all these songs that nobody had heard before, recording them, and I didn't have the right band. It was just an uncomfortable tour. It was supposed to be this big deal - I just had Harvest out, and they booked me into ninety cities. I felt like a product, and I had this band of all-star musicians that couldn't even look at each other. It was a total joke."
And that's the funny thing - it's absolutely NOT a bad record. In fact it's many a fan's favorite Neil LP of all time. Perhaps this is because the record's been out of print for nearly 35 years, and it's the sole remaining "canon" piece from Neil's extensive catalog not to see a CD release (in 2003, 4 of the 6 Neil LPs that up to then had not been on CD were finally issued as HDCD CD's by Reprise, though TFA and 1972's soundtrack LP Journey Through The Past were not).
I think Neil's recollection of this record is colored by the events of the time within his orbit. He's completely dismissing the fantastic songwriting on this record, and while the performances may not be up to par (which is completely fitting with Neil Young records, as any semi-serious fan will know), the record, as a piece, is stunning.
So as mentioned, this record - to this day - has never seen an official CD release anywhere in the world.
That being said........ in 1995, when Reprise Records first seriously considered officially issuing the "Missing 6" mentioned previously on CD, HDCD-encoded "test pressing" CDs of this - and several other at-the-time unavailable Young LPs - circulated. Not test pressings per se, more likely they were review copies or promo releases that escaped Reprise clutches before Young put his official DNR tag on the product. Of course the 1995 campaign ended with no Missing 6 CDs actually being released, but the escaped copies are still out there in the wild, and sound completely gobsmackingly fantastic.
You see, TFA was mixed by computer in 1972, as the songs rolled off the multitrack reels into the mastering house. There was no "master tape" per se, the mixdown was mastered direct to disk. Neil Young collector Jef Michael Piehler of SideStreet Records: "The problem with Time Fades Away is even worse, as it naively stated on LP labels: "This Recording Was Mastered 16-Track Direct To Disc (acetate) by Computer"; the multi-track master tape was recorded/mixed LIVE, leaving little room for remixing the "warts & all" tape hiss, bad notes & crowd noise. To reassemble the album, someone would need to sort through fifty or so ¼" and/or 2" multi-track reels & "a few" cassettes. Finding the right version by date would be easy enough, but at what stage would the mix be at? Raw recording? Truck monitor mix? Mono PA monitor recording? And what about necessary over-dubs ("LA", "Last Dance")? Where are Crosby's vocals? How'd they layer the voices like that? ...impossible."
So how'd they do it in 1995? Well, the record did see release on 8-track and cassette in the 70s, and it's presumed a backup safety reel of the live-as-she-goes computer mixdown was simultaneously made at the same time the LP was mastered, and Young may have used this to master the '95 HDCD encoding. But it's never actually been discussed, so we'll never know until the official release (if that ever comes).
So enjoy. I certainly do, this record, by leaps and bounds, is the most played Neil Young LP in my entire collection (and I've got most of 'em).
1995 CD:
1995 tray card inlay:
- - - - -
NEIL YOUNG
Time Fades Away
1973, Reprise Records
this version ripped from a 1995 HDCD-encoded mastering, subsequently withdrawn
*still entirely out-of-print*
01 Time Fades Away
02 Journey Through The Past
03 Yonder Stands The Sinner
04 LA
05 Love In Mind
06 Don't Be Denied
07 The Bridge
08 Last Dance
Get yer FLACs here!
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