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 Stone Circus - Stone Circus (1969)

Year: 1969 (CD Jan 15, 2007)
Label: Fallout (UK), FOCD2032
Style: Psychedelic Rock, Prodressive Rock
Country: Canada / U.S.
Time: 32:44
Format: Flac Tracks 16/44,1 kHz
Size: 173 Mb

If you've been searching for an album full of dreamy, pseudo-psych pop-rock, or ever wondered what The Association would have sounded like had they been a truly cool band, then 1969's "The Stone Circus" may be the answer to your search.  Largely written by keyboardist Caine, the album wasn't the most original thing you've ever heard, but was never less than enjoyable and actually beat the crap out of a lot of better known and more commercially successful late-1960s releases.  Musically tracks such as 'What Went Wrong', 'Sara Wells', and 'Inside-Out Man' were full of pretty melodies, sweet harmony vocals, and interesting studio effects.  In terms of performances, Paige had a nice voice that was well suited to the band's blend of commercial moves and more psych/experimental efforts.  Elsewhere, guitarist Haines offered up plenty of feedback drenched guitar on tracks such as 'Mr. Grey' and 'Blue Funk' while Cain provided equally impressive keyboards.  While the whole album was worth a spin, my personal favorites fell on the psych side of the house, including 'Adam's Lament' and the truly bizarre closer 'People I Once Knew'.
- Sporting some sweet group harmonies and a slightly MOR arrangement (including vibes),  ' What Went Wrong' started out as a mid-tempo ballad, and then slipped into a more rockin' mode for the remainder of the song.  As mentioned earlier, to my ears it sounded a bit like a stoned version of The Association.  That was meant as a compliment.   Very commercial (in a mid-1960s fashion).   rating: *** stars
- David Keeler's innovative bass and Jonathan Caine' organ gave 'Adam's Lament' an intriguing opening that was picked by one of Ronnie Paige's best vocals.  Like the opener, this one managed to meld a commercial orientation with a distinctive acid tinged feel that was underscored by some of Sonny Haines most impressive fuzz guitar.  In fact, my only complaint on this one was that it faded out way to soon ...   rating: **** stars
- 'Mr. Gray' found the band dipping their collective toes into the concept song arena.  One of the album's hardest rocking tracks (be sure to check out the fuzz effects on this one), Caine's driving keyboards provided the highlights on this one.  Mainstream actually tapped this one as an instantly obscure single.   For anyone interested, Barry Yank re-recorded the song on an obscure 1972 album "The Diary of Mr. Gray".  rating: *** stars
- Opening up with some great Haines fuzz guitar (see a pattern here), 'Blue Funk' found the band playing around with an intriguing mix blue-eyed soul and more straightforward rock.  Yeah the 'dollhouse' sections were momentarily disconcerting, but the song quickly regained its footing.  One of my favorite tracks.   rating: **** stars
- Like clowns themselves, songs built on carnival themed melodies normally don't do a great deal for me so I wasn't expecting much from 'Carnival of Love'.  The first 30 seconds or so of this one weren't all that promising, but then the song exploded into another slice of lysergic soaked Association harmony-rich pop.  Not sure the 'carnival of love' line would be a particularly impressive pick up line in this day and age, but maybe back in 1969 it carried more weight  ...    rating: **** stars
- With an insidiously catchy refrain, 'Sara Wells' was such an over-the-top slice of social commentary that it instantly won my affections.  Another track that I wish had been a bit longer.   rating: **** stars
- As you probably guessed from the title, 'Inside-Out Man; was one of the album's most psychedelic efforts.  Waves of fuzz guitar, swirling Hammond, acid-tinged vocals, nifty bass line ...   Hard not to love this one !!!    rating: **** stars
- 'Camino Real' was a pounding rocker built on a hyperactive Keeler bass line.  Yeah, the lyrics haven't aged all that well "poison never kills if its used tastefully ..." but musically this one really cooked.     rating: **** stars
- Yeah, the spoken word introduction and closing sections of 'People I Once Know' were a bit-over-the-top, but if you could sit through them, you were rewarded by a dazzling Haines fuzz solo (probably his best performance on the album), followed by an equally impressive Caine Hammond tour-de-force.    rating: **** stars
(badcatrecords.com/STONEcircus.htm)

01. What Went Wrong (02:27)
02. Adam's Lament (02:36)
03. Mr. Grey (03:07)
04. Blue Funk (02:36)
05. Carnival Of Love (03:01)
06. Sara Wells (03:08)
07. Inside-Out Man (05:11)
08. Camino Real (03:33)
09. People I Once Knew (07:00)

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Leonard Cohen - Greatest Hits [5 bonus tracks] (1975)

Year: January 1, 1975 (CD 2009)
Label: Columbia Records (Europe), 88697556132
Style: Folk Rock, Rock
Country: Westmount, Quebec, Canada (September 21, 1934 - November 7, 2016)
Time: 78:08
Format: Flac Tracks 16/44,1 kHz
Size: 512 Mb

According to Ira Nadel's 1996 Cohen memoir Various Positions, Cohen agreed to the project because there was a new generation of listeners and he was given complete artistic control; he picked the songs, designed the package, and insisted that the lyrics be included. The album was not a hit in the United States but did well in Europe, Cohen's major market at the time. He toured in support of the album in 1976, beginning in Berlin on April 22 and ending in London on July 7. It was during this tour that Cohen recorded the funky, disco-infused "Do I Have To Dance All Night" at Musicland Studios. The single was only released in Europe.
The front cover photograph was taken in 1968 in a Milan hotel room by a Gino, according to Cohen's liner notes. Alternative rock band Ween based the album cover for their 1991 album, The Pod, on this photograph.
In July 2009, this compilation was re-released in England under the title Greatest Hits with updated artwork and a revised track listing. Four tracks from the original 1975 version ("Lady Midnight", "The Partisan", "Last Year's Man" and "Take This Longing") were removed and nine tracks released after 1975 ("Everybody Knows", "Waiting for the Miracle", "A Thousand Kisses Deep", "The Future", "Closing Time", "Dance Me to the End of Love", "First We Take Manhattan", "I'm Your Man" and "Hallelujah") were added.
(en.wikipedia.org/wiki/The_Best_of_Leonard_Cohen)

01. Suzanne (03:50)
02. So Long, Marianne (05:38)
03. Sisters Of Mercy (03:34)
04. Famous Blue Raincoat (05:09)
05. Everybody Knows (05:36)
06. Waiting For The Miracle (03:25)
07. Who By Fire (02:34)
08. Chelsea Hotel #2 (03:07)
09. Hey, That's No Way To Say Goodbye (02:55)
10. Bird On The Wire (03:26)
11. A Thousand Kisses Deep (06:27)
12. The Future (06:42)
13. Closing Time (05:59)
14. Dance Me To The End Of Love (04:40)
15. First We Take Manhattan (05:52)
16. I'm Your Man (04:27)
17. Hallelujah (04:38)

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Joni Mitchell - Shadows And Light [Live] (1980)

Year: September 1980 (CD 1990)
Label: Asylum Records (US), 704-2
Style: Soft Rock, Folk Rock, Jazz Fusion
Country: Fort Macleod, Alberta, Canada (November 7, 1943)
Time: 72:24
Format: Flac Tracks 16/44,1 kHz
Size: 343 Mb

Singer-songwriter Joni Mitchell, responsible for hit songs such as “Both Sides, Now” and “Big Yellow Taxi,” is widely considered 1960s and ’70s folk royalty.
Joni Mitchell Today: Folk Singer Performs at the 2024 Grammy Awards at Age 80. Prior to the 2024 Grammys, singer-songwriter Joni Mitchell was already a nine-time trophy winner. On February 4, the 80-year-old graced the Grammy stage to collect the award for Best Folk Album, then again in a career first: as a performer during the ceremony. Alongside musician Brandi Carlile, Mitchell sang her hit song “Both Sides, Now.” Mitchell has rarely performed in recent years. A 2015 brain aneurysm left her hospitalized for weeks, and she’s had to relearn to play guitar in addition to other basic motor functions, like walking. In a major feat along her recovery journey, Mitchell performed her first full-length concert in more than 20 years at the 2022 Newport Folk Festival. Her surprise set resulted in the live album At Newport, which won this year’s folk album category.
She recorded her first album in 1968 before finding commercial and critical success with Ladies of the Canyon, Blue, and Court and Spark, three albums from the early 1970s. Mitchell’s songs have been covered by the likes of Judy Collins and Crosby, Stills, Nash & Young, with her emotionally vulnerable lyrics influencing scores of musicians. Her impact on music has earned her induction into the Rock & Roll Hall of Fame, Songwriters Hall of Fame, and the Gershwin Prize.
Singer-songwriter Joni Mitchell was born Roberta Joan Anderson on November 7, 1943, in Fort Macleod, Canada. Her famous last name mirrors that of her first husband, Chuck Mitchell.
At age 9, Joni contracted polio, and it was during her recovery in the hospital that she began performing and singing to patients. After teaching herself how to play the guitar, she went off to art college and quickly emerged as one of the leading folk performers of the late 1960s and ’70s.
(full version: biography.com/musicians/joni-mitchell)

01. Introduction (01:51)
02. In France They Kiss On Main Street (04:14)
03. Edith And The Kingpin (04:09)
04. Coyote (04:56)
05. Goodbye Pork Pie Hat (06:04)
06. The Dry Cleaner From Des Moines (04:33)
07. Amelia (06:39)
08. Pat's Solo (03:10)
09. Hejira (07:45)
10. Dreamland (04:38)
11. Band Introduction (00:50)
12. Furry Sings The Blues (05:04)
13. Why Do Fools Fall In Love (02:48)
14. Shadows And Light (05:24)
15. God Must Be A Boogie Man (05:03)
16. Woodstock (05:08)

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The Hunt - The Hunt (1977)

Year: 1977 (CD ????)
Label: Unidisc Records (Canada), AGEK-2151
Style: Hard Rock, Classic Rock
Country: Toronto, Ontario, Canada
Time: 38:51
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

The Hunt was a Canadian rock band, mostly made up of musicians who had been members of another Canadian rock band, Dillinger.
In 1977, after Dillinger broke up, guitarist Paul Cockburn, drummer and percussionist Paul Kersey (ex Max Webster), keyboard player Jacques Harrison, keyboard player and bass guitarist Gerry Mosby, and guitarist and bass guitarist Brian Gagnon performed together as The Hunt. Most members also sang.
The band released a self-titled album that year through GRT Records in Canada. Like other Toronto bands Moxy, and Garfield The Hunt gained some traction in San Antonio thanks to local DJ Joe Anthony. However, after the debut album the band's popularity waned. Mosby left to play bass guitar for the band Rheingold(with future star Gowan). By 1978, both Harrison and Cockburn had also left. Guitarist Paul Dickinson was added to the lineup, and the group (now a trio of Dickinson, Gagnon and Kersey) issued a second album, Back on the Hunt. The album consisted of mainly heavy rock tracks, and was not well received, particularly in the United States.
Carl Calvert played bass guitar on the album Thrill of the Kill in place of Brian Gagnon. This left drummer Kersey as the only remaining original member.
The song "Little Miss Perfection", from 1977's The Hunt album, received the most radio airplay, primarily in Canada's largest local radio markets, and San Antonio.
After having some success in Canada but not much in the U.S. beside that one Texas city, the group disbanded in 1984.
(en.wikipedia.org/wiki/The_Hunt_(band))

01. I Was Only Dreaming (04:27)
02. A Song For New Day (06:01)
03. Little Miss Perfection (03:11)
04. I Want To Be King (04:57)
05. Faces (04:30)
06. Billy (03:41)
07. Sent Me Away (04:10)
08. On Revient (Tout Le Temps) (03:35)
09. Sad Song (04:15)

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