Jethro Tull - Too Old To Rock 'N' Roll: Too Young To Die! (1976)

Year: 23 April 1976 (CD 1987)
Label: Chrysalis Records (Germany), 252 663
Style: Progressive Rock, Gothic Rock, Folk Rock
Country: Blackpool, Lancashire, England
Time: 42:15
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Ian Anderson should stick to music, because he most definitely is not a storyteller. This is the muddled story of one Ray Lomas, “the last of the old rockers,” whose long hair and tight jeans mark him as a person whom time has passed by. After a series of events remarkable only for their lack of humor and originality, we leave the “hero” as he is about to become a pop star in his own right.
So what? We can take comfort, though, in knowing that Anderson’s technical prowess as a composer remains undiminished. The album abounds in breathtaking musical passages. The title cut, for one, is a textbook example of the use of dynamics and nuance in a rock song: instruments subtly creep in during the verses, with the slightest of musical nods to let us know they’re there. The music builds with a tension that heightens a desperate theme, then erupts in the chorus. “Quizz Kid” features, in addition to numerous startling changes in texture, several brief but pungent solos by guitarist Martin Barre, whose playing is exemplary throughout.
(rollingstone.com/music/music-album-reviews/too-old-to-rock-n-roll-too-young-to-die-204560/)

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. Quizz Kid (05:07)
02. Crazed Institution (04:47)
03. Salamander (02:51)
04. Taxi Grab (03:55)
05. From A Dead Beat To An Old Greaser (04:08)
06. Bad-Eyed and Loveless (02:14)
07. Big Dipper (03:37)
08. Too Old To Rock 'N' Roll: Too Young To Die (05:41)
09. Pied Piper (04:32)
10. The Chequered Flag (Dead or Alive) (05:23)

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Miller Anderson - Bright City (1971)

Year: 1971 (CD 2004)
Label: Walhalla Records (Europe), WH 90321
Style: Rock, Folk Rock
Country: Houston, Renfrewshire, Scotland (12 April 1945)
Time: 36:07
Format: Flac Tracks 16/44,1 kHz
Size: 224 Mb

Miller Anderson (born 12 April 1945) is a UK-based blues and rock guitarist and singer. He worked extensively with Ian Hunter in the formative years of the 1960s, before either of them achieved significant success. They worked in bands such as the Scenery and At Last The 1958 Rock 'n' Roll Show (later called Charlie Woolfe), and Anderson is referenced in the title track of Hunter's 1976 album All American Alien Boy ("well I remember all the good times me and Miller enjoyed, up and down the M1 in some luminous yo-yo toy"). Anderson would later guest on two Hunter solo albums. Apart from pursuing his solo career, he was a member of the Keef Hartley Band. Other groups Anderson has been associated with are the Spencer Davis Group, Broken Glass, the Dukes, Mountain, Savoy Brown, T.Rex and Chicken Shack. In early 2006, he joined the British Blues Quintet with Maggie Bell, Zoot Money, Colin Hodgkinson and Colin Allen. In the spring of 2016, Anderson returned to the studio and in July 2016 released a new album, Through the Mill.
(en.wikipedia.org/wiki/Miller_Anderson_(musician))

01. Alice Mercy (To Whom It May Concern) (06:47)
02. The Age Of Progress (03:29)
03. Nothing In this World (04:17)
04. Bright City (03:07)
05. Grey Broken Morning (04:28)
06. High Tide, High Water (07:55)
07. Shadows 'Cross My Wall (06:02)

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Grateful Dead - Aoxomoxoa [HDCD 4 bonus tracks] (1969)

♪ Year: June 20, 1969 (CD 2003)
♪ Label: Rhino Records (Germany), 8122-74394-2
♪ Style: Psychedelic Rock, Acid Rock
♪ Country: Palo Alto, California, U.S.
♪ Time: 79:24
♪ Format: Flac Tracks 16/44,1 kHz
♪ Size: 503 Mb

This is a mildly surprising collection of music, essentially because it is so mellowed. The tunes are soft and gentle, the lyrics graciously decipherable, the vocals hesitant and wavering. There is a remarkable lack of harshly inflected rhythms and scalding guitar, for which the Dead have been so justly famed. Instead, Axoxomoxa is a wider application of the ideas we saw in Anthem of The Sun: long, dreamy ballads, occasionally interspersed with rock passages, but more often content to float their own ethereal way. Very different, a bit sadly, from the driving power of the first album. But this third one is a delight. It's filled with surreal (What's Become Of The Baby) and romantic visions (Mountains Of The Moon), rural whimsy and funk, and some great old blues (Dupree's Diamond Blues and Cosmic Charlie).
Somehow, the Grateful Dead have done the impossible. They've kept their standards in the face of white-hot pressures to change. Not only have they remained an intact musical unit, they've improved their skills and sharpened and adjusted their technique, all of which indicates that they have retained their sanity. I find that pretty amazing.
Heavily in debt, much of it from back taxes, seeing their community fall down around them, the Dead have willingly and happily played innumerable benefits and free concerts in the park (Golden Gate), because they love the music. When a human being takes this course of action, when he faces and withstands the demands to mold himself to the social main-current, concentrating only on the realization of his constructive ideas, you call him by one word: artist. The Dead are artists. They've ignored packaging trends, preferring to wrap their albums simply, without folding covers and other little goodies. They've made no media appearances, save for three, which I can remember: a KPIX special on the Haight, some two years ago; an Irving Penn photographic essay, titled "The Incredibles," in Look; and about 10 seconds on a CBS documentary of Bill Graham. The Grateful Dead are considered, very simply, poor commercial material and a sight from which the eyes of America's children must somehow be shielded.
(full version: deadsources.blogspot.com/2024/10/1969-aoxomoxoa-review.html)

01. St. Stephen (04:27)
02. Dupree's Diamond Blues (03:34)
03. Rosemary (02:00)
04. Doin' That Rag (04:44)
05. Mountains of the Moon (04:04)
06. China Cat Sunflower (03:42)
07. What's Become of the Baby (08:13)
08. Cosmic Charlie (05:44)
09. Clementine Jam (10:51)
10. Nobody's Spoonful Jam (10:09)
11. The Eleven Jam (15:05)
12. Cosmic Charlie [Live] (06:47)

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Jethro Tull - War Child (1974)

Year: 14 October 1974 (CD 1990)
Label: Chrysalis Records (US), F2 21067
Style: Progressive Rock, Gothic Rock, Folk Rock
Country: Blackpool, Lancashire, England
Time: 39:07
Format: Flac Tracks 16/44,1 kHz
Size: 262 Mb

For an album splotched together from a failed recording project, a failed movie project, a concept involving anthropomorphism and one song from the Aqualung sessions, War Child turned out reasonably well. It would have turned out even better had they locked David Palmer in the basement during the recording process.
Palmer’s string arrangements on War Child are consistently overdone and too loud in many of the mixes. They appear in many tracks that would have been better off without them. More Martin, less David would have been nice. On the plus side, Ian Anderson’s vocals are quite energetic and the song mix displays Tull’s versatility exceptionally well. When they’re not buried by the string section, the band sounds Tull-tight.
The original War Child concept had to do with the story of a teenage girl in the afterlife meeting up with God, Lucifer and St. Peter. I’m glad they didn’t go there, as there is such a thing as spending too much time on religion. The more interesting theme-a perceptible thread that runs through “War Child” and “Queen and Country”-is the idea that all of us who live in modern society are war children who live off the fruits of conquest, whether that conquest involves shooting wars or capitalist competitiveness. While we enjoy ourselves in “the bright city mile” or while the ministers enjoy their “social whirls,” we forget that all of our fun is made possible to some extent by war and its cousins. Now that would have made for a very intriguing concept album, particularly since Al Qaeda later justified the 9/11 attacks on innocent civilians with the response, “They pay taxes, don’t they?” If we benefit from the spoils of war, are we still responsible for the war even if we don’t fire a shot?
As it is, the title track opener is an interesting and unusual piece of music. Ian was still in love with the soprano saxophone during this period, so that’s what we hear as the music fades in following the breakfast-and-battle sequence. The chord sequence is deceptive, particularly in the chorus, where a key shift takes us to A but the chorus resolves on Bb before taking us back to the incongruous E root of the verse. Ian Anderson was by this time pretty nimble with unusual chord sequences, but this one’s particularly sweet and almost Charlie Parkerish in the use of the flattened sixth. The rhythmic changes are pretty zippy, too, especially when they speed up the tempo for Ian’s sax solo. The lyrics work if you can imagine them as the start of a longer narrative; by themselves they feel like orphans. All in all, an intriguing opening if you tune out David Palmer’s string barrage.
(full version: altrockchick.com/2014/03/07/classic-music-review-war-child-by-jethro-tull/)

01. WarChild (04:34)
02. Queen and Country (03:01)
03. Ladies (03:19)
04. Back-Door Angels (05:29)
05. SeaLion (03:37)
06. Skating Away on the Thin Ice of the New Day (03:58)
07. Bungle in the Jungle (03:37)
08. Only Solitaire (01:29)
09. The Third Hoorah (04:51)
10. Two Fingers (05:09)

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Grateful Dead - American Beauty [MFSL-CD] (1970)

Year: November 1970 (CD Nov 17, 2014)
Label: Mobile Fidelity Sound Lab (US), UDSACD 2138
Style: Folk Rock, Country Rock
Country: Palo Alto, California, U.S.
Time: 42:46
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

For once a truly beautiful album cover is more than matched by the record inside. The dead just refuse to keep within any normal limits, and I hope that it stays that way for a long time. Workingman’s Dead was a lovely album, lush, full, and thoroughly real in musical and lyrical content. American Beauty is a joyous extension of the last album. If possible there is even more care on vocal wok. Everyone in the band sings, and sings well alone and together.
A full contentment. The instrumentation is rich with sound that moves through, under, and into the listener. Damn it all, the album is American beauty, of the best possible kind. The positivity of the Dead just can’t be kept down. Look at the cover. “American Beauty” can also be read as “American Reality,” thanks to Mouse Studios. If more of the American reality were this album, we’d all have a lot more to be thankful for.
“Box of Rain” takes plenty of time, and moves surely. The band isn’t in any great hurry. Layers of music weave in seemingly simple patterns - deceptively simple patterns. Phil Lesh’s singing is just right. The chorus is fine: “A box of rain will ease the pain/And love will see you through.” “Believe it if you need it/If you don’t just pass it on.” Praised be Bob Hunter. Countrified Dead is so nice to listen to.
From “Box of Rain” they zip into “Friend of the Devil,” which is a snappy little country number, with some extremely fine bass and acoustic guitar interplay. Jerry Garcia’s voice now makes him a perfect wobbly cowboy.
Pigpen drops by with “Operator.” Pigpen songs are always enjoyable, because they’re Pigpen songs. That would be enough, but they are often good too, which is an added bonus, and this one certainly is good. Pigpen growls as ever.
“Ripple” and “Brokedown Palace” are coupled by a vocal chorus, a little reminiscent of the Mormon Tabernacle Choir, but only in a complimentary sense. The songs meld together and are strongly pretty and sad, as is “Attics of My Life,” which has some very, very nice harmony work.
The two songs that come closest to being rockers on the album are “Till the Morning Comes” and “Truckin.” “Truckin” is just the story of the Dead - going on the road, losing old friends, gaining new ones, trying to keep everybody happy, trying to play some nice music for people, and succeeding on all counts.
The Dead are getting pretty big commercially now, and if ever a band deserved it, it’s them. They have given us all something to treasure with this album. It’s one for now, and one for the kids in 20 years too. American Beauty’s like that, you know.
(rollingstone.com/music/music-album-reviews/american-beauty-127772/) Review by Andy Zwerling. December 24, 1970

01. Box of Rain (05:20)
02. Friend of the Devil (03:25)
03. Sugar Magnolia (03:20)
04. Operator (02:26)
05. Candyman (06:18)
06. Ripple (04:10)
07. Brokedown Palace (04:10)
08. Till the Morning Comes (03:11)
09. Attics of My Life (05:15)
10. Truckin' (05:08)

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Jethro Tull - A Passion Play (1973)

Year: 13 July 1973 (CD 198?)
Label: Chrysalis Records (UK), CDP 32 1040 2
Style: Progressive Rock, Gothic Rock, Folk Rock
Country: Blackpool, Lancashire, England
Time: 45:05
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Jethro Tull's second album-length composition, A Passion Play is very different from - and not quite as successful as - Thick as a Brick. Ian Anderson utilizes reams of biblical (and biblical-sounding) references, interwoven with modern language, as a sort of a rock equivalent to T.S. Eliot's The Wasteland. As with most progressive rock, the words seem important and profound, but their meaning is anyone's guess ("The ice-cream lady wet her drawers, to see you in the Passion Play..."), with Anderson as a dour but engaging singer/sage (who, at least at one point, seems to take on the role of a fallen angel). It helps to be aware of the framing story, about a newly deceased man called to review his life at the portals of heaven, who realizes that life on Earth is preferable to eternity in paradise. But the music puts it over successfully, a dazzling mix of old English folk and classical material, reshaped in electric rock terms. The band is at its peak form, sustaining the tension and anticipation of this album-length piece across 45 minutes, although the music runs out of inspiration about five minutes before it actually ends.
(allmusic.com/album/a-passion-play-mw0000036413)

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. A Passion Play, Part 1 (21:35)
02. A Passion Play, Part 2 (23:30)

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Grateful Dead - Workingman's Dead [MFSL-CD] (1970)

Year: June 14, 1970 (CD Nov 20, 2014)
Label: Mobile Fidelity Sound Lab (US), UDSACD 2137
Style: Folk Rock, Country Rock
Country: Palo Alto, California, U.S.
Time: 36:04
Format: Flac Tracks 16/44,1 kHz
Size: 205 Mb

Looking at the sepia tone album cover of the Workingman’s Dead 50th Anniversary Deluxe Edition, I give away my age when I say I remember my older brother having the original on 8-Track tape back when it came out in 1970. I remember my seven-year-old brain being somewhat mortified of it because the men pictured on the cover looked like zombies to me ( which I attribute to the old-timey feel of the photo and the post – Night of the Living Dead mania of the day).
My fear didn’t last long, however. It subsided one day when my brother was not at home and I put the tape in his trusty Pioneer player and listened to the eight songs on the album.
I remember thinking during that clandestine listening session that the band sounded a lot like some of the other bands that my older sibling listened to like CCR or CSNY. What set them apart, however, was that unlike a lot of the other bands of the day, they sounded like they were actually having fun playing their instruments and singing. That impression has never left me.
Fifty years later as I listen to the same songs and pick up on some of the weighty themes of the record – the working life, the nature of existence, maintaining hope amidst despair, and staring down death, I still hear an exuberant undercurrent of love and compassion coming from the Grateful Dead’s music that continually sets them apart for me in the world of rock and roll bands. 
I still hear their love for music for music’s sake, but now I also additionally hear an affection for their musical forefathers and influences, for life itself, and for their fans. It is a love that literally pours out of the speakers when their songs are playing and is a love that helps explain the existence of an unprecedented and unmatched fanatical fanbase decades later.
The eight songs on Workingman’s Dead features the band displaying their amazing ability to synthesize elements from Bluegrass, Folk, Country, Blues, Jazz, Dylan’s early electric songs, and sixties rock and roll to masterfully forge a distinctly original sound of their own.
That all of these songs still sound fresh and lively now after a half-century has passed is a testament to the prodigious individual and collective talents of the band.
(americanahighways.org/2020/07/14/review-the-grateful-deads-workingmans-dead-is-still-quintessential-listening-50-years-later/)

01. Uncle John's Band (04:47)
02. High Time (05:15)
03. Dire Wolf (03:16)
04. New Speedway Boogie (04:09)
05. Cumberland Blues (03:18)
06. Black Peter (05:46)
07. Easy Wind (05:00)
08. Casey Jones (04:29)

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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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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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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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Robert Plant (Led Zeppelin) - The Principle Of Moments [Japanese Ed.] (1983)

Year: 15 July 1983 (CD Mar 25, 1988)
Label: Warner-Pioneer (Japan), 32XD-935
Style: Rock, Arena Rock
Country: West Bromwich, Staffordshire, England (20 August 1948)
Time: 38:51
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Charts: UK #7, AUS #10, CAN #6, GER #51, NLD #3, NZ #1, SWE #41, US #8. UK, AUS & CAN: Gold; US & NZ: Platinum.
The album follows close on the heels of Plant’s debut, Pictures At Eleven and employs the same musicians and production team. Recorded in Wales, the production was polished and clinical while maintaining enough rock edge to keep it original and interesting. Plant had declined to tour following his debut because he didn’t want to perform any Led Zeppelin songs live and didn’t yet have enough original solo material to justify a tour. With the release of this second album, Plant’s second life as a major recording artist took was fully spawned.
The Principle of Moments was the first release on Plant’s independent label Es Paranza Records, after the folding of Led Zeppelin’s label Swan Song, which was also the label from Plant’s debut. Swan Song ceased operations due to the failing health of Zeppelin manager Peter Grant. When Swan Song’s offices were cleared out in 1983, early demos from Iron Maiden, Heart and other popular bands were found.
The sound of The Principle of Moments fuses new wave rock with some elements of reggae and abstract motifs and is percussion heavy with sharp, high-pitched guitars, led by guitarist Robbie Blunt and drummer Phil Collins. While not as dynamic as in the heart of the Zeppelin years, Plant’s vocals are melodic and refined. The album’s title comes from the scientific Varignon’s Theorem, which states that the moment of any force is equal to the algebraic sum of the moments of the components of that force. With the experimental tracks on this album, Plant seems to be declaring his independence from the Zeppelin sound and celebrating his own “moment” in time.
(full version: classicrockreview.com/2013/05/1983-robert-plant-tpom/)

01. Other Arms (04:20)
02. In The Mood (05:21)
03. Messin' With The Mekon (04:38)
04. Wreckless Love (05:14)
05. Thru' With The Two Step (05:31)
06. Horizontal Departure (04:21)
07. Stranger Here...Than Over There (04:19)
08. Big Log (05:03)

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Robert Plant (Led Zeppelin) - Pictures At Eleven [Japanese Ed.] (1982)

Year: 25 June 1982 (CD Feb 25, 1986)
Label: Warner-Pioneer (Japan), 32XD-392
Style: Rock, Arena Rock
Country: West Bromwich, Staffordshire, England (20 August 1948)
Time: 42:13
Format: Flac Tracks 16/44,1 kHz
Size: 285 Mb

Pictures at Eleven is the debut solo studio album by the former Led Zeppelin singer Robert Plant. Genesis drummer Phil Collins played drums for five of the album's eight songs. Ex-Rainbow drummer Cozy Powell handled drums on "Slow Dancer" and "Like I've Never Been Gone." On the song "Fat Lip", guitarist Robbie Blunt played a Roland TR-808 drum machine. The title was an often-heard phrase in US television news that would follow a brief announcement of a story of interest to be shown later during a station's 11 PM news program. Pictures at Eleven is the only one of Plant's solo albums to appear on Led Zeppelin's record label Swan Song. By the time of Plant's next release, 1983's The Principle of Moments, Swan Song had ceased to function, and Plant had started his own label named Es Paranza.
(en.wikipedia.org/wiki/Pictures_at_Eleven)

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. Burning Down One Side (03:57)
02. Moonlight in Samosa (04:01)
03. Pledge Pin (04:03)
04. Slow Dancer (07:46)
05. Worse Than Detroit (05:59)
06. Fat Lip (05:08)
07. Like I've Never Been Gone (05:59)
08. Mystery Title (05:18)

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Robert Plant [Led Zeppelin] – Saving Grace (2025)

Year: 26 September 2025 (CD Sep 26, 2025)
Label: Nonesuch Records (US), 075597895384
Style: Rock, Folk Rock
Country: West Bromwich, Staffordshire, England (20 August 1948)
Time: 41:52
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

Saving Grace is the twelfth studio album by English singer Robert Plant, credited to Robert Plant with Suzi Dian, released on 26 September 2025 through Nonesuch Records. It features the band Plant has been touring with since 2019 and contains ten cover versions of songs by a variety of artists.
Saving Grace was named after the band Plant had been performing with for over six years, which includes singer Suzi Dian, drummer Oli Jefferson, guitarist Tony Kelsey, banjo and string player Matt Worley, and cellist Barney Morse-Brown. In a statement, Plant spoke of the joyful dynamic he shared with the band, highlighting "the sweetness of the whole thing" and noting that they would "laugh" together frequently. The album was recorded between April 2019 and January 2025 in studios across the Cotswolds and the Welsh Borders. Plant began working with the Saving Grace collective during the COVID-19 pandemic, creating a roots-oriented sound inspired by folk and traditional blues. To promote the album, Plant and Saving Grace will tour North America in Autumn 2025.
Saving Grace features ten tracks, primarily reinterpretations of material by artists such as Memphis Minnie, Moby Grape, Blind Willie Johnson, The Low Anthem, Martha Scanlan, Sarah Siskind, and Low. Its lead single, a cover of Low's "Everybody's Song", was released on 16 July 2025, the second single "Gospel Plough" on 14 August.
(en.wikipedia.org/wiki/Saving_Grace_(Robert_Plant_album))01. Chevrolet (02:38)

02. As I Roved Out (06:10)
03. It's A Beautiful Day Today (03:41)
04. Soul Of A Man (04:43)
05. Ticket Taker (03:40)
06. I Never Will Marry (03:34)
07. Higher Rock (03:42)
08. Too Far From You (04:57)
09. Everybody's Song (04:16)
10. Gospel Plough (04:27)

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The Youngbloods - The Youngbloods [Japanese Ed. BSCD2] (1967)

Year: January 1967 (CD Jul 23, 2014)
Label: RCA Records (Japan), SICP 30554
Style: Folk Rock, Psychedelic Rock
Country: Greenwich Village, New York City, U.S.
Time: 74:36
Format: Flac Tracks 16/44,1 kHz
Size: 410 Mb

The Youngbloods is the debut self-titled studio album by the American rock band the Youngbloods, released in 1967. It was also reissued in 1971 under the title Get Together after the popular single from the album. The album peaked at number 131 on the Billboard 200 although two years later the single "Get Together" reached number five and sold more than a million copies.
"Get Together" was written by Chet Powers (aka Dino Valenti of Quicksilver Messenger Service) and had already appeared in 1963 on the album 12 String Guitar! Vol. 2 by the Folkswingers and in 1966 as a track on the first album by the Jefferson Airplane. Upon first release as a single by The Youngbloods in 1967, it only went to No. 62 in the pop charts. Two years later, after being featured in radio and television commercials, the track was re-released and climbed to number 5 in charts, selling more than a million records.
(en.wikipedia.org/wiki/The_Youngbloods_(album))

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. Grizzly Bear / Album Mono (02:23)
02. All Over The World (La-La) / Album Mono (03:18)
03. Statesboro Blues / Album Mono (02:22)
04. Get Together / Album Mono (04:41)
05. One Note Man / Album Mono (02:27)
06. The Other Side Of This Life / Album Mono (02:31)
07. Tears Are Falling / Album Mono (02:29)
08. Four In The Morning / Album Mono (02:55)
09. Foolin' Around (The Waltz) / Album Mono (02:56)
10. Ain't That Lovin' You, Baby / Album Mono (02:47)
11. C.C. Rider / Album Mono (02:41)
12. Grizzly Bear / Album Stereo (02:23)
13. All Over The World (La-La) / Album Stereo (03:16)
14. Statesboro Blues / Album Stereo (02:20)
15. Get Together / Album Stereo (04:39)
16. One Note Man / Album Stereo (02:26)
17. The Other Side Of This Life / Album Stereo (02:30)
18. Tears Are Falling / Album Stereo (02:28)
19. Four In The Morning / Album Stereo (02:53)
20. Foolin' Around (The Waltz) / Album Stereo (02:52)
21. Ain't That Lovin' You, Baby / Album Stereo (02:41)
22. C.C. Rider / Album Stereo (02:40)
23. Get Together (Promotional Single Version) / Bonus Track (03:27)
24. Merry-Go-Round / Bonus Track (02:13)
25. Se Qualcuno Mi Dira (Get Together Italian Version) / Bonus Track (03:47)
26. Qui Con Noi, Tra Di Noi (Grizzly Bear Italian Version) / Bonus Track (02:20)

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