Paul McCartney - Flaming Pie [Japanese Ed.] (1997)

♪ Year: 5 May 1997 (CD Jul 25, 2025)
♪ Label: Universal Music (Japan), UICY-80482
♪ Style: Rock, Soft Rock, Pop Rock
♪ Country: Liverpool, England (18 June 1942)
♪ Time: 53:46
♪ Format: Flac Tracks 16/44,1 kHz
♪ Size: 376 Mb

His first studio album in over four years, it was mostly recorded after McCartney's involvement in the highly successful Beatles Anthology project. The album was recorded in several locations over two years, between 1995 and 1997, featuring two songs dating from 1992.
The album featured several of McCartney's family members and friends, most notably McCartney's son, James McCartney featured on electric guitar. In Flaming Pie's liner notes, McCartney said: "[The Beatles Anthology] reminded me of the Beatles' standards and the standards that we reached with the songs. So in a way it was a refresher course that set the framework for this album."
Flaming Pie peaked at number two in both the UK and the US and was certified gold. The album, which was well received by critics, also reached the top 20 in many other countries. From its release up to mid-2007, the album sold over 1.5 million copies. The album was reissued on 31 July 2020 as a part of the Paul McCartney Archive Collection with bonus tracks, outtakes and demos.
The album is ranked number 988 in the third edition of Colin Larkin's book All-Time Top 1000 Albums (2000).
(en.wikipedia.org/wiki/Flaming_Pie)

01. The Song We Were Singing (03:55)
02. The World Tonight (04:05)
03. If You Wanna (04:37)
04. Somedays (04:15)
05. Young Boy (03:54)
06. Calico Skies (02:32)
07. Flaming Pie (02:30)
08. Heaven On A Sunday (04:26)
09. Used To Be Bad (04:12)
10. Souvenir (03:41)
11. Little Willow (02:58)
12. Really Love You (05:18)
13. Beautiful Night (05:08)
14. Great Day (02:09)

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Kansas - Leftoverture [Japanese Ed. Blu-Spec CD] (1976)

Year: October 21, 1976 (CD Aug 24, 2011)
Label: Epic Records (Japan), EICP 20074
Style: Progressive Rock, Soft Rock
Country: Topeka, Kansas, U.S.
Time: 58:50
Format: Flac Tracks 16/44,1 kHz
Size: 433 Mb

Steve Walsh began to experience writer's block prior to the recording, and his contribution to the album would ultimately be limited to co-authoring three songs; it fell on Kerry Livgren to fill the void. The new compositions retained much of the classically inspired complexity of Livgren's previous work. As with their previous album, Masque, Kansas recorded Leftoverture at Studio in the Country in Bogalusa, Louisiana. The Studio in the Country was so named because, as Livgren described on In the Studio with Redbeard radio show in the episode spotlighting Leftoverture, "it was in the middle of a swamp. We'd walk out of the studio and there would be gators in front of the studio, mosquitos the size of B-52s and at times armadillos would run into the control room."
Leftoverture opens with the song "Carry On Wayward Son", which Livgren wrote as a sequel to "The Pinnacle", the final song from the previous album Masque (1975). The album's title, Leftoverture, is a portmanteau of leftover and overture.
(en.wikipedia.org/wiki/Leftoverture)

01. Carry On Wayward Son (05:25)
02. The Wall (04:51)
03. What's On My Mind (03:28)
04. Miracles Out Of Nowhere (06:29)
05. Opus Insert (04:28)
06. Questions Of My Childhood (03:40)
07. Cheyenne Anthem (06:55)
08. Magnus Opus (08:35)
09. Carry On Wayward Son (Live) (04:44)
10. Cheyenne Anthem (Live) (06:43)
11. Carry On Wayward Son (Single Version) (03:26)

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Justin Hayward (The Moody Blues) - Songwriter [4 bonus tracks] (1977)

Year: February 11, 1977 (CD 2004)
Label: Decca Records (UK & Europe), 00422 8822832 5
Style: Soft Rock, Rock, Pop Rock
Country: Swindon, Wiltshire, England (14 October 1946)
Time: 54:45
Format: Flac Tracks 16/44,1 kHz
Size: 403 Mb

Justin Hayward and John Lodge parted ways after Blue Jays, releasing solo albums in 1977. Songwriter and Natural Avenue were full of ideas, suggesting that both artists might have benefited from a wider canvas than that afforded to them in The Moody Blues. Not that Octave was a bad album, but it’s not demonstrably better than what Hayward and Lodge were able to do on their own. Songwriter sounds like the Moodies, The Beatles and 10cc, which is to say intelligent and inventive pop music that feels fresh with each song. Hayward plays much of the music himself; in fact, I’m pretty sure he plays everything—including the flute, cello and violin—on the closing Nostradamus. Though the album charted well, it didn’t produce a hit single. They’re one of the rare acts where the sum may actually be smaller than the parts, since I wouldn’t know where to begin editing on Blue Jays, Natural Avenue or Songwriter, and I couldn’t imagine any Moodies album without the contributions of its other three members. Maybe they should have been making double albums all along...
(progrography.com/justin-hayward/review-justin-hayward-songwriter-1977/)

01. Tight Rope (04:49)
02. Songwriter (Part 1) (03:32)
03. Songwriter (Part 2) (02:33)
04. Country Girl (04:02)
05. One Lonely Room (05:21)
06. Lay It On Me (02:55)
07. Stage Door (05:11)
08. Raised On Love (03:13)
09. Doin' Time (04:22)
10. Nostradamus (06:37)
11. Wrong Time, Right Place (bonus track) (02:35)
12. Marie (bonus track) (03:53)
13. Heart Of Steel (bonus track) (03:25)
14. Learning The Game (bonus track) (02:11)

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The Carpenters - Carpenters With The Royal Philharmonic Orchestra [Japanese Ed.] (2018)

Year: 7 December 2018 (CD Dec 7, 2018)
Label: Universal Music (Japan), UICY-15801
Style: Soft Rock, Pop, Vocal
Country: Downey, California, U.S.
Time: 69:25
Format: Flac Tracks 16/44,1 kHz
Size: 512 Mb

Carpenters with the Royal Philharmonic Orchestra is a compilation album by American duo the Carpenters. It was released on 7 December 2018, by A&M Records and Universal Music Enterprises. The album features Carpenters' "original vocal and instrumental tracks" accompanied by new orchestral arrangements by the Royal Philharmonic Orchestra. The Japanese release has "Please Mr. Postman" as a bonus track.
Richard Carpenter served as the album's arranger, conductor and co-producer. The Royal Philharmonic recorded its portions at Abbey Road Studio. The album was completed at Capitol Studios in Los Angeles.
(en.wikipedia.org/wiki/Carpenters_with_the_Royal_Philharmonic_Orchestra)

01. Overture (01:30)
02. Yesterday Once More (03:56)
03. Hurting Each Other (03:58)
04. I Need To Be In Love (04:30)
05. For All We Know (02:56)
06. Touch Me When We’re Dancing (03:15)
07. I Believe You (03:53)
08. I Just Fall In Love Again (05:01)
09. Merry Christmas, Darling (03:01)
10. Baby It’s You (03:11)
11. (They Long To Be) Close To You (03:40)
12. Superstar (03:51)
13. Rainy Days And Mondays (03:36)
14. This Masquerade (04:50)
15. Ticket To Ride (04:10)
16. Goodbye To Love (03:58)
17. Top Of The World (02:59)
18. We’ve Only Just Begun (04:04)
19. Please Mr. Postman (02:56)

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Paul McCartney - Flowers In The Dirt [Japanese Ed.] (1989)

Year: 5 June 1989 (CD May 23, 2025)
Label: Universal Music (Japan), UICY-80480
Style: Rock, Soft Rock, Pop Rock
Country: Liverpool, England (18 June 1942)
Time: 54:08
Format: Flac Tracks 16/44,1 kHz
Size: 537 Mb

In the aftermath of his work with Wings and then a general decline in overall quality that marked his efforts in the late ‘70s and early ‘80s, Flowers in the Dirt was greeted with some skepticism by the record-buying public. Paul McCartney was still capable of writing terrific songs, but none seemed to be making the emphatic impression that accompanied early hits like “Band of the Run,” “Jet” and Maybe I’m Amazed.” It was, at a point, all about “Silly Love Songs,” and in the wake of John Lennon’s murder, Macca was looked on as a light-weight, certainly not an artist that still merited serious attention.
Flowers in the Dirt changed all that, and though it didn’t exactly set sales on fire when it was first released, it did provide a sturdy stockpile of songs that McCartney and company could effectively showcase on their landmark 1990 tour. Several of the tracks became staples of his set, and for good reason. The catchy and compelling “My Brave Face,” penned with Elvis Costello, the irrepressible “Figure of Eight” and the tender ballad “Put It There” were but three of the songs that marked this album as one of McCartney’s best.
Listening in retrospect, it’s remarkable how well the album still holds up. Unlike his other albums, the quality is generally consistent throughout, and even some of the secondary songs - “Rough Ride, “This Day Is Done,” “This One,” and the like - do well even under careful scrutiny.
An excellent example of why an album deserves a second look, Flowers in the Dirt can easily be compared with McCartney’s best. Consider it a minor masterpiece.
(glidemagazine.com/183465/paul-mccartney-reissues-1989-number-1-lp-flowers-dirt-album-review/)

01. My Brave Face (03:20)
02. Rough Ride (04:45)
03. You Want Her Too (03:14)
04. Distractions (04:42)
05. We Got Married (04:58)
06. Put It There (02:12)
07. Figure Of Eight (03:27)
08. This One (04:12)
09. Don't Be Careless Love (03:21)
10. That Day Is Done (04:22)
11. How Many People (04:16)
12. Motor Of Love (06:27)
13. Ou Est Le Soleil (04:46)

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Kansas - Song For America [Japanese Ed. Blu-Spec CD] (1975)

Year: February 1975 (CD Aug 24, 2011)
Label: Epic Records (Japan), EICP 20072
Style: Progressive Rock, Hard Rock, Soft Rock
Country: Topeka, Kansas, U.S.
Time: 68:13
Format: Flac Tracks 16/44,1 kHz
Size: 509 Mb 

While not a standout success as the Progressive Rock entourage were hoping it would be, their debut album nevertheless became the foundation for how Kansas would operate for the next decade. As their sophomore album was drawing near, the band began to take in more ideas and transform their music into something that would define them for the next 40 years. Make no mistake, Song For America is the Kansas we all know and love. Their debut was an amazing album, but it's Boogie Rock and acoustic elements would never return after that debut. Instead, the band looked onward towards more electronic elements.
Like the previous album, Song For America has short tunes and elongated pieces. The most notable piece is Song for America, a massive, 10-minute undertaking filled with standout synthesizers, electronic guitars, and violins galore. It relishes in its excess with so little shame that one can't help but feel exuberant towards it. Another "long song" would be the 8-minute slow ballad Lamplight Symphony. Unlike Song for America, Lamplight Symphony downplays the violins and guitars in favor of more organ, piano, and percussion elements. While it is overall a great track, some pieces tend to overlap each other to the point where it all becomes jumbled, this left certain instruments in the cold and really hindered what was an overall good track.
(full version: sputnikmusic.com/review/73049/Kansas-Song-for-America/)

01. Down The Road (03:43)
02. Song For America (10:03)
03. Lamplight Symphony (08:16)
04. Lonely Street (05:42)
05. The Devil Game (05:04)
06. Incomudro - Hymn To The Atman (12:17)
07. Song For America (Single Edit) (03:02)
08. Down The Road (Live) (03:52)
09. Incomudro - Hymn To The Atman (Live) (16:10)

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The Carpenters - Singles 1969-1981 [Japanese Ed. SHM-CD] (2000)

Year: May 23, 2000 (CD Jun 20, 2012)
Label: Universal Music (Japan), UICY-25212
Style: Soft Rock, Pop, Vocal
Country: Downey, California, U.S.
Time: 71:41
Format: Flac Tracks 16/44,1 kHz
Size: 435 Mb

The Carpenters were an American musical duo composed of siblings Karen and Richard Carpenter, known for their distinctive close harmonies and soft rock sound. They achieved remarkable commercial success in the 1970s, with their first single, "Close to You," reaching number one on the charts in 1970. Over their career, they amassed twenty Top 40 hits, including popular songs like "We've Only Just Begun," "Top of the World," and "Please Mr. Postman." Their music often featured compositions by prominent songwriters of the era, such as Carole King and Paul Williams.
The duo's clean image and mellow style contrasted with the more rebellious rock music of the time, yet they maintained a dedicated fan base. Their influence extended beyond music, with a television variety show, "Make Your Own Kind of Music," contributing to their popularity. Tragically, Karen Carpenter passed away in 1983 due to complications from anorexia, which she had struggled with for years. Despite this, the Carpenters' music continues to resonate, with many of their albums still selling well into the 21st century and a variety of compilation albums celebrating their legacy.
During their career, the Carpenters amassed twenty Top 40 hits; only one, “Touch Me When We’re Dancing,” charted outside of the 1970’s, in 1981. They started their career with immediate success as their first single, “Close to You,” hit number one in the summer of 1970, holding the top spot for four weeks and staying on the charts for fifteen. Only three months later, “We’ve Only Just Begun” held second place on the charts for four weeks. The group would have two more number-one hits: “Top of the World” in 1973 and “Please Mr. Postman” the following year. The success of the latter single, a 1961 hit for the Marvelettes and later for the Beatles, followed the success of the Carpenters’ 1973 album Now and Then, the second side of which consisted of a medley of sound-alike covers of early rock-and-roll hits, packaged in the form of an oldies radio show.
(full version: ebsco.com/research-starters/history/carpenters-music)

01. For All We Know (02:33)
02. I Believe You (03:55)
03. It’s Going To Take Some Time (02:59)
04. We’ve Only Just Begun (03:04)
05. Those Good Old Dreams (04:11)
06. Superstar (03:46)
07. Rainy Days And Mondays (03:34)
08. Goodbye To Love (03:56)
09. All You Get From Love Is A Love Song (03:46)
10. Top Of The World (02:58)
11. Only Yesterday (03:47)
12. Ticket To Ride (04:09)
13. Hurting Each Other (02:48)
14. Yesterday Once More (03:57)
15. Sing (03:18)
16. Touch Me When We're Dancing (03:19)
17. Please Mr. Postman (02:47)
18. I Need To Be In Love (03:49)
19. I Won't Last A Day Without You (04:29)
20. (They Long To Be) Close To You (03:41)
21. For All We Know (Reprise) (00:46)

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Paul McCartney And Wings - Red Rose Speedway [Japanese Ed. SHM-CD] (1973)

Year: 4 May 1973 (CD Sep 20, 2024)
Label: Universal Music (Japan), UICY-80468
Style: Soft Rock, Rock, Classic Rock
Country: Liverpool, England (18 June 1942)
Time: 42:24
Format: Flac Tracks 16/44,1 kHz
Size: 374 Mb

Red Rose Speedway was McCartney’s fourth solo album, a mere three years after the break-up of The Beatles, and the second Wings release. Unlike 1971’s Wings Wild Life, he thought it would be a good idea to let people know exactly who they were, and thus in 1973 Red Rose Speedway debuted, credited to Paul McCartney and Wings. The idea worked because it became the first to go to number one (McCartney’s second as a solo act). But let’s be clear, it made number one because of the package, not the name on the label. But the name did ensure radio play and brought it to people’s attention.
Red Rose Speedway was a huge hit in 1973, thanks, in part, to the number one hit “My Love”, but it is full of twists and turns. “My Love” was not indicative of what listeners would find on the album as a whole. For example, it opens with one of McCartney and Wings’ greatest rockers, “Big Barn Bed”, with a heavy-rocking sound that would have made a great single in its own right. It is a slice of mid-70s rock, with McCartney’s ear for melody and quirky lyrics. This leads into “My Love”, which is the polar opposite. It features one of guitarist Henry McCullough’s best ever guitar solos, totally improvised mere minutes before the track was recorded live with an orchestra.
Side one ends with one of McCartney’s most underrated and beautiful songs, “Little Lamb/Dragonfly”, an emotional song, featuring some of McCartney’s most painful and beautiful vocals of his career. It is a brilliant medley of two complimentary songs that come together to form a perfect mini rock opera. “I have no answer for you little lamb/I can help you out, but I cannot help you in”, McCartney sings. It was reportedly written when a lamb on his farm was dying. But don’t be fooled, there is much more to this raw masterpiece.
Side two opens with another emotional, albeit short track, “Single Pigeon”. It is one of those songs that McCartney can knock off in his sleep, but it fits perfectly as the side opener. Side two is a heavier side, with an experimental instrumental (“Loup”) and a medley that rivals side two of Abbey Road. Here are four songs that McCartney had left unfinished and he turned them into an amazing medley that ends the album. The medley is composed of lovely love songs, including “Hold Me Tight”, (not the Beatle song) and the almost psychedelic “Lazy Dynamite”. It is an interesting and clever way to bring the album to a close.
(full version: spillmagazine.com/spill-album-review-paul-mccartney-and-wings-red-rose-speedway-50th-anniversary/)

01. Big Barn Bed (03:50)
02. My Love (04:08)
03. Get On The Right Thing (04:17)
04. One More Kiss (02:29)
05. Little Lamb Dragonfly (06:23)
06. Single Pigeon (01:53)
07. When The Night (03:37)
08. Loup (1st Indian On The Moon) (04:23)
09. Medley: Hold Me Tight - Lazy Dynamite - Hands Of Love - Power Cut (11:21)

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Supertramp - ...Famous Last Words (1982)

Year: 29 October 1982 (CD 198?)
Label: A&M Records (Germany), 393 732-2
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 48:04
Format: Flac Tracks 16/44,1 kHz
Size: 279 Mb

I enjoy early Supertramp, but have little positive to say about Famous Last Words. The album isn't unpleasant (except maybe the crass and cliched "My Kind of Lady"), but there's little above the average. I'd only be confident in describing "Don't Leave Me Now" as good. "Don't Leave Me Now" is one of the simpler songs on the album—with another cliched lyric—yet somehow it seems to fill its 6:25 very satisfactorily through sheer bombasticism.
While the album is standard, vaguely bluesy, pop, there are some nice instrumental choices. Davies and Hodgson craft the songs well enough—if the saxophone is overused to my liking—but the basic compositions lack the flair of, say, Breakfast in America. Supertramp's usual melancholic but still somewhat uplifting sound is there (typical is "Crazy", with the opening line 'Here's a crazy little song to make you feel good' which then paints a black picture of the world), but there's nothing rivalling "The Logical Song"."C'est le Bon"—almost a sequel to "The Logical Song" in lyric and music—for example, only fleetingly catches the attention.
The album credits everything to Davies and Hodgson, but it sounds (as with some previous Supertramp) that the songs are largely by one or the other. Hodgson was soon to leave the band to go solo: perhaps Famous Last Words failed to raise his interest too.
(bondegezou.co.uk/reviews/recorded/flw.htm) Henry Potts, revised 16 Jan 98; re-revised 31 Aug 05

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. Crazy (04:45)
02. Put On Your Old Brown Shoes (04:20)
03. It's Raining Again (04:25)
04. Bonnie (05:38)
05. Know Who You Are (05:02)
06. My Kind Of Lady (05:17)
07. C'est Le Bon (05:33)
08. Waiting So Long (06:35)
09. Don't Leave Me Now (06:24)

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Supertramp - Paris [Live 2CD] (1980)

Year: 26 September 1980 (CD ????)
Label: Polygram Records (West Germany), 825 726-2
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 43:41, 46:41
Format: Flac Tracks 16/44,1 kHz
Size: 281, 295 Mb

Charts: UK #7, AUS #3, AUT #7, CAN #3, FRA #9, GER #5, NLD #2, NOR #6, SWI #1, US #8. UK, FRA, GER & US: Gold; CAN: Platinum.
Supertramp followed Breakfast in America with this soiree in Paris. I don’t recall ever thinking to myself, “Man, I bet Supertramp would be an awesome live band,” any more than I was interested in hearing 10cc or Alan Parsons Project perform their songs on stage. Which isn’t to say that the band doesn’t do a nice job of thumbing through their back catalog or that the audience in Paris doesn’t appreciate the effort. The sax and guitar solos shine a little brighter under the stage lights, the rhythm section doesn’t miss a beat and the vocals from Roger Hodgson and Rick Davies sound as good as you remember.
The trouble with Paris is that it finds the band in a holding pattern at the peak of their popularity. It would be three years before the band released another studio album, by which time my tastes had already shifted from pop music to new wave. Enough Supertramp fans stayed along for the ride to help both Paris and Famous Last Words chart well, but it many ways this marks the end of an era. Looking back over their last few albums, it had been a great ride. Bloody Well Right, Dreamer, Ain’t Nobody But Me, The Logical Song, Take the Long Way Home, all the highlights are here (with the notable exception of “Give a Little Bit”).
The spoken intros from John Anthony Helliwell, done mostly in French, are a nice touch. So is the selection, which digs deep into popular album tracks such as School, Asylum, Hide in Your Shell and Fool’s Overture. As a treat, the band also slips in an old B side, You Started Laughing. The live mix is good, with enough crowd noise to keep you in the moment and clean editing. I can see where someone familiar with Breakfast in America would want to pick up Paris to navigate their back catalog, although I would point you first to Crime and Crisis. Fans will appreciate what basically amounts to a long curtain call after Breakfast, but for most of us Paris can wait.
(progrography.com/supertramp/review-supertramp-paris-1980/)

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. School (05:28)
02. Ain't Nobody But Me (05:37)
03. The Logical Song (03:56)
04. Bloody Well Right (07:38)
05. Breakfast In America (02:56)
06. You Started Laughing (04:02)
07. Hide In Your Shell (06:54)
08. From Now On (07:07)

01. Dreamer (03:29)
02. Rudy (07:23)
03. Soapbox Opera (04:51)
04. Asylum (06:55)
05. Take The Long Way Home (05:08)
06. Fool's Overture (10:57)
07. Two Of Us (01:23)
08. Crime Of The Century (06:31)

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Christine McVie (Fleetwood Mac) - Songbird (A Solo Collection) [Compilation] (2022)

Year: 24 June 2022 (CD Jun 24, 2022)
Label: Warner Records (Germany), R2 680977
Style: Soft Rock, Pop Rock
Country: Greenodd, Lancashire, England (12 July 1943 - 30 November 2022)
Time: 42:52
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

Songbird (A Solo Collection) is a compilation album by English musician, singer, and songwriter Christine McVie, released in 2022. It was McVie's final release before her death later that year in November.
The compilation album includes remixed songs from McVie's 1984 eponymous release and her 2004 album In the Meantime along with previously unreleased music. Producer Glyn Johns was involved with the project and helped McVie select her favorite solo songs to rework with extra instrumentation.
"Slow Down" was originally slated to appear on the soundtrack for American Flyers, but the song was not used for the film. McVie wrote the song as a love song and incorporated aspects of cycling into the lyrics. The collection also includes an orchestral rendition of "Songbird", which features an orchestral score by Vince Mendoza layered underneath the vocals from the original recording found on Fleetwood Mac's Rumours album. "All You Gotta Do" was written during the In the Meantime sessions and was recorded as a duet with George Hawkins, who also appeared on the Christine McVie album. The song was left unfinished at the time, so Glyn Johns paired McVie with Ethan Johns and Ricky Peterson to complete it.
(en.wikipedia.org/wiki/Songbird_(A_Solo_Collection))

01. Friend (Remix) - Christine McVie (04:29)
02. Sweet Revenge (Remix) - Christine McVie (03:49)
03. The Challenge (Remix) - Christine McVie (04:15)
04. Northern Star (Remix) - Christine McVie (04:27)
05. Ask Anybody (Remix) - Christine McVie (04:58)
06. Slow Down (Remix) - Christine McVie (03:22)
07. Easy Come, Easy Go (Remix) - Christine McVie (04:34)
08. Givin' It Back (Remix) - Christine McVie (04:20)
09. All You Gotta Do (Remix) - Christine McVie (04:54)
10. Songbird (Remix) - Christine McVie (03:38)

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Supertramp - Breakfast In America (1979)

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

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

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

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

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Supertramp - Even In The Quietest Moments... (1977)

Year: 8 April 1977 (CD ????)
Label: Polygram Records (West Germany), 394 634-2
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 43:41
Format: Flac Tracks 16/44,1 kHz
Size: 264 Mb

Even in the Quietest Moments... is the fifth album by the British rock band Supertramp, released in April 1977. It was recorded mainly at Caribou Ranch in Colorado with overdubs, vocals, and mixing completed at the Record Plant in Los Angeles. This was Supertramp's first album to use engineer Peter Henderson, who would work with the band for their next three albums as well.
Even in the Quietest Moments... reached number 16 on the Billboard Pop Albums Chart in 1977 and within a few months of release became Supertramp's first Gold (500,000 copies or more)–selling album in the US. In addition, "Give a Little Bit" became a US Top 20 single and reached number 29 on the UK Singles Chart. While "Give a Little Bit" was the big hit, both "Fool's Overture" and the title track also received a fair amount of FM album-rock play.
In 1978, Even in the Quietest Moments... was ranked 63rd in The World Critic Lists, which recognised the 200 greatest albums of all time as voted for by notable rock critics and DJs.
(en.wikipedia.org/wiki/Even_in_the_Quietest_Moments...)

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. Give A Little Bit (04:09)
02. Lover Boy (06:52)
03. Even In The Quietest Moments (06:29)
04. Downstream (04:04)
05. Babaji (04:51)
06. From Now On (06:22)
07. Fool's Overture (10:52)

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Fleetwood Mac - I Do [maxi-single] (1995)

Year: 1995 (CD 1995)
Label: Warner Bros. Records (Europe), 9362 43616-2
Style: Soft Rock, Synth-Pop
Country: London, England
Time: 19:20
Format: Flac Tracks 16/44,1 kHz
Size: 142 Mb

I liked the penguins. Penguins have very weakly developed sexual characteristics. Sometimes, they only find out they are of the same sex after mating.

 

 

01. I Do (edit) (03:49)
02. Talkin' To My Heart (album version) (04:56)
03. Little Lies (extended version) (06:15)
04. Little Lies (dub) (04:18)

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Christine McVie - Christine McVie (1984)

Year: 27 January 1984 (CD 1984)
Label: Polygram Records (West Germany), 9 25059-2
Style: Pop Rock, Soft Rock
Country: Lancashire, England (12 July 1943 - 30 November 2022)
Time: 43:45
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Musicians: Lindsey Buckingham, Eric Clapton, Ray Cooper, Mick Fleetwood, Steve Winwood.
Christine Anne McVie was an English musician. She was the keyboardist and one of the vocalists and songwriters of the rock band Fleetwood Mac.
McVie was a member of several bands, notably Chicken Shack, in the mid-1960s British blues scene. She initially began working with Fleetwood Mac as a session player in 1968, before officially joining the band two years later. Her first compositions with Fleetwood Mac appeared on their fifth album, Future Games. She remained with the band through many changes of line-up, writing songs and performing lead vocals before partially retiring in 1998.
McVie was described as "the prime mover behind some of Fleetwood Mac's biggest hits" and eight songs she wrote or co-wrote, including "Say You Love Me", "Don't Stop", "Everywhere" and "Little Lies", appeared on Fleetwood Mac's 1988 Greatest Hits album. She appeared as a session musician on the band's last studio album, Say You Will. McVie also released three solo studio albums and recorded a duet album with Lindsey Buckingham. McVie was noted for her soulful contralto voice.
As a member of Fleetwood Mac, McVie was inducted into the Rock and Roll Hall of Fame and in 1998 received the Brit Award for Outstanding Contribution to Music. In the same year, after almost 30 years with Fleetwood Mac, she left the band and lived in semi-retirement, releasing a solo album in 2004. She appeared on stage with Fleetwood Mac at the O2 Arena in London in September 2013 and rejoined the band in 2014 prior to their On with the Show tour.
McVie died of a stroke in hospital on 30 November 2022, at the age of 79. She had also been suffering from metastatic cancer of unknown primary origin.
Following her death, Fleetwood Mac issued a statement saying that she was "the best musician anyone could have in their band and the best friend anyone could have in their life". Stevie Nicks said McVie had been her "best friend in the whole world".
(en.wikipedia.org/wiki/Christine_McVie)

01. Love Will Show Us How (04:15)
02. The Challenge (04:41)
03. So Excited (04:05)
04. One In A Million (05:02)
05. Ask Anybody (05:28)
06. Got A Hold On Me (03:53)
07. Who's Dreaming This Dream (03:35)
08. I'm The One (04:05)
09. Keeping Secrets (03:34)
10. The Smile I Live For (05:04)

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Supertramp - Crisis What Crisis (1975)

Year: 28 November 1975 (CD 1988)
Label: A&M Records (West Germany), 394 560-2
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 47:26
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

After eating so many flat and flavorless tramps (Paris, Indelibly Stamped, Famous Last Words), finally a bum I can sink my teeth into. Crisis? What Crisis? is Christmas come early: ten progressive pop songs patterned on the eccentric masters (10cc, The Kinks, Wings). It’s not progressive rock, never was, but it is ambitious and tuneful.
The first side feels like a concept, especially when “A Soapbox Opera” rolls around. That it follows the wonderful “Ain’t Nobody But Me,” which followed the fine “Sister Moonshine,” which followed the charming “Easy Does It,” makes for one of the most perfect sides of plastic in the Supertramp collection (I’d even give it the nod over the second side of Breakfast). I haven’t heard Crime*; maybe that’s much better (Quietest quite frankly baffled me). (*I’ve since hear Crime of the Century and it’s pretty awesome.)
Personally, Crisis came at a perfect time. I was beginning to think that Supertramp just had the one good album (Breakfast) and a few good songs (“Dreamer,” “Bloody Well Right,” “Give A Little Bit”). But this album is loaded with wonderful boobytraps the likes of which I hadn’t heard on a pop album since Sheet Music or Venus and Mars. That Crisis doesn’t contain any big hits actually worked to its advantage, since it made every song on here a new discovery for me.
If you arrived late for Breakfast, you need to go back to Crisis. It’ll help you form an appreciation for the band’s pop artistry, more so than an Indelibly Stamped anyway. And while I usually take pains to tell you that Supertramp isn’t a prog band, “The Meaning” reminds me a lot of Gong and, I will concede, qualifies as a prog song. If I find a few more like “The Meaning,” I may change my mind.
(progrography.com/supertramp/supertramp-crisis-crisis-1975/)

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. Easy Does It (02:16)
02. Sister Moonshine (05:15)
03. Ain't Nobody But Me (05:12)
04. A Soapbox Opera (04:57)
05. Another Man's Woman (06:16)
06. Lady (05:25)
07. Poor Boy (05:07)
08. Just A Normal Day (04:02)
09. The Meaning (05:24)
10. Two Of Us (03:26)

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