Tim Buckley - "Goodbye and Hello" (1967)

This is a relatively old record but a newcomer in my collection. The question I ask myself these days when I buy a new record is if I should buy it on vinyl or CD. I must honestly admit I think it's much more comfortable with a CD. Throw it into the player, jump around between songs as you want, pause, if necessary, by pressing a button, etc. To top it all is a new CD also often cheaper than a new vinyl. Yes, new vinyls are actually disturbingly and provocative expensive. The record companies seem to want to use the vinyl neo-Renaissance to the utmost and use us connoisseurs shamelessly. But sure, it feels like a vinyl should actually be a bit more expensive to produce, and they are probably pressed in much smaller quantities.

But these negative thoughts seem not to exert any power over me, because I always buy a vinyl if there’s a choice. I say as many others, it's a completely different feeling with a vinyl. It’s a, if not religious, at least a very nice experience to hold a vinyl cover in your hand – it’s large, it is (often) beautiful and there’s somewhat of a ceremony to pull out a record from its cover and put it down on the turntable. It’s not just something you do on the fly, you have to slow down, take a break from everyday life and suddenly arises that inner peace that exists somewhere deep in the soul. In addition, you can have vinyl covers as works of art on your wall too. How many CD covers are sitting on people's walls?

Many also argue that the sound is better on vinyls than on CDs, however, I leave that unsaid. Both sound good, let us be happy with that.

So I bought this album new and it’s a re-release made ​​by Four men with Beards who specialize in 180 gram audiophile re-releases on vinyl (standard weight of a vinyl is around 120 grams and it’s said that the sound quality becomes better if the record is heavier. Moreover, it will keep its shape better and not be skewed so easily. Fact or myths created by the companies? Who knows. Most re-releases occurs today on 180-gram discs, anyway.). Elektra released the original 1967.

Tim Buckley was an American singer who moved between many different genres - folk, jazz, psychedelic, funk, etc. Goodbye and Hello was his second album and is considered by many to be his best, Tim was 20 years old when it was released. I discovered the album through the book 1001 albums you must hear before you die. I have discovered an alarming number of albums through this book, and I have not even read a fifth of it yet...

The owner of Elektra, Jac Holzman, had a lot of faith in Tim and rented advertising space on the Sunset Strip at the time of the release. This was highly unusual for a solo artist who had not seriously broken through yet. Goodbye and Hello was not a smash hit but reached a 171st spot on the Billboard Charts, Tim's best position with a record. Tim had most of his career a certain cult status and the number of fans varied over the years.

I think it's a good album. The music can be said to lean toward the singer-songwriter tradition with a spice of folk and some half psychedelic elements. That’s a very nice mix and the album has a clear aroma of the 60's, which I mean in a positive sense. Tim has a very distinctive and beautiful voice that leaves its mark on the songs, and throughout his career he often used his voice as an instrument. Even his singing in falsetto sounds great. He has written most of the songs himself, some with the poet Larry Beckett.

Tim Buckley met Death in 1975 in the form of an overdose of heroin, 28 years old. He had used drugs from time to time, but during the last tour he didn’t (and therefore his tolerance was probably lowered). When the tour was completed, he partied a weekend with the band and went on Saturday night with his friend Richard Keeling to his home, hoping to score some heroin. Tim walked into the bedroom while Richard was having sex and a minor quarrel arose. It all ended with Richard in frustration, throwing a quantity of heroin to Tim with the invitation / challenge "Take it all, then". And that’s what Tim did. He was transported, still alive, to his wife Judy who bedded him down in a bed. When she a little later checked on him, he had died. According to reports Richard Keeling, during the fateful evening, had heard Tim's last words that were supposed to have been "Bye, bye, baby" which was probably directed towards his wife.

Tim Buckley had a son who was named Jeff Buckley. He also had a musical career and met Death prematurely by drowning, 30 years old.

Favorite Song
Carnival Song
Pleasant Street
Goodbye and Hello

Side A
1. No Man Can Find the War 2:58
2. Carnival Song 3:10
3. Pleasant Street 5:15
4. Hallucinations 4:55
5. I never asked to be your mountain 6:02

Side B
1. Once I was 3:22
2. Phantasmagoria in Two 3:29
3. Knight-Errant 2:00
4. Goodbye and hello 8:38
5. Morning Glory 2:52

Pink Floyd - "Dark Side of the Moon" (1973)

The world is at the moment washed by a wave of Dark Side of the Moon created by Pink Floyd and their release of the new goodlooking and expensive CD / DVD box. Of course I don't want to be left outside, how much fun it is to stand outside and look from a distance at the party? In the cold and dark, and hear how much fun everyone has? Nah, I've done that enough, so I'm going to join the party but of course focus on the vinyl. Finally, I'm inside with the rest of you.

In the late '80s, I lived a year as an exchange student in Ohio, US. One thing that had made ​​me a little disappointed was the fact it was only sold CDs at the supermarkets. I had not yet entered into the new digital age and I missed the vinyls. On a trip to New York I discovered that it was still sold vinyls there so full of abstinence I bought a couple of albums of which Darkside ... was one. I was 16 years old and life was still an adventure. Pink Floyd was a new band in my life.

Themes that are repeated in the songs' lyrics are things that Roger Waters described as "making people crazy" - money, greed, death, mental ilness etc. and the record must be described as a concept album. Many miles has been written about this album and I will not be too tedious in repeting facts that you might already have read (or will read) on the Internet or magazines. But I can contribute with some mixed curiosities in a relatively unstructured form.

Dark Side ... was recorded during two recording sessions in 1972 and 1973 at Abbey Road Studios. The fact is that the music was created during a tour and was presented already in February 1972 for a bunch of journalists (which were delighted with what they heard).
PF discovered that another band, Medicine Head, already hade used the album title and then changed the working title to Eclipse. However, the Medicine Head album was a flop and PF went back to the name Dark Side of the Moon.

Alan Parsons was the engineer during the recordings. Relatively sophisticated equipment was used in the studio - a 16-channel tape recorder, synthesizers, etc. According to some the recordings were regularly interrupted since Roger Waters wanted to see his favorite team Arsenal play and the whole band wanted to see the TV show Monte Phytons Flying Circus. David Gilmour, however, later denied that this is true and claimed that they focused on the recording.

On the song The Great Gig In the Sky, Clare Torry sings a wordless melody improvised in the studio. For this she received £30 (equivalent to £300 today). However, she sued Pink Floyd and EMI in 2004 and claimed that she was a co-writer to this song and demanded royalties. The court said she was right and a secret agreement was signed. All the Dark Side ... records released after this date therefore has Clare Torry as a songwriter together with Richard Wright concerning this song.

On the record voices can be heard regularly saying different things, some of these voices belong to a few roadies. These were recorded in the studio where they had to answer various questions about violence, death and similar themes. Paul and Linda McCartney also answered such questions but their answers were not allowed to be on the album (they tried too much to be funny, according to those involved).

The classic cover was designed by Hipgnosis and George Hardie and was created after Richard Wright's wish to come up with something "smarter, neater, more classy" compared with the covers of the albums before. Wright had also asked for something "simple and bold."

Dark Side ... is one of the best selling albums ever, and the band members became wealthy. Waters and Wright bought large estates and Mason began his collection of sports cars. Some of the money was invested in the movie Monte Phyton And The Holy Grail.
It is estimated that the album has sold about 45 million copies and on a slow week it sells 8000-9000 ex. In 2002, for example, it sold around 400 000 ex, which made ​​it that year's 200th best selling album, nearly 30 years after its release.

So what I do I think of this historic album that always gets top rankings on lists such as "best album", "most important album" etc? Well, you can't dislike it and yes, it's very good. But I think PF has done even better albums so it's not my favorite of their creations. It's a fantastic production and the sound is crystal clear, it's hard to believe that this was recorded almost 40 years ago. The songs flow very nicely into each other and most are of very high quality. However, I have always been ambivalent to the previously mentioned The Great Gig ... which I find a little noisy with the crazy woman singing/screaming. In addition, I think Money is so-so and Us and Them can sometimes feel a bit boring. But this perhaps I write this mostly to balance all the great positive stuff that has been written about this album through out history.

As a final reflection, I might mention that this album for some reason has always given me summer vibes. The songs evoke images from my childhood's and youth's summers that meant an endless sea of liberty. Maybe it's because I listened to the album a lot during summers, or maybe it's the melancholy in the songs that comes through and raises the memories of a time that has passed. A time when you were free, didn't have any responsibility and could enjoy the day there and then. At least, that's how I remember it...

Of course I recommend a purchase of this album if you don't already have it. For me personally it's a little extra fun with this album in my collection as it was purchased in the Big Apple on one of my few visits there. But the content itself goes a long way too.

Favorite Songs
Time
Brain Damage

Track List
Side A
1. Speak To Me 1:30
2. Breathe 2:43
3. On the Run 3:36
4. Time 7:01
5. The Great Gig In the Sky 4:36

Side B
1. Money 6:22
2. Us and Them 7:46
3. Any Colour You Like 3:25
4. Brain Damage 3:28
5. Eclipse 2:03

Rare Earth - "Ma" (1973)

Rare Earth was formed in the early 60s, initially under the name The Sunliners. In the following years came and went a number of members and in 1968 they recorded their first album. The next year the band signed a contract with Motown under its new name, Rare Earth, and became one of the label's first all-white bands. Rare Earth was to belong to one of Motown subsidiary labels which had not yet a name, and the focus of this subsidiary label was exactly all-white bands. The people of Motown asked the band if they had any suggestions concerning a name for the label and they answered jokingly Rare Earth. To the band's surprise, Motown thought that this was a good idea and the label Rare Earth was born.

The band Rare Earth had a number of hits during the first years but the postitions in the charts over time became lower and lower. Motown then decided to take a stronger artistic control over the band's production and called in the legendary songwriter / producer Norman Whitfield for their sixth album at Motown - Ma. Norman wrote and produced all the songs, a couple of them together with Barrett Strong.

I found this album earlier this year in one of Quebec's shops for used vinyl records. The main thing that made ​​me curious about the group was the fact that I own a record with Sunday Funnies (see a previous post) which was released at the label Rare Earth. Since I like that album I thought the chance was pretty high that another band at that label also would be good, especially the band that gave the label its name! In addition, I liked the cover that almost can be called minimalist. Since I didn't have a record player in Quebec, this album had to wait quite a long time to be played by me, but he who waits for something good ... Right?

Side A consists of the song Ma and clocks in at just over 17 minutes. This is the album's peak, according to me. The song had previously been done by the Temptations and Undisputed Truth. A hypnotic groove takes the listener on a funky soul journey on the theme "mother". The groove is steady and doesn't change during the 17 minutes, but things are always happening in the song which help to keep up the interest. One time I found myself getting strong Hawkwind-vibes from an unusually spacy-psychedelic part in the song. Imagine that! The drummer Peter Hoorelbeke is the main singer of the band and has a classic raspy soul / funk voice with a lot of power.

The B-side is also good and offers more funky soul / rockn'roll. The album ends with the softcore song Come With Me in which a woman's voice is heard moaning in a way that can't be heard otherwise than very sexual. I would say that both Donna Summer (Love To Love You) and Jane Birkin / Serge Gainsbourg (Je t'aime ... moi non plus) are problably beaten here.

The album Ma is considered by many to be the band Rare Earth's best album. The band has continued to exist over the years with (as always) a large number of member changes. They still tour and released an album as recently as 2008.

Favorittrack
Ma


Tracklist
Side A
1. Ma 17:21


Side B
1. Big John Is My Name 4:06
2. Smiling Faces Sometimes 6:20
3. Hum Along And Dance 5:15
4. Come With Me 4:30

Rasa - "Setting the Scene" (1980)

On a visit in my early teens at Uppsala's classic second-hand store Prisfyndet (something like The Price Discovery) I had one of my many meetings with an album cover I thought was really interesting (=druggy and/or psychedelic). When I met such a cover and the price requested was right (low), I used to make a move. I always had the strong hope that the music would be as psychdelic as the cover. This was also the case the day I met Rasa's album Setting the Scene, the price requested was about one dollar. I had never seen an album with such a cover and was extremely curious about the music that was hidden inside. To connect the cover, which I assume represents a Hindu god, with the Hare Krishna movement, never crossed my mind. That the album was recorded at Korsnäs farm (Sweden) told me nothing either.

When I played the record later that day I heard music of a kind I hadn't heard before. It starts with a really nice groove where you hear wind instruments, odd drums, tinkling cymbals, etc. After a while the song starts in a language that's not Swedish nor English, problably it's Hindi (or Indish, as I thought as a teenager ). I was happy, surprised and also a bit disappointed. I had expected a rather psychedelic album with Western music (in retrospective maybe a somewhat strange expectation, given on the cover) but was instead given something completely different, something that was far away from the music on my other records in the collection.

Thanks to the Internet, I know now a little more about the album and artist Rasa. Behind this name is Harikesa Swami, also known as Visnupad. He was born as Robert Campagnola and was aguru in the Hare Krishna movement. He has participated in and produced 28 records, except as Rasa also as BLISS and Sri Hari.

On the record a lot of different instruments are used - saxophone, santoor, drums, congas, piano, bass, cymbals, organ, trumpet. Except Anders Eriksson (drums) all other musicians carry Indian/Hindi sounding names. If they are of Indian origin or if they are Swedes who have taken new names in the Hare Krishna movement, I do not know. The piano is given a pretty big space on the recording and some songs are quiet and calm while others are a bit more groovy. To define the music on the album is unusually difficult, it's like some sort of mix of Eastern and Western music, with an emphasis on the former. The arrangements are often quite grand with a relatively open soundscape.

The album is overall quite nice but after a while I get bored. Visnupad's singing sounds relatively similar from song to song and since I don't understand what he sings it becomes a bit boring. It's easy to lose concentration after a while, especially as the songs are relatively long and sounds quite similar. Nevertheless, I am happy and proud that this album is a part of my collection, and I think it's fun to have a record of Rasa and music on the Hare Krishna theme in my collection. The truth is that I liked the music and the cover enough to buy a whole bunch of other Rasa records (and yes, they were cheap), but more on that later.

It can be added that the Korsnäs farm is situated in Gröding, Botkyrka council (Sweden), and that the Hare Krishna movement have one of their temples there. It's the only Radha Krishna temple in Scandinavia.


Favourite song
The Son of Nanda


Tracklist
Side A
1. The Son of Nanda 7:11
2. Setting the Scene 13:38


Side B
1. The Master 6:14
2. Touchstone II 8:09
3. Shelter 7:17

Harmonium - "L'Heptade" (1976)

My post before last addressed the group Beau dommage, in that post I mentioned that my friend gave me two albums as a parting gift. L'heptade with Harmonium was the second of these, a classic according to my friend and a must-have in your record collection. The album is a double album, and many critics consider it a masterpiece and the most important album ever in the Quebecan music industry.

In 1972 Serge Fioro met Michel Normandeau in Montreal and formed a guitar duo. The following year the bassist Louis Valois joined in and the band Harmonium was formed. This was the time in history when a genuine music industry was born in the French-speaking province of Quebec and the trio got a contract with Quality Records. Their first eponymous album was released in 1974 and became a huge success. After a tour in the region, the band recorded their second album in 1975, Si On Avait besoin d'une Cinquième Saison (If you needed a fifth season), this album expanded the band's members to six.

The third and final album L'heptade was released the following year.

Some time after the release of L'heptade the members of Harmonium decided to dissolve the band and their last concert is considered to have been performed in 1978. The band's career was thus five years long and contained three albums (plus one live album). Many believe that they decided to quit at the top of their career which probably have helped to maintain the band's high status. Although the number of albums isn’t that great Harmonium is nevertheless considered to be one of the most important Quebecan bands ever, and their influence on the music and culture scene has been enormous.

L'heptade consists of seven "main tracks", the shorter parts between these songs exists primarily to bind together the album into a whole. The theme of the album is a day in a man's life in which he moves through seven different states of consciousness. It’s provided some clues to this on the LP, for example you hear a sigh from a man who wakes up and then steps over a wooden floor in the beginning of the album. At the end of the record you can hear this man preparing to go to bed. I must honestly say that although I have been listening for these details, I’ve never been able to hear them.

The main theme of the texts are internal conflicts taking place within the main character, often the texts are about the duality in the world - black and white, light and dark, day and night, etc. On the second LP (sides 3 and 4) it’s implied that only love can merge these opposites together. The singing is of course done in French as that language dominates the province of Quebec.

This record is one of the most popular ever in Quebec's musical history. However, it had at the time of the release not much impact on the local music scene, mainly because the LP doesn’t contain any radio-friendly hits. Especially in circles of progressive music the album was greeted with open arms, also outside Canada, and Harmonium was for example invited to tour with Supertramp in Europe.

The cost of the recording was 90,000 dollars which was a new record for an album from Quebec. A lot of this was paid through a new contract with CBS, but the musicians in Harmonium also had to help paying from their own pockets. The album was recorded in a cabin in the countryside that belonged to the Fiori family and, apparently, we can hear cracks from the floor on the album (although I missed this, too).

I think this is undoubtedly the best of Harmonium’s three albums. A, according me, positive difference compared with the first two albums is that the band uses drums here. This was missing on the initial records, which made ​​the music on these more ambiguous and fluid (in a negative way). It is a solid album of high quality and although it’s considered to be Harmonium's most progressive album, I think it’s the most accessible and enjoyable one. It’s also a more varied album than the previous ones, which makes it more fun to listen to. This was a nice parting gift from a good friend and I can’t do anything else then to recommend a purchase. And also a visit to Quebec, a very nice part of the world.

Tracklist

Side A
1. Prologue (4:20)
2. Comme Un Fou (7:50)
3. Sommeil Sans Rêves (1:25)
4. Chanson Noire (8:12)
I) Le Bien, Le Mal
II) Pour Une Blanche Cérémonie

Side B
5. L'Appel / Le Premier Ciel (11:12)
6. Sur Une Corde Raide / L'Exil (12:54)

Side C
7. Le Corridor (8:10)
8. Les Premières Lumières / Lumières De Vie (14:11)
I) Lumière De Nuit
II) Eclipse
III) Lumière De Jour
IV) Lumière De Vie

Side D
9. Prélude d'Amour / Comme Un Sage (14:03)
10. Épilogue (2:52)

Contrevent - "Jeu de Paume" (1985)

Contrevent was the theme a couple of weeks ago, and today I take a look at their first album, Jeu de Paume as my Quebecan theme continues. The album's title refers to an old French ball game that resembles tennis a little bit. Readers with a good memory may recall that Marc Vallée, the founder of Contrevent and its principal composer, gave me two records as a parting gift when I returned to Sweden from Quebec. Jeu de Paume was the second of these, and this one was also unopened. When I last night cautiously opened the plastic that enclosed the LP and let it out to taste the world it was almost like giving birth to a baby. (Yes, now I think I know how it is to be a woman).

It was then a very special feeling to put the LP on the turntable, knowing that it had been enclosed in its packaging for 26 years and never felt the sharp tip of the pickup. This was a moment to remember. I think the LP was happy to finally spread its sound across the universe and losing its virginity. Maybe it was disappointed that it was beig played at a cheap Pioneer amp and an even cheaper Sony turntable, on the other hand, it had nothing to compare with.

The music on Jeu de Paume is hard to define. Contrevent consisted of five members who played bass, guitar, drums, cello and vibraphone (Marc was responsible for the guitar) which means it's a special and unique sound. All the songs are instrumentals and I experience the music as very gentle. The cello, the vibraphone, and (usually) an acoustic guitar create a soundscape that's relatively soft. Marc Vallee has composed all the songs, except D'eau which François Beausoleil has written, but just like on the album Youkali Marc is in no way dominating the album. On the contrary, I would say that if any instrument often is dominating it's the cello or the vibraphone. I think this shows Marc's humility as a musician and as a human being, which also is the impression I got from him on a personal level. It also suggests that it was the music that was in focus for Marc during his time in Contrevent, not being the star. The song L'Inachevée gives us the honor of hearing Marc perform a song by himself, though.

There is no doubt that the members of Contrevent were all very talented musicians, and some of them have had a continued musical career. If someone forces me to define the music perhaps it would be jazz-prog-world-fusion, which of course is a perfectly clear term. An alternative term could be progressive elevator music, as it's pretty easy going but at the same time fairly complex. It is a diverse album with many good songs. As mentioned the sound is quite gentle and no one will be provoced by what is heard. However, I think many may be impressed by the songs and the musicians' skills.

It may be mentioned that the Jeu de Paume was the only Contrevent record as drummer Michel Dufour participated on. In the following Youkali he was replaced by Charles Paradis.

Today Marc composes a lot of music for plays and television productions in Quebec, he is also a member of Beatles Baroque, an ensemble that plays Beatles songs on classical instruments. They perform regularly in North America. He has also released an album with Marc Vallée Trio. The ones interested can read more on his website http://marcvallee.ca/marc_vallee/welcome.html

Conclusion: Jeu de Paume is another album from the city of Quebec that can be recommended. I am very pleased that it is part of my collection. Congratulations to those who find it!


Tracklist
Side A
1. Acoustifunk 3:30
2. Jeu de Paume 6:40
3. L'Inachevée 7:00

Side B
1. Crème de Menthe 4:19
2. La Chanterelle 4:50
3. D'eau 4:15
4. Brum et Glace 5:06

Theme Quebec 

 

Beau Dommage – ”Beau Dommage” (1974)

I’ll continue my theme on music from Quebec, today the region rather than the city. As in my last post, the emotions connected to this LP is more important than the content, even though the content is really good.

When I arrived in Quebec city in the summer of 2009 I knew no one, I had neither relatives nor friends. Since my life was staying at home with the kids, I had no colleagues to hang out with. All I had as adult company was my wife (and we all know how exciting that is).

In September my son started school and I picked him up on a daily basis at 3 o'clock p.m. After a while I started talking to a woman who also picked her son up every day, a boy who had started to play with my son in the playground after school. Every day we stayed in the playground for an hour and talked about this and that. It was a very friendly woman, and sometimes her partner showed up and picked up the son. He was a teacher and never worked later than 1.00 p.m., and he worked only four days a week (yes, that’s how it is to be a teacher in Quebec). To make a long story short, me and this man began to hang out and he became my best friend in Quebec. Countless times we have played soccer or ice hockey with our sons in the park and discussed various important issues. Since he, in addition to being a teacher, also was a musician, music was a topic that often came up. He teached me a lot about Quebecan music.

After two years had passed, it was time to say goodbye to the city and its people and return to Sweden. At this time, I felt a connection to the city of Quebec and liked my life, so this farewell meant some sad feelings. On one of the last days in town my friend gave me a parting gift in the form of two vinyl records, since he knew I had an interest in those. Beau dommage was one of these records, a classic Quebecan LP you had to bring home, according to my friend. He described the album as the music all the hippies in Quebec listened to. I wonder why he thought I should own a record like that?

Beau dommage is an old expression from Quebec and corresponds to absolutely in English. Pierre Huet and Michel Rivard started the art group Quenouille Bleu in 1970, the site was the University of Quebec in Montreal. Robert Léger then joined, and later Pierre Bertrand, Réal Desrosiers and Marie-Michèle Desrosiers at different times during the first two years (in 1975 Michel Hinton joined the band). In 1973 the name was changed to Beau Dommage. The album Beau Dommage was the band’s debut album and hit sales records, it also gave them the Jeune Chanson prize awarded in Cannes. They had a serie of hits from the album and the band sold more than any other Canadian band during the years of the mid-70s. The debut album, for example, sold 250 000 copies. It can be added that the follow-up sold platinum on the day of its release which was the first time this happened to a Canadian band.

The band of course toured in Canada, but also a lot in Europe. 1978 Beau Dommage broke up since some members wanted to focus on their solo careers. But in 1984 they returned and did two concerts with a subsequent live album. 1994 they were reunited once again and made a new album with the same name as the debut album. They then carried out a tour in Quebec 1995.
They are today regarded as a legendary band in the region of Quebec.

The music is very Quebecan, I think, and I recognize a lot of it from more modern Quebecan bands. It is easy to hear how bands like Beau Dommage or Harmonium has affected the music scene in Quebec, the echoes from these bands can still be heard in much of today’s music. Of course the French language puts its mark on the music but the sound is pretty typical, too. One thing that is often heard in Quebecan music, as on Beau Dommage, is the nylon stringed acoustic guitar that gives the records a rather soft and gentle sound. On Beau Dommage the songs are quite often sung in beautiful harmonies, usually in major. Yes, overall, the songs on Beau dommage are quite nice and soft, there are no neurotic anxiety-filled nightmares that are offered. Yes, maybe it's hippie music, what do I know? I like this album anyway – there are beautiful songs, I can train my French and the music reminds me of two nice years in a different part of the world. For those who are curious about music from Quebec I really recommend this album.

Tracklist

Side A

1. Tous Les Palmiers 3:20

2. À Toutes Les Fois 4:17

3. Chinatown 3:05

4. La Complainte Du Phoque En Alaska 5:15

5. Le Picbois 3:25

Side B

1. Harmonie Du Soir À Chateauguay 3:06

2. Le Géant Beaupré 4:02

3. Ginette 2:35

4. Ung Ange Gardien 2:56

5. 23 Décembre 2:14

6. Montréal 4:44