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│ METAL CLASSICS ARCHIVE │
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│ P R E S E N T S │
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│ + Gary Moore - Victims Of The Future (Jap. Ed.) + │
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│╔═════════════════════╗ │
│║ Release Information ║ │
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│║ ║ │
│║ Release Date.Apr-19-2013 Encoder......L3.97 -V2 --vbr-new ║ │
│║ Genre........Hard Rock Graber.......EAC ║ │
│║ Year.........2002 Khz/Bitrate..44,1/ Br ║ │
│║ ║ │
│║ Ripper.......anthem Songs........11 ║ │
│║ Covers.......Yes Url... www.gary-moore.com ║ │
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│╔═════════════════════╗ │
│║ Release Notes ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Artist : Gary Moore Rating : You Decide! ║ │
│║ Album : Victims Of The Future (Jap. Ed.)bel : Virgin ║ │
│║ ║ │
│║ ║ │
│╠════════════════════════════════════════════════════════════════╣ │
│║ ║ │
│║ Description : ║ │
│║ ║ │
│║ Gary Moore wasn't always the weenie bluesman he ║ │
│║ is today; recycling the same, tired old blues ║ │
│║ licks album after album. He wasn't always ║ │
│║ floundering through bizarre pop directions (see ║ │
│║ Dark Days in Paradise, and A Different Beat). He ║ │
│║ wasn't always doing a Clapton/Peter Green trip ║ │
│║ (see After Hours, BBM, Blues For Greeny) Nope. ║ │
│║ Back in the 80s, when excess was IN, Gary Moore ║ │
│║ was quite content to be himself, and indulge in ║ │
│║ being a rock/metal Guitar Hero. And for a good ║ │
│║ ten years there, he was the baddest motherfucker ║ │
│║ around. Period. If you lived through the 80s as ║ │
│║ a rock guitar player, you knew this (didn't ║ │
│║ you?). While the non-musician public thought Van ║ │
│║ Halen was the be-all end-all, and guitarists ║ │
│║ were having Yngwie rammed down our throats, Gary ║ │
│║ Moore was the guitar player's guitarist. I often ║ │
│║ go back and read old issues of Guitar Player, ║ │
│║ Guitar World, Guitar for the Practicing ║ │
│║ Musician, etc. from the 80s. In those old ║ │
│║ interviews, it was Gary's name that was most ║ │
│║ frequently mentioned by all the popular players ║ │
│║ of the day (both young and old) as a guy they ║ │
│║ listened to and admired. ║ │
│║ ║ │
│║ Moore's playing at this time combined everything ║ │
│║ you could possibly ever want or ask for from a ║ │
│║ guitar hero. It had fire, passion, intensity, ║ │
│║ emotion, great gobs of attitude, melody, and a ║ │
│║ wide array of dynamics from bombastic to subtle. ║ │
│║ Whether he was using a stock Strat or a stock ║ │
│║ Les Paul ù he was equally at home on both ù ║ │
│║ Moore had tone you'd kill for: It was primarily ║ │
│║ a pure guitar wood + Marshall tone ù not buzzy ║ │
│║ or gainy but smooth and thick (heavy gage ║ │
│║ strings helped). It wasn't an over produced ║ │
│║ sound either. You can hear the pick attack on ║ │
│║ the strings. Gary said that he liked the guitar ║ │
│║ sound to be "just on the verge of being out of ║ │
│║ control." That's a very good description of it. ║ │
│║ His guitar sound form this era literally ║ │
│║ SCREAMS. ║ │
│║ ║ │
│║ As a player, he was blazingly fast, but unlike a ║ │
│║ lot of shredders, he'd usually set up the speed ║ │
│║ with slow melodic playing, and always made sure ║ │
│║ the speed said something. He wasn't a ║ │
│║ particularly schooled player ù certainly not a ║ │
│║ theory guy, but what Moore's playing always had ║ │
│║ was tons of feel behind it. On his studio ║ │
│║ albums, his solos were composed stories within ║ │
│║ the song, and typically start slow and build to ║ │
│║ a crescendo. On live albums, he would stretch ║ │
│║ out the solo's original thematic ideas and play ║ │
│║ some of the most amazing shit you've ever heard ║ │
│║ ù and he never seemed to run out of ideas. His ║ │
│║ style was a combination of Jeff Beck-on-speed, ║ │
│║ plus a dash of Peter Green, but mostly it was ║ │
│║ his own. Gary Moore trademarks included palm- ║ │
│║ muted flurries on the low strings, huge, ║ │
│║ screaming bends, rapid-fire open-string pull- ║ │
│║ offs, fast, repetitive, major-7th arpeggios ║ │
│║ moved chromatically that can sound like tapping ║ │
│║ ù but are not, and assorted whammy bar effects. ║ │
│║ Most important to his style, I feel, was the ║ │
│║ pure BALLS and kick-ass attitude that came ║ │
│║ through in his phrasing. He would go rude with ║ │
│║ heavy handed bends and pinched harmonics, or he ║ │
│║ could go subtle with delicate playing volume ║ │
│║ swells and soaring melodies. ║ │
│║ ║ │
│║ Moore was at home in any style of music. He ║ │
│║ honed his rock style through his years with Thin ║ │
│║ Lizzy. He developed amazing speed playing ║ │
│║ chops-intensive fusion with Colosseum II. As a ║ │
│║ solo artist, he wrote pop songs to complement ║ │
│║ the heavy rockers. He became a decent singer. ║ │
│║ When he made his initial jump to blues, his ║ │
│║ playing had all the fire and intensity his rock ║ │
│║ playing was known for at the time. Sadly, Gary ║ │
│║ the rocker got tamer with each subsequent ║ │
│║ effort. I listen to him now and hear none of the ║ │
│║ player he was in the era of this album. ║ │
│║ ║ │
│║ But enough of that. We're going to go back to ║ │
│║ when Gary Moore was to my ears, the best guitar ║ │
│║ player on the planet. It's 1983 and after a few ║ │
│║ years of false starts, Gary has finally got his ║ │
│║ solo band on track. Despite his best efforts to ║ │
│║ hook up with a lead singer he could get some ║ │
│║ millage out of, no one stuck and Moore decided ║ │
│║ that he had to bite the bullet and front the ║ │
│║ band himself. His 1982 album Corridors of Power ║ │
│║ was a stunning release with a nice balance of ║ │
│║ power-pop and heavy rock songs. It contains the ║ │
│║ best heavy stock Strat tone I've ever heard. ║ │
│║ Corridors did well for Gary Moore. He was ║ │
│║ becoming a superstar in Europe and Japan, but ║ │
│║ outside of guitarists, he remained totally ║ │
│║ unknown in the clueless United States. In 83, ║ │
│║ the musical direction of the day was getting ║ │
│║ more metal. And while Corridors certainly had ║ │
│║ its metal moments, Gary decided that his follow ║ │
│║ up to Corridors would be heavier, and angrier. ║ │
│║ This album, called Victims of the Future, ║ │
│║ represents Gary at his rock/metal guitar hero ║ │
│║ peak. The songs here are mostly good 'n heavy, ║ │
│║ and the guitar playing is positively staggering. ║ │
│║ Enjoy.s ║ │
│║ ║ │
│║ Track By Track (vocal cues in parentheses) ║ │
│║ ║ │
│║ Victims Of The Future (6:09) The title track ║ │
│║ begins with a melodic electric lead line over an ║ │
│║ acoustic, arpeggiated chord progression with a ║ │
│║ minor scale feel. This intro part is accompanied ║ │
│║ by a keyboard generated string part. Nice, low ║ │
│║ soulful vocal from Moore. The intro fades and ║ │
│║ the song explodes into heavy metal thunder. A ║ │
│║ heavy chugging power chord riff over a pedaled ║ │
│║ bass root note and a heavy straight beat. Gary ║ │
│║ sets up a call-and-response thing between the ║ │
│║ low riff and a quick, unison bend accent up ║ │
│║ high. The main riff has a chromatic turnaround ║ │
│║ figure. First verse begins and Gary is singing ║ │
│║ in a higher register. Verse part one (Caught in ║ │
│║ the fight for survival) is a tension building ║ │
│║ riff ù a slightly muted ascending pattern based ║ │
│║ on the main riff. Verse part two (Our world is ║ │
│║ headed for destruction) raises the tension more ║ │
│║ with a power chord climb and decent progression. ║ │
│║ By the end of the part Gary's singing at the top ║ │
│║ of his range, and for better or worse, really ║ │
│║ pushing the hell out of his voice. A different ║ │
│║ turnaround leads into the chorus (Shadows of the ║ │
│║ past, Victims of the future) ù a power chord ║ │
│║ part with different rhythmic feel and another ║ │
│║ chromatic turnaround. There's a harmony vocal ║ │
│║ from Neil Carter. The main call-and-response ║ │
│║ figure returns and leads back to verse two. ║ │
│║ Carter continues the vocal harmonies (Is there ║ │
│║ no end to all this madness) Chorus returns and ║ │
│║ repeats longer and leads into the solo section. ║ │
│║ Gary begins the solo with some melodic but ║ │
│║ ballsy phrasing. He's using his 55 Les Paul Jr. ║ │
│║ and his tone is thick and has plenty of gain, ║ │
│║ but is woody ù not buzzy. He's never afraid to ║ │
│║ play slow. He plays a melodic ascending run and ║ │
│║ comes out of it with a faster series of ║ │
│║ descending legato pull-offs. A repetitive Moore ║ │
│║ trademark flash lick follows and is expanded ║ │
│║ upon. He ends the solo with a beautiful, long, ║ │
│║ ascending climb, ending on a frantic note that ║ │
│║ is enhanced by some delay. Song returns to the ║ │
│║ chorus part, then the main riff. Great outro ║ │
│║ solo. It's mostly pure attitude, with huge ║ │
│║ bends, pinched harmonics, flash licks, and ║ │
│║ double stops. Song fades out. ║ │
│║ ║ │
│║ Teenage Idol (4:15) In the 80s, Gary had a ║ │
│║ penchant for fast, frantic, songs like this one. ║ │
│║ The lyrics of these songs were invariably ║ │
│║ clichΘd, and that's the case here too. I never ║ │
│║ cared much for these offerings from Gary, but ║ │
│║ the guitar parts were always hot and certainly ║ │
│║ had their moments. Song begins with a single ║ │
│║ note blues riff. The guitar part drops out and ║ │
│║ the vocal is over just a drum backbeat. Fairly ║ │
│║ monotonic vocal delivery creating a call-and- ║ │
│║ response with the guitar riff. Simple two chord ║ │
│║ chorus part (but when he heard that music on the ║ │
│║ radio . . .) Verse and chorus repeat. Bridge ║ │
│║ (he's a teenage idol, he knows how to rock and ║ │
│║ roll) has a major scale feel to it and some ║ │
│║ simple vocal harmonies. Gary starts throwing in ║ │
│║ some guitar fills: A Chuck Berry-on-steroids ║ │
│║ lick, a simulated car horn, a purposely clichΘd ║ │
│║ flash lick (he bought himself a hot guitar). ║ │
│║ Chorus repeats. Solo section follows the call- ║ │
│║ and response formula again: a lick, then the ║ │
│║ riff, another lick, then the riff. This solo is ║ │
│║ actually Gary poking fun at being a guitar hero. ║ │
│║ He's using clichΘd licks on purpose, but he ║ │
│║ really rips on it nonetheless. (1) A Moore ║ │
│║ trademark blues lick, played fast then moved ║ │
│║ down a half step, then back up. Screeching ║ │
│║ double stop. (2) A series of fast Beck-style ║ │
│║ pull-offs finished with a hammered trill. (3) A ║ │
│║ totally rude attitude phrase with a pinched ║ │
│║ harmonic and long bend into the song's theme ║ │
│║ lick. (4) The old 80s staple, bullshit lick ù ║ │
│║ creating cascading harmonics with open string ║ │
│║ pull-offs and a long partially muted right-hand ║ │
│║ slide toward the headstock. Yep, I still pull ║ │
│║ that one out every once in a while when I'm out ║ │
│║ of ideas. What fun! Chorus repeats. Main part ║ │
│║ repeats. Yada yada. ║ │
│║ ║ │
│║ Devil In Her Heart (3:24) (song appears on U.S. ║ │
│║ release only) This is one of my favorite Gary ║ │
│║ Moore songs. It's heavy as hell, and built ║ │
│║ around a two-note 4th riff ala Ritchie ║ │
│║ Blackmore. The song starts off at full power ║ │
│║ with a snare crack, and the main riff over a ║ │
│║ galloping rhythm. A quick nod to the impending ║ │
│║ chorus leads into verse part one. A heavily ║ │
│║ palm-muted chugging rhythm. Gary's singing ║ │
│║ pretty hard and high on this one. Verse part two ║ │
│║ ù or is it chorus part one? (She's coming out to ║ │
│║ get you) breaks the underlying chug rhythm with ║ │
│║ a stop-start feel. This raises the tension that ║ │
│║ ultimately gets released in the chorus ù which ║ │
│║ we find out now IS the main riff. (She's got the ║ │
│║ Devil in her heart) Verse and chorus repeat ║ │
│║ leading into a multi-part solo over Whole Lotta ║ │
│║ Love-style breaks in the song. (1) Some choppy ║ │
│║ and beefy open-string pull-offs. Lots of ║ │
│║ attitude. (2) Some very fast and flashy pull- ║ │
│║ offs that hark back to Beck's Jeff's Boogie. (3) ║ │
│║ A high register call-and-response pattern ║ │
│║ featuring bends. (4) a fast repetitive lick that ║ │
│║ launches the solo into another, longer part ║ │
│║ featuring blues bends, an attitude-packed ║ │
│║ descending run with pinched harmonics, and a ║ │
│║ blistering, muted climb up to a crescendo note. ║ │
│║ Awesome stuff! Chorus repeats. Gary's really ║ │
│║ wailing on the vocals from here to the finish, ║ │
│║ using falsetto on the last bits. As the song ║ │
│║ ends he grinds the screaming guitar to a halt ║ │
│║ with a ballsy whammy dive. ║ │
│║ ║ │
│║ Empty Rooms (6:34) The song Gary just wouldn't ║ │
│║ leave alone. This is the first time it appeared ║ │
│║ on one of his albums, but he would later ║ │
│║ rearrange and re-record a bit differently. It ║ │
│║ also appeared on all of his live albums of the ║ │
│║ period. A slow, sad ballad. Begins with piano ║ │
│║ and a minor feel. Drums and bass enter followed ║ │
│║ by vocals. Guitar finally appears with a quick ║ │
│║ little melodic phrase in verse two, but the song ║ │
│║ doesn't really feature guitar as a foundation, ║ │
│║ just as accompaniment. Song continues building ║ │
│║ slowly and methodically. Takes two minutes to ║ │
│║ get to the first chorus (Empty rooms, where we ║ │
│║ learn to live without love). There's a brief ║ │
│║ acoustic guitar solo over just keys after the ║ │
│║ first chorus ù sound's like it was recorded ║ │
│║ under water. Not flashy, just a simple melodic ║ │
│║ theme. When it finishes, a fretless bass guitar ║ │
│║ plays essentially the same solo. Drums come back ║ │
│║ in and the electric guitar solo comes in. The ║ │
│║ solo is a masterpiece of slow melodic blues ║ │
│║ playing that is full of emotion. A contrast to ║ │
│║ most of the guitar pyrotechnics on this album. ║ │
│║ ║ │
│║ All I Want (4:07) If memory serves, this was the ║ │
│║ track that didn't make it to the original U.S. ║ │
│║ vinyl release. A stomper with a Zeppelinish ║ │
│║ feel, based on an open E lick, power chords, and ║ │
│║ simple turnarounds. Painfully clichΘd lyrics ║ │
│║ again. Second time through, Gary starts adding ║ │
│║ some ska feel on the upbeats. After the second ║ │
│║ chorus, the bridge breaks the song down into a ║ │
│║ descending layover pattern which quickens the ║ │
│║ pace. Solo section finds Gary playing with bends ║ │
│║ and harmonics ù you can hear his intonation, ║ │
│║ some finger vibrato and some more from the bar. ║ │
│║ He then takes off into a frantic climb up the ║ │
│║ neck. Chorus repeats. Verse part repeats. They ║ │
│║ use the descending layover for the foundation of ║ │
│║ the outro and a Gary takes a mid-tempo outro ║ │
│║ solo that unlike the rest of the solos on this ║ │
│║ album, feels improvised. ║ │
│║ ║ │
│║ Shapes Of Things (4:10) This is Gary paying ║ │
│║ homage to his guitar hero, Jeff Beck, with the ║ │
│║ old Yardbirds/Jeff Beck Group song. Gary ║ │
│║ frequently did cover songs and he always did a ║ │
│║ good job of making those songs his own. Shapes ║ │
│║ is strongest one he ever did. This track ║ │
│║ positively rips! The song follows the original ║ │
│║ structure pretty closely but it's heavier. The ║ │
│║ guitar sound is flat-out, and Gary's letting it ║ │
│║ sustain and wail, using pick scrapes for ║ │
│║ emphasis. The solo section is a masterpiece in ║ │
│║ separate segments: Part one is a nod to the ║ │
│║ song's melody and the original Beck solo on ║ │
│║ Truth. Soaring melody up high followed by ║ │
│║ dramatic string bends down low, into a ║ │
│║ descending, muted pedal point lick that slowly ║ │
│║ grinds the solo down into part two: another ║ │
│║ melody created with series of rapid hammer-ons ║ │
│║ on open B, and a staccato phrase that descends ║ │
│║ then ascends. Fast repetitive blues licks into a ║ │
│║ screaming series of melodic bends at the very ║ │
│║ top of the fretboard. As the next section ║ │
│║ starts, the drums and bass play just accents to ║ │
│║ get out of the way for some pure Gary ║ │
│║ pyrotechnics. A fast and furious low-to-high ║ │
│║ muted run. A blazing repetitive blues lick into ║ │
│║ a melodic bend. Another trademark lightning lick ║ │
│║ up high into another screaming bend, and a long, ║ │
│║ melodic climb from low to high again. Subtle ║ │
│║ slide guitar part over arpeggiated triads finish ║ │
│║ it off and lead back to the verse/chorus. ║ │
│║ Screaming vocals at the end too. This track is ║ │
│║ Gary at his Dinosaur Rock best. In the live ║ │
│║ setting Gary would use this song to stretch out ║ │
│║ and play a very long, jaw-dropping extended solo ║ │
│║ (see We Want Moore). (Hear it!) ║ │
│║ ║ │
│║ Murder in the Skies (5:48) One of Gary's best ║ │
│║ metal songs. This one finds Gary in an angry ║ │
│║ mood at the Russians for shooting down the ║ │
│║ Korean Airlines flight, and killing several ║ │
│║ hundred innocent civilians. Another galloping ║ │
│║ beat with a a heavy, chugging chord progression. ║ │
│║ Thick, meaty, unison bends create a foreboding ║ │
│║ melody over the main riff. Lots of flash fills ║ │
│║ on this track: whammy dives, pick scrapes. Verse ║ │
│║ part one (Time was running out for all on board) ║ │
│║ is a dark-feeling, ringing power chord ║ │
│║ progression. Verse part two (the Russians have ║ │
│║ shot down a plane on its way to Korea) moves ║ │
│║ higher up the neck raising the tension so it can ║ │
│║ release in the chorus (Murder in the skies, came ║ │
│║ without a warning). Carter lends a harmony vocal ║ │
│║ on the chorus. Song returns to the main theme ║ │
│║ with the unison bends again. Verse and chorus ║ │
│║ repeat. A great solo section begins with some ║ │
│║ bends, a quick legato hammer-on sequence and ║ │
│║ some choppy blues scale triplets. He follows ║ │
│║ that with the trademark chromatically moving ║ │
│║ Major 7th arpeggios (muted) and comes out into ║ │
│║ some screaming call-and-response bends, and a ║ │
│║ flash lick into a screaming set of crescendo ║ │
│║ notes to finish. Chorus follows solo. Main riff ║ │
│║ is used for the outro. On the outro solo, Gary ║ │
│║ expands upon the unison bend idea and simulates ║ │
│║ a plane going down with whammy bar effects. Song ║ │
│║ fades out. Note: On the European version of this ║ │
│║ CD, the outro pyrotechnics are left loud as the ║ │
│║ rest of the song fades. Also, on the European ║ │
│║ version of Murder in the Skies, a freestyle solo ║ │
│║ similar to End of the World and White Knuckles ║ │
│║ precedes the song. (Hear it!) ║ │
│║ ║ │
│║ Hold On To Love (4:25) Moore lightens the mood ║ │
│║ here slightly with a pop offering. Another minor ║ │
│║ scale feel. Heavy synth and a driving beat, the ║ │
│║ song has that 80s Journey feel to it. Nice, ║ │
│║ tasty solo, big on melody vibrato and tone ║ │
│║ rather than flash. Outro solo is back in the mix ║ │
│║ under the vocal. Nice song that feels strangely ║ │
│║ out-of-place on this album. ║ │
│║ ║ │
│║ The Law Of The Jungle (6:13) A mid-tempo, ║ │
│║ pulsating heavy metal track with a jungle feel ║ │
│║ to it. I think Ozzy was supposed to guest on the ║ │
│║ vocals, but he never got to do it, so Gary's ║ │
│║ doing his best Ozzy sneer on the delivery. The ║ │
│║ main figure is a root-to-octave progression. ║ │
│║ Minor arpeggios add interest under the verses. ║ │
│║ The choruses have a slight eastern feel to them. ║ │
│║ The guitar solo is another real winner. A series ║ │
│║ of climbing unison bends sets up a theme Gary ║ │
│║ returns to after a minor descending phrase. The ║ │
│║ second set of unison bends flow into an ║ │
│║ eastern-flavored climb, where Gary stabs a high ║ │
│║ note, applies an exquisite finger vibrato, then ║ │
│║ falls out into some attitude-packed blues licks, ║ │
│║ a muted, pedal tone climb, and a deliciously ║ │
│║ rude phrase featuring a squawky series of notes. ║ │
│║ Screaming bends and fast flashy licks follow, ║ │
│║ and the solo finishes melodically by blending ║ │
│║ into the chorus part. Great, great solo. ║ │
│║ ║ │
│║ Summary ║ │
│║ ║ │
│║ On Victims everything came together in one ║ │
│║ shining Dinosaur Rock moment. Gary's rock albums ║ │
│║ that followed Victims went back to the less ║ │
│║ heavy, more balanced song-oriented approach, and ║ │
│║ Gary put more emphasis on improving his singing ║ │
│║ and songwriting ù and he succeeded in that. But ║ │
│║ his lead playing on studio albums was never ║ │
│║ quite as strong again as it was on Victims of ║ │
│║ the Future. His playing here was as incendiary ║ │
│║ as it would ever get, and many of the songs on ║ │
│║ Victims are Gary Moore classics. The guy you ║ │
│║ hear on this album is the guy I grew up ║ │
│║ idolizing as a guitar player. Unfortunately, I ║ │
│║ can't find a trace of THIS Gary Moore on ║ │
│║ anything he's recorded since 1990's Still Got ║ │
│║ The Blues. ║ │
│║ ║ │
│║ ║ │
│║ ║ │
│║ Gary Moore - Lead vocals and all guitars ║ │
│║ Ian Paice, Bobby Chouinard - Drums ║ │
│║ Neil Carter - Keyboards and backing vocals ║ │
│║ Neil Murray, Mo Foster, and Bob Daisley - Bass ║ │
│║ Noddy Holder - Additional backing vocals on ║ │
│║ Shapes of things ║ │
│║ ║ │
│║ ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
│ │
│ │
│ │
│╔═════════════════════╗ │
│║ Release Tracklist ║ │
│╚═════════════════════╩══════════════════════════════════════════ │
│ │
│ 01 - Victims Of The Future [06:14] │
│ 02 - Teenage Idol [04:07] │
│ 03 - Shapes Of Things To Come [04:14] │
│ 04 - Empty Rooms [06:35] │
│ 05 - Murder In The Skies [07:18] │
│ 06 - All I Want [04:18] │
│ 07 - Hold On To Love [04:26] │
│ 08 - The Law Of The Jungle [06:22] │
│ 09 - Devil In Her Heart (Bonus Track) [03:29] │
│ 10 - Blinder (Bonus Track) [02:46] │
│ 11 - Empty Rooms (84 Remix) (Bonus Track) [04:21] │
│ │
│ Total Length : [54:10 minn │
│ │
│ │
│ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ │
│ │
│ │
│ │
│ ╔═════════════════════╗ │
│ ║ Greetings To: ║ │
│ ╚═════════════════════╝ │
│ │
│ Too all people who contributes to make this │
│ archive of good music in a exceptional conditions │
│ │
│ │
│ │
│■ ■│
└───────────────────────────────────────────────────────────────────┘