℗ 1982 Atlantic Recording Corporation
 

Crosby, Stills & Nash

Crosby, Stills & Nash

Available in MQA and 192 kHz / 24-bit, 96 kHz / 24-bit AIFF, FLAC high resolution audio formats

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    • AIFF 96 kHz | 24-bit
    • AIFF 192 kHz | 24-bit
    • FLAC 96 kHz | 24-bit
    • FLAC 192 kHz | 24-bit
    • MQA 192 kHz | 24-bit (source)
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1
Turn Your Back on Love (Remastered)
Crosby, Stills & Nash
4:51
2
Wasted on the Way (Remastered)
Crosby, Stills & Nash
2:52
3
Southern Cross (Remastered)
Crosby, Stills & Nash
4:41
4
Into the Darkness (Remastered)
Crosby, Stills & Nash
3:23
5
Delta (Remastered)
Crosby, Stills & Nash
4:15
6
Since I Met You (Remastered)
Crosby, Stills & Nash
3:12
7
Too Much Love to Hide (Remastered)
Crosby, Stills & Nash
3:58
8
Song for Susan (Remastered)
Crosby, Stills & Nash
3:08
9
You Are Alive (Remastered)
Crosby, Stills & Nash
3:04
10
Might as Well Have a Good Time (Remastered)
Crosby, Stills & Nash
4:25
11
Daylight Again (Remastered)
Crosby, Stills & Nash
2:28
Total Playing Time    40:17
Daylight Again is the seventh album by Crosby, Stills & Nash, and their fourth studio album comprising original material.

The genesis of the album lies in recordings made by Stephen Stills and Graham Nash at intervals in 1980 and 1981 and the album was originally slated to be a Stills–Nash project. They employed Art Garfunkel, Timothy B. Schmit, and others to sing in place of where David Crosby might have been. Executives at Atlantic Records, however, had little interest in anything but CSN product from any member of the group, and held out for the presence of Crosby, forcing Nash and Stills to start paying for the sessions out-of-pocket. They began to turn toward the company's point of view, however, and decided to invite Crosby to participate at the eleventh hour.

Daylight Again was the band's first album in the video age, and a video was filmed for "Southern Cross" featuring the band and one of their favorite metaphors, a sailing vessel.
192 kHz / 24-bit, 96 kHz / 24-bit PCM – Rhino Atlantic Studio Masters

Tracks 1-8, 10, 11 – 88.2 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit; 88.2 kHz / 24-bit PCM, mastered in 192 kHz / 24-bit
Tracks 1-11 – contains high-resolution digital transfers of material originating from an analogue master source
Track 9 – 44.1 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit; 44.1 kHz / 24-bit PCM, mastered in 192 kHz / 24-bit

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