ROCKHANGAR

In the last few years, the French art scene had quite a few surprises in store. In the wake of exceptional bands such as Alcest and Amesoeurs, a new project proceeds to do away with France's position as exotic outsider. Originating from the same set as the above-mentioned artists, Les Discrets – the solo project of enterprising musician, filmmaker, and painter Fursy Teyssier – continues their tradition. With his debut album "Septembre et ses derniиres pensйes," he has created a captivating achievement far beyond a purely musical framework – a fusion of music, film, and painting that results in an oft-attempted, but seldom achieved total work of art.
Conceptually dedicated to the trinity of nature, love, and death, even the title of the album ("The Final Thoughts of September") merges with the predominant undertones. In tracks filled with thoughts of sadness and devotion such as the painfully beautiful "Chanson d'automne," the French vocals sound restrained and nearly sacral, and the guitars in "Effet de nuit" paint a misty picture of the nightside of nature. Les Discrets weave folkloristic motifs and dabs of post rock into their music in an equally fragile way, but in the end, they are only bound to themselves and to the artistic expression of this profound album.
"Septembre et ses derniиres pensйes" marks a brilliant start for this young project, a piece of art full of evocative power and ruminant depth that breaks fresh ground by combining music with other forms of art. Apart from a regular Digipak CD edition, "Septembre et ses derniиres pensйes" will also be released as a 56-page art book edition containing numerous illustrations and background information as well as Fursy Teyssier's award-winning short film "Tir Nan Og" on DVD.

By the age of 11 Kid Rock was already in a band, rapping for The Furious Funkers and DJing parties at High School. Later he joined The Beast Crew and by 17 he had signed a record deal, albeit without the members of his band. His debut album was 1990's Grits Sandwiches for Breakfast which spawned the salacious single "Yo Da Lin in the Valley". Unfortunately Kid was dropped by his record label as the result of a scandal surrounding the exaggeration of fellow labelmate Vanilla Ice's street-cred which resulted in a backlash against other white rappers. By 1992 he had a new contract with Continuum Records and released The Polyfuze Method in 1993 from which "Back From the Dead" was a Top 20 hit. – Amazon.com

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 14. March 2010, 11:09

Hush / Human

Used drive : PLEXTOR CD-R PX-W4824A Adapter: 0 ID: 0

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Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
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Command line compressor : E:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
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1 | 0:00.32 | 3:44.35 | 32 | 16866
2 | 3:44.67 | 4:15.33 | 16867 | 36024
3 | 8:00.25 | 4:30.57 | 36025 | 56331
4 | 12:31.07 | 2:56.43 | 56332 | 69574
5 | 15:27.50 | 5:20.72 | 69575 | 93646
6 | 20:48.47 | 4:27.73 | 93647 | 113744
7 | 25:16.45 | 4:23.60 | 113745 | 133529
8 | 29:40.30 | 4:40.25 | 133530 | 154554
9 | 34:20.55 | 5:02.25 | 154555 | 177229
10 | 39:23.05 | 4:06.65 | 177230 | 195744
11 | 43:29.70 | 3:33.67 | 195745 | 211786
12 | 47:03.62 | 2:44.28 | 211787 | 224114


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Filename E:\Hush Human\Hush - Human.wav

Peak level 98.4 %
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No errors occurred

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Rare Earth began as an R&B band called the Sunliners in Detroit in 1961. Of the musicians who would be part of the band dubbed Rare Earth, only sax player Gil Bridges and drummer Pete Rivera were present. John Parrish joined on bass in 1962. Rod Richards became a guitarist with the group in 1966. Keyboardist Kenny James came into the fold the same year. After years of doing the club circuit, the group changed their name to Rare Earth and released Dreams/Answers on Verve. The album received little reaction and the group was picked up by Motown Records as the first act on their yet-to-be-named new label. Rare Earth suggested to Motown that the label name their new subsidiary after the band and Rare Earth Records was born.

When they set out to record their first album, they essentially ran out of material and did a 21-minute rendition of the Temptation's "Get Ready" to fill out the space. The album was making no headway on the charts for a long period of time. So they took the first three minutes of "Get Ready," released it as a single and it made its way into the U.S. Top Ten list, peaking at number four. Pulled along by the success of the single, the album also began to sell, breaking the Top 20, and Rare Earth's career was officially on its way. The second album, Ecology, was released in June of 1970, a couple months short of a year after "Get Ready" had been put out. Interestingly enough, Ecology was not really the group's second album, but their third. An album entitled Generation was recorded as the soundtrack to the film of the same name. When the film stalled at the box office, the album was shelved. Still, Ecology would yield not one, but two hit singles. The first was "(I Know) I'm Losing You" (another Temptations cover), which also broke the Top Ten. The second single, "Born to Wander," did not fare quite so well, but did make the Top 20. The album was catapulted to number 15.

Not wanting to lose momentum, One World followed almost exactly a year after Ecology, and yielded another hit single in a longtime classic, "I Just Want to Celebrate." The song peaked on the pop charts at number seven and the album broke the Top 50. They released a live album in December of the same year. For the next album, Willie Remembers, the group insisted on doing all originals, a move that was not common around the Motown camp. Unfortunately, for a band trying to prove a point, the album never reached the type of sales of previous records. Indeed, it stalled out at number 90, and the single "Good Time Sally" didn't even break the Top 50.

Motown tightened the creative grip on the group and original producer Norman Whitfield, who had worked with the group on earlier albums, was brought in to save the day. The resulting album, Ma, was released in May of 1973 and fared just a little better than Willie Remembers, peaking at number 65. The label was not pleased and sent the group into the studio to record with Stevie Wonder. That pairing did not really gel, though, and only two tracks were recorded, neither of which were released. Instead, the label sought to release another live album, trying to regain the spark that Rare Earth had had. That project also fell by the wayside, though.
What followed was a series of lineup changes and legal battles, and the group stopped touring altogether in 1974. The following year Rare Earth, in a new lineup, released Back to Earth. The album did a bit better than the previous one, reaching number 59 on the charts. The single, appropriately entitled "It Makes You Happy (But It Ain't Gonna Last Too Long)" stalled just outside the Top 100. A disco-oriented excursion entitled Midnight Lady was released in 1976, but failed to really go anywhere. To make matters worse, Rare Earth Records was discontinued altogether. The band had broken up by this time.

As fate would have it, though, this was not the end of Rare Earth. Instead, Barney Ales, who had presided over Rare Earth Records, started his own label Prodigal Records. He talked the group into reuniting to record the label debut. The resulting album, Rare Earth, was released in 1977 and made no real waves in the music business. Rare Earth got things together again for a marathon recording session the following year. That session yielded not one, but two albums. The first was Band Together, released in April of 1978, with Grand Slam following in September. Neither of those albums every really took off, either. The group essentially broke up in 1978, although a version of the original lineup was touring all the way into 1983. A different incarnation of the group, with just two original members, still makes the circuits.

Tracklist:
01 She's Trouble 3:24
02 Livin' in a Different World 3:37
03 Reach Out 3:59
04 I Got the Feeling 3:08
05 Can't Stop Love 3:59
06 Lady Madonna Lennon, McCartney 2:57
07 Slippin' Away 3:53
08 Live It Up 3:40
09 How Sweet It Is 3:02
10 Hey, Pretty Baby 3:25
11 Tobacco Road Loudermilk 7:12

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"This album re-invents the word "Psychedelic" in so many ways. The OZRICS here are in fine form and deliver some their best work yet. "Jurassic Shift" is loaded with tons of swirling acid laced guitar , mixed with hyptnotic/pulsating electronica and wicked drumming. This all instrumental album is supported by the "freaked Out" flute playing of Joie which adds great depth to the music in actuality. Songs are very well written and recording quality here is fabulous giving the listener solid speaker seperation and dynamics. "Jurassic Shift" will definitely hook you on the OZRICS and you will be back looking for more."

It's a sign of Joe Bonamassa's increasing profile that he got blues legend B.B. King to guest on his eighth album Black Rock — and if what you're doing is good enough to rope B.B. in, there’s not much reason to change, so Bonamassa doesn't tinker with his formula here, retaining a little of the folky undertow of The Ballad of John Henry, but with its remaining roots in a thick, heavy blues-rock more redolent of '60s London than the '50s Delta. Of course, Bonamassa has never shied away from his love of Brit-blues, even underscoring it with a good streamlined cover of Jeff Beck's “Spanish Blues,” but he retains a healthy respect for all manners of classic blues, kicking out a Chicago groove on a cover of Otis Rush’s “Three Times a Fool,” reaching back to Blind Boy Fuller for “Baby You Gotta Change Your Mind” and ably replicating B.B.’s latter-day soul groove on a horn-smacked cover of Willie Nelson’s “Night Life.” Bonamassa has an ear for non-blues writers too, cherrypicking Leonard Cohen’s “Bird on a Wire” and John Hiatt's “I Know a Place,” tying it all together with beefy lead lines, but the provocative moments on Black Rock are all self-penned, whether it's the clattering stomp “When the Fire Hits the Sea,” the British folk lilt of “Quarryman's Lament” and “Athens to Athens,” or the droning dramatic epic “Blue and Evil.” These are easily the most intriguing songs here, suggesting Bonamassa realizes that the familiar covers allow him to stretch out elsewhere, and while it might be interesting hearing him follow this path for a full album, what’s here on Black Rock is both satisfying and admirably, if reservedly, ambitious.

British pop-jazz-blues crooner Elkie Brooks (born Elaine Bookbinder) dominated U.K. radio in the late '70s with a series of hit singles that established her as "the biggest-selling female album artist in the history of the British pop charts." The Manchester native, who grew up in an extremely musical family, left school at the age of 15 to join a dance band in London. She eventually mad the jump to radio, as well as numerous appearances with legendary jazz bandleader Humphrey Lyttelton, before embarking on a career in pop music. The early '60s saw the budding young singer releasing singles for Decca and EMI, as well as opening for everyone from Carl Perkins to the Beatles, but commercial success remained elusive. She joined the blues-rock band Dada in 1970, which would eventually find success through a name change (Vinegar Joe) and the arrival of a new vocalist, Robert Palmer. The popular group released three beloved records before disbanding in 1974, and after a brief stint with U.S. Southern rock band Wet Willie, Brooks decided to take another crack at a solo career. The resulting Rich Man's Woman, Two Days Away, Shooting Star, Live & Learn, Pearls, and Pearls II, as well as frequent sold-out tours and numerous silver, gold, and platinum recordings, would go on to cement her reputation well into the 21st century. This is her latest album.

A blending of multiple styles, with a specific focus placed upon classical piano, 'listen' is a mature work of melodic electronica.

For Deep Purple's first live show on American soil they also made a rough black & white video recording to analyse the band's stage performance. Maybe they were was also there to check another recent acquisition, the world's first production-line 'home' sony video equipment 1968video-tape recorder and portable video camera, both introduced by Sony in 1967. The results captured through the camera (equipped only with an awkward turret lens to zoom in) were not at all impressive. Tetragrammaton played back Purple's 50 minute support performance to the group soon afterwards, and no-one could really have learnt much from it. The picture was just a grey fog, with the figures of the band just about visible through the gloom. Whenever they moved the primitive tube technology of the camera caused 'ghosting', which made things even worse.

The good news was that the accompanying audio recording turned out well and that the fifty minute support set also fitted neatly onto a reel of 0.5 inch videotape. Effectively even the audio was still just a superior audience recording however, so when Warners took over Tetragrammaton in 1970, the tape went into the dumpster.. Fortuitously it was rescued, and eventually reached the hands of the DPAS. A poor quality copy also leaked out on a Japanese bootleg cd, but we still had to wait to hear the tape at its best.

Now, the audio track has been cleaned up from the original transfer, and released as the second of the 'Sonic Zoom' series of Deep Purple live archive releases. So little evidence of Mk 1's live act remains that the recording is of real historical significance.Regarding the actual sound quality, Purple Records' site mentions that "you soon get used to the ambience, with just a little distortion in the second number and someone in the audience heard near the microphone at one or two quiet moments." It's true enough, and the sound is certainly markedly better than on the bootleg. The hiss has gone (not counting the buzzing of the amps), and there is a sharpness to the recording that was buried on the bootleg. (Being able to hear Ian Paice's cymbal taps counting in the first crashing chord of Hush for starters!) The qualty is easily good enough to make for a pleasurable (and fascinating) listen, great news for anyone who can enjoy a good, clear vintage audience recording of Deep Purple. But if you're expecting hi-fi stereo, or even a miracle clean-up, it would be best to approach with caution. by David Browne

Rod Evans (vocals) [Captain Beyond]
Nick Simper (bass) [Warhorse, Fandango, The Flower Pot Men]
Ian Paice (drums)
Jon Lord (keyboards)
Ritchie Blackmore (guitars)

Despite the piercings and spiky hairdos of Good Charlotte frontmen Joel and Benji Madden, the filth and the fury of punk are not in evidence on The Young and the Hopeless. Rather, Good Charlotte lean toward the sunny power pop favored by the lighter Huntingdon Beach, California, outfits. Nevertheless, with the title track and "The Anthem" ("I'm just a minor threat"), the band appeals directly to high-school outsiders. Relationship problems are delved into in "Wondering" and "Say Anything," and they even find space to explore comic horror with "My Bloody Valentine." So they're not as intense or enraged as the hardcore likes of Black Flag or even Linkin Park. But the undeniably strong melodies this bunch comes up with have plenty of appeal on their own terms. --Dominic Wills – Amazon.com

The Chronicles of Life and Death is the third studio album by Good Charlotte. The album was released on October 5, 2004. The album was released with two different versions: a "Life" version and a "Death" version which both came with different cover art (designed by guitarist Billy Martin) and a special bonus track. There is also an import Japanese version that also has a different cover art as well as the special bonus tracks from both the "Life" and "Death" Versions, including the hidden track "Wounded" in the end of the album. The album sold 150,000 in the first week. The Chronicles of Life and Death is the only Good Charlotte album to feature Chris Wilson on drums. - wiki

One of the seminal figures of new wave, Adam Ant (born Stuart Leslie Goddard) had several distinct phases to his career. Initially, he explored a jagged, guitar-oriented post-punk with his group Adam and the Ants before giving way to a more pop-oriented, glam-tinged musical direction that brought him to the top of the charts. ~ Stephen Thomas Erlewine, All Music Guide – Amazon.com

The festival at the Isle of Wight was to Europe what Woodstock was to the USA. Many problems came about as more rock fans than tickets available came to this usually peaceful island just off the coast of Portsmouth, England. The festival was held at East Afton farm in Freshwater, on the 13- by 23-mile island off the coast of Southern England. This was considered the last monster tribal gathering -- the five-day 1970 Isle of Wight Festival -- where 600,000 mostly stoned flower children turned ugly in obnoxious displays of hippie self-righteousness."

Many of the biggest rock stars of the time appeared at this festival including The Who, Free, Donovan, Ten Years After, The Moody Blues, Joni Mitchell, Joan Baez, Leonard Cohen and Jethro Tull, and ELP. Jimi Hendrix and Jim Morrison of the Doors made their last live stage appearance here.

"This is a CD that can hold its own with many of PINK FLOYD's greats--do not pass it up simply because it is a "non-concept" album. It is, in fact, the last non-concept album that PINK FLOYD would produce until A Momentary Lapse of Reason. Therefore, what the listener ought to focus upon is the power of the music. This disc really does a nice job of forecasting some of the beautiful music that will later appear on The Dark Side of the Moon."

A two-CD survey of Winter's recordings for Columbia between 1969 and 1979, the era of his greatest commercial success. This collects many of his most popular tracks, though it doesn't do much to argue a case for artistic diversity. Includes two otherwise unavailable songs: an alternate take of "30 Days," and a previously unreleased 1973 cover of Robert Johnson's "Come on in My Kitchen."

From the legendary Dangerhouse Records, this first wave Punk single is commanding more than $100 on the collector's market. Its title track might be a bit of a novelty item but the single overall is quite good. The track "Brainless" is obviously influenced by the New York No Wave movement (DNA, etc) and the EP is reasonably well produced. Captured from a first edition copy in near mint condition.

Lista de canciones:

01. «Sin Sobresaltos» Gustavo Cerati y Zeta Bosio 4:20
02. «El rito» Gustavo Cerati 6:04
03. «Prófugos» Gustavo Cerati 5:15
04. «No Existes» Gustavo Cerati 4:39
05. «Persiana americana» Gustavo Cerati y Jorge Daffunchio 4:50
06. «En camino» Gustavo Cerati 4:27
07. «Signos» Gustavo Cerati 5:12
08. «Final Caja Negra» Gustavo Cerati, Zeta Bosio y Charly Alberti 5:39

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Part 1

Part 2

Part 3

Part 4

This is the year that a lot of female artists, from Laura Marling to Duffy and Adele, will be facing the eternal pop dilemma of what to do on that difficult second album. Few will have it as hard as Scottish singer-songwriter Amy Macdonald, whose 2007 debut This Is the Life sold over three million copies and went to number one in five countries. A Curious Thing, recorded at Paul Weller’s home studio in Surrey and featuring guest spots from the Modfather, doesn’t sound as though Macdonald is feeling the pressure. It is a bold, grand statement of intent, full of songs of epic sweep that build to undeniable choruses, to be enjoyed by the largest possible audiences. It sounds bigger and more ‘produced’ than This Is the Life – there is no sense of the girl from Bishopbriggs recoiling from the spotlight. That said, there are a number of tracks here about the perils of fame. Of the dozen songs on A Curious Thing, half concern our celebrity-obsessed culture and the cult of personality that Macdonald has witnessed first-hand since her arrival on the world’s stage. On No Roots she is positive about the rock star milieu: “This life I lead, it’s a curious thing, but I can’t deny the happiness it brings”; but on This Pretty Face she is less charitable: “I don’t care who does her hair / Or what clothes she wears.” Next Big Thing takes a dim though sympathetic view of reality TV wannabes and An Ordinary Life is a dig at the Z-list celebs she saw flocking round actor Gerard Butler at a party last year. On My Only One she sings, with a weary sigh, “There was time when the whole world was looking at you... They changed their minds from day to night.” Finally, there’s first single Don’t Tell Me That It’s Over –about a pop star she recently saw in full pompous effect. And yet for all that A Curious Thing doesn’t feel bitter or downbeat. If anything, MacDonald appears to have been energised by her colossal success. The music here is richer and fuller, the hooks more emphatic, and her voice meets it head-on, with a stridency and vigour reminiscent of Dolores O’Riordan, even Sinead O’Connor. Even a title such as Give It All Up, which could have been drenched in defeat, is resilient, even defiant. A triumphant return.

Lista de canciones:

01. «Nada personal» Gustavo Cerati 4:57
02. «Si no fuera por...» Gustavo Cerati, Zeta Bosio y Charly Alberti 3:29
03. «Cuando pase el temblor» Gustavo Cerati 3:49
04. «Danza rota» Gustavo Cerati 3:36
05. «El cuerpo del delito» Gustavo Cerati y Zeta Bosio 3:50
06. «Juego de seducción» Gustavo Cerati 3:22
07. «Estoy azulado» Gustavo Cerati y Richard Coleman 5:21
08. «Observándonos(Satélites)» Gustavo Cerati y Zeta Bosio 3:10
09. «Imágenes retro» Gustavo Cerati y Charly Alberti 3:55
00. «Ecos» Gustavo Cerati 4:59

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Part 1

Part 2

Part 3

Twice a Man is a Swedish synth project, formed in 1981 as an offshoot of Cosmic Overdose. The band consists of members Karl Gasleben and Dan Söderqvist and has remained intact over nearly three decades. While most of their contemporaries made an ephemeral splash, Twice a Man has remained intact since their inception, continuously recording and releasing records.

Mexican duo Rodrigo Sánchez and Gabriela Quintero perform together as Rodrigo y Gabriela. They are well known for their special rhythmic technique on acoustic guitars which gives them a unique sound. After struggling for recognition in Mexico, they moved to Ireland and quickly found an audience in Dublin. Their self-titled album (2006) was met with warm reviews and topped the album charts in Ireland, where it was later certified platinum.

Tracklist
1. Tamacun (03:25)
2. Diablo Rojo (04:56)
3. Vikingman (04:03)
4. Satori (05:04)
5. Ixtapa (05:13)
6. Stairway To Heaven (04:44)
7. Orion (07:44)
8. Juan Loco (03:27)
9. PPA (Pinche Personal Assistant) (04:12)

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