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Kraftwerk - Ralf und Florian
Posted By :
SteveJobs
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Date :
25 Jan 2010 13:07:13
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Comments :
11
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Kraftwerk - Ralf und Florian (1973)
XLD Rip | Flac (Tracks-6) Cue, Log, m3u, md5, st5, ffp | complete Artwork 300 dpi | 237 MB
Bootleg | Krautrock | 1973 | Germanofon | 941023
'Ralf und Florian' is the third studio album created and produced by the German music group Kraftwerk. It was also released under the English name of 'Ralf and Florian'. Unlike Kraftwerk's later albums, which featured language-specific lyrics, only the titles differ between the English and German editions.
Along with Kraftwerk's first two albums, Ralf und Florian to date, has never been officially re-issued on compact disc. However, the album remains an influential and sought after work, and bootlegged CD's were widely distributed in the 1990s on the Germanofon label.
As indicated by the title (and like their previous album), all the tracks were written, performed and produced by Ralf Hütter and Florian Schneider, with the sessions engineered by the influential Konrad "Conny" Plank. The album has a fuller and more polished sound quality than previous efforts, and this is clearly due to the use of a number of commercial recording studios in addition to Kraftwerk's own yet-to-be-named Kling Klang.
The colour photograph on the back of the cover gives a vivid impression of the bohemian state of Kraftwerk's own facilities at the time – including egg-box trays pasted, nailed, or stuck on the walls for soundproofing.
The album is still almost entirely instrumental (some wordless yodelling appears in "Tanzmusik", and "Ananas Symphonie" features the band's first use of a machine voice created by an early prototype vocoder, a sound which would later become a Kraftwerk trademark). Instrumentation begins to show more obvious use of synthesizers (Minimoog and EMS AKS), however most melodic and harmonic keyboard parts are performed on Farfisa electronic piano/organ. Flute and guitar are still much in evidence.
The band were still without a drummer, and several tracks, particularly "Tanzmusik", make use of a preset organ rhythm machine. "Kristallo" features a striking rhythmic electronic bassline (actually created on the EMS synthesizer with the aid of the vocoder), however in general the album is much gentler and less rhythmically precise than Kraftwerk's later electronic work.
The LP included a "musicomic" poster insert of cartoons by Emil Schult, who had been playing electric violin live with the band (although he does not feature on the album recordings). Schult remains a collaborator of Kraftwerk's to the present day. The cartoons illustrated each track on the album, as well as the city of Düsseldorf, with the caption "In Düsseldorf am Rhein, klingt es bald!", which translates literally in English as "In Düsseldorf on the Rhine, it will sound soon" (perhaps the phrase "the sound gets around" captures the snappy feel of the maxim better). Also note that this is kind of a reference to Kraftwerk's Düsseldorf based Kling Klang studio.
The album was a modest success in Germany. Drummer Wolfgang Flür was recruited to play with Ralf and Florian for a subsequent promotional TV appearance in Berlin, for the German WDR TV arts show Aspekte. He became a member of the group thereafter.
Tracklisting
1 Elektrisches Roulette ("Electric Roulette") – 4:20
2 Tongebirge ("Mountain of Sound") – 2:50
3 Kristallo ("Crystals") – 6:20
4 Heimatklänge ("The Bells of Home") – 3:45
5 Tanzmusik ("Dance Music") – 6:35
6 Ananas Symphonie ("Pineapple Symphony") – 13:55
Note: The above English translations are taken from the US version of the album issued by Vertigo in 1975.
Credits
Ralf Hütter – vocals, keyboards, electronics, string instruments, drums and percussion
Florian Schneider-Esleben – vocals, keyboards, electronics, string and wind instruments, percussion
Emil Schult – "musicomix" poster design.
Konrad "Conny" Plank – sound engineer.
Barbara Niemöller – rear cover photo.
Robert Franck – front cover photo.
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Enjoy!
A huge thanks to you Steve!
p.s.
I don't have any idea what for are these files md5, st5, ffp, can yo help me?
You can use for instance Trader's Little Helper for making and verifying the checksum files. http://tlh.easytree.org/
.md5 wholefile checksum. verifies that files are identical in every single way, and is therefore sensitive to compression setting, file format et al.
.st5 aka SHNtool md5. this is a checksum taken from the decompressed audio only. the advantage to this is that it works with any lossless codec at any compression setting. This is the preferred checksum type to be included with FLAC, SHN or APE files.
.ffp aka FLAC fingerprints. These checksums are virtually identical to .st5. some differences are explained below.
The main reason is that when you double-click a .ffp for testing using TLH, it extracts the checksums hidden in each FLAC file's header and compares that to what is in the .ffp file to see if it matches (takes about three seconds).
Using the .ffp this way for testing does not test the audio content whatsoever (which could be corrupt after a successful .ffp verification). A second stage of testing is necessary in this case, it is "test" mode, which decompresses the audio to a temp file and generates a fresh hash from this and compares that to the the checksum hidden in the header. So, only after the two-stage test the files are verified. Double-clicking on a .st5 for verification using TLH results in the audio content of the files to be tested being decompressed to a temp file (temporarily) while a fresh hash is generated and compared to the corresponding checksums contained in the .st5 file. So the .st5 test is only one step and verifies both (a) that the files will decompress properly (as with "test" mode) and (b) that the checksums contained in the .st5 file match hashes freshly generated from that decompressed audio. When a .st5 verifies 100% okay everything is tested except the header isn't looked at, thus the .ffp. The .ffp is admittedly a little superfluous, but since it is only 1k and takes about three seconds to generate and verify its not really much to ask.
The md5 test fails, if for instance FLAC-tags were changed. (md5 test passes only with the original unaltered files.)
The .ffp test passes even if FLAC-tags were changed as it checks the integrity only with the internal fingerprint of the FLAC file. This fingerprint is for the audio only and if those two fingerprints match, then the ffp-test is passed.
.st5 goes a bit deeper as it checks the uncompressed audio information of a file. With this method you can compare if an audio file is the same even when the lossless compression format has been changed. (shn to flac, for instance)
I'm sure there are some better guides and explanations available on the net.
Kind regards from Holland
Thanks for your posts...
Please be so kind re-up it