Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 23. August 2010, 5:36
Tar / Roundhouse
Used drive : HL-DT-STDVDRAM GSA-H42L Adapter: 0 ID: 1
Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No
Read offset correction : 667 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000 Gap handling : Appended to previous track
Used output format : User Defined Encoder Selected bitrate : 256 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe Additional command line options : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s
#777Label: Amphetamine Reptile Records Catalog#: AMREP 004 Продолжительность: 00:39:36 Трэклист:
01. Short Trades 03:56 02. Cross Offer 03:40 03. Walking the King 02:49 04. On a Transfer 05:00 05. Trauma 04:23 06. Dark Mark 04:53 07. Goethe 03:33 08. Tellerman 03:30 09. Land Luck 03:22 10. Viaduct Removal 04:26
Credits ▼ Recorded By – Steve Albini (tracks: [uncredited])
Notes ▼
Original copies don't actually have the catalog number printed anywhere on them except the compact disc laser etching.
Steve Albini is uncredited, however he recorded this album.
Код:
EAC extraction logfile from 25. July 2008, 15:04 for CD Tar / Jackson
Used drive : TSSTcorpCD/DVDW TS-H652M Adapter: 1 ID: 0 Read mode : Secure with NO C2, accurate stream, disable cache Read offset correction : 6 Overread into Lead-In and Lead-Out : No
Used output format : C:\Program Files\Exact Audio Copy\flac.exe (User Defined Encoder) 320 kBit/s Additional command line options : -8 -A tukey(0.25) -A gauss(0.1875) -b 4096 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s --sector-align
Other options : Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Installed external ASPI interface
Track 1 Filename C:\Users\Moon\Documents\Torrents\Waffles\Tar - Jackson\01 - Short Trades.wav
Pre-gap length 0:00:02.00
Peak level 96.5 % Track quality 100.0 % Test CRC F4654C0B Copy CRC F4654C0B Copy OK
#777Label: Touch And Go Catalog#: TG109CD Продолжительность: 00:21:34 Трэклист:
1. Lady Steps 2:32 2. G7 3:12 3. Dean Martin 3:38 4. Good Part (Wrong Band) 3:11 5. Teetering (Ver.) 3:34 6. Solution 8 (Live) 2:56 7. Deep Throw (Live) 2:28
Credits ▼ Bass – Tom Zaluckyj Drums – Mike Greenlees Guitar – Mark Zablocki Guitar, Vocals – John Mohr Producer – Brad Wood, Tar Recorded By – Brad Wood (tracks: 1 to 5), Elliot Dicks (tracks: 6, 7) Recorded By [Assistant] – Casey Rice (tracks: 6, 7)
Notes ▼
Tracks 6 and 7 recorded live in Chicago 6 November 1992.
This EP preceded the band's excellent album Toast by half a year, despite the later catalog number. Produced and recorded by Brad Wood, except 6 & 7 recorded live in Chicago Nov. 6, 1992 by Elliot Dicks.
Trouser Press on the EP and album: With two live cuts and an alternate version of the 1992 single "Teetering" augmenting four new studio songs, Clincher introduces more pronounced melodies, particularly on "Lady Steps," which sounds like a Zuma-era Neil Young outtake. Toast expands the melodic terrain and displays even more confident vocals. The band's wry humor also emerges, most prominently on "Satritis," which posits that it's better to make fun of guitar solos than to actually play them. Indeed, Mohr and Zablocki establish a twin-guitar vocabulary so reliant on tension-building rhythms and textures that individual expressions of technique would be superfluous.
Код:
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 13. July 2010, 14:12
Tar / Clincher
Used drive : HL-DT-STDVDRAM GSA-4081B Adapter: 1 ID: 0
Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No
Read offset correction : 667 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000 Gap handling : Appended to previous track
Used output format : Internal WAV Routines Sample format : 44.100 Hz; 16 Bit; Stereo
#777Label: ATouch And Go Catalog#: TG106CD Продолжительность: 00:47:20 Трэклист:
01. Altoids, Anyone? 2:45 02. Barry White 3:44 03. Quieter Fellow 4:04 04. Satritis 3:29 05. Clincher 3:45 06. Giblets 3:58 07. Testor's Choice 3:37 08. Standpipe 2:44 09. Mach Song 3:40 10.1 Theme 1:58 10.2 (no audio) 11:32 10.3 The French Horn 1:57 Recorded By – David Lounsbury
Credits ▼ Guitar – Mark Zablocki, Mike Greenlees, Tom Zaluckyj Guitar, Vocals – John Mohr Written-By – Tar
Notes ▼
<B>Theme</B> ends at 1:58 followed by 11:32 of silence before <B>The French Horn</B>, a 1:57 "hidden track" starts.
The French Horn was digitally recorded on February 16, 1993 at Khyber Pass in Philadelphia.
Код:
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 6. October 2009, 14:37
Tar / Toast
Used drive : PIONEER DVD-RW DVR-212D Adapter: 1 ID: 0
Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No
Read offset correction : 48 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000 Gap handling : Appended to previous track
Used output format : User Defined Encoder Selected bitrate : 192 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe Additional command line options : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s
#777Label: Touch And Go Catalog#: TG145CD Продолжительность: 00:42:42 Трэклист:
01. Known Anomalies 4:20 Vocals [Ambient] – Al Johnson 02. Welk 3:28 03. Time To Strike 3:37 04. Building Taj Mahal 6:59 05. Q.V.C. 4:11 06. Billow My Sail 2:48 07. Muncie 4:41 08. Carpal Tunnel Season 4:09 09. Topless, Mindless, Senseless 4:05 10. The Shoo 4:21
Credits ▼ Bass Guitar, Electric Guitar, Vocals – Tom Zaluckyj Drums – Mike Greenlees Electric Guitar, Effects [E-bow] – Mark Zablocki Electric Guitar, Vocals – John Mohr Engineer – Bob Weston* (tracks: 5, 6, 9), Steve Albini (tracks: 1 to 4, 7, 8, 10) Written-By – Tar
Код:
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 13. July 2010, 20:22
Tar / Over and Out
Used drive : Optiarc DVD RW AD-7240S Adapter: 0 ID: 3
Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No
Read offset correction : 48 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000 Gap handling : Appended to previous track
Used output format : Internal WAV Routines Sample format : 44.100 Hz; 16 Bit; Stereo
What can you say about Tar? They were a band that existed in a very fruitful time for rock music to spin out of punk. When Tar started out in 1988, out of post HC/skate rock outfit Blatant Dissent, there were no eyes on anything remotely underground. You had to know people, or at least listen in on the right conversations, to figure out your ass from your elbow. It was a time when, if you were playing non-mainstream music, you would have to start riots and destroy venues, or smear yourself with shit and eat used tampons to get recognized in the media. When Tar called it a day in 1995, at least two bands they toured with, and five bands with whom they shared rosters on both the Amphetamine Reptile and Touch & Go labels, had signed to majors. What happened in between is history. And history is what we are here to celebrate. Even in their heyday, there weren’t a lot of bands like Tar, either in their hometown of Chicago or anywhere else. There were bands that had the choreographed stage moves, the short hair, the loud amps, the promotional matchbooks, but few if any could manage what Tar did, which was to create a new, strict, limited vocabulary for rock-based music. Since you can’t spell “guitar” without “tar,” their use in the band went uncontested. They had two really cool ones at that, belonging to deadpan frontman John Mohr and bassist Tom Zaluckyj, forged out of aircraft aluminum, which built one of the foundations of their sound: prolonged sustain, chords that rang out as long as they could hold out. So that was a thing. The rest of the Tar rulebook worked as such: capture the sound of three guitars playing different notes at the same time, discover harmonious sound in the discord that could erupt from the potential incompatibilities, and no leads, no solos, no posturing. What resulted was an architected noise, completed by Mark Zablocki’s second guitar and Mike Greenlees’ clean, solid drumming (and until 1991, bass guitarist, Tim Mescher) that sat firmly in the midst of the ugly American overkill of Midwestern noise rock, but with eyes on the shimmering expanses of shoegaze from afar. Studio engineers worked with the band to exploit the capacities of this approach; Steve Albini fused the guitar tones together on their 1991 album Jackson, while Brad Wood found synergies in the spaces between them for the subsequent release 1993’s Clincher EP. Their approach seems deceptively simple, but mindbreaking thought went into how that sound came to be. They had peers in both Savage Republic’s desert psychedlia and Glenn Branca’s and Rhys Chatham’s guitar orchestras, but none of those artists were able to apply those ideas to catchy, driving three-minute rock songs the way that Tar could. When Tar broke up, other bands weren’t citing them as a primary influence in what they were trying to do with their own music. In essence, rock gave up on Tar; bands no longer got beaten up for having someone playing a synthesizer, and the group’s legacy was buried by history. Tar reunited for local performances in 2012, and to commemorate, longtime fan Henry Owings released a two-song 7” on his Chunklet label featuring session outtakes from the band’s final album, Over And Out. Now, the fruits of their labor can be found in 1988-1995, a double album which dutifully collects all of Tar’s in between moments: 7” singles, splits, compilation tracks, unreleased material, and their entire John Peel Session. These 21 tracks reveal the hidden history of Tar’s progression from mechanized thrash into gracefully strong, peerless rock-not-roll, and that even appearances on tour singles and multi-band collections were reasons to bring their A-game. Over fifteen years have passed since Tar’s initial demise, and 1988-1995 presents a band due for serious re-evaluation as deafening iconoclasts of independent music. Doug Mosurock / September 2013
released 28 May 2014
Features: Contains every non-12” vinyl release by Tar, including all singles, compilation tracks, unreleased, and a 1992 Peel Session, and covers of songs by Pere Ubu (“Non-Alignment Pact”), The Wipers (“Doom Town”) and AC/DC (“Hell’s Bells”). Cut direct to lacquer by Bob Weston at CMS Download code included Bonus digital download features Want/Need, over two hours of live Tar recordings from the band’s archives, spanning every period in the band’s development. Aluminum guitars sound best
01. Play To Win 02. Mel's 03. Cracks In the Sidewalk 04. Long Arm 05. Antlers 06. Flow Plow 07. Hand 08. Viaduct Removal (Peel Session) 09. Ballad of the Storyteller (Peel Session) 10. Walking The King (Peel Session) 11. Play To Win (Peel Session) 12. Compaction 13. Solution 8 14. Non-Alignment Pact 15. Deep Throw 16. Kebab 17. Feel This 18. Hell's Bells 19. Mumper 20. Play To Win 21. Mel's 22. Static 23. Seam 24. Doom Town (Wipers cover) 25. Same 26. Hand 27. Flow Plow 28. Antlers 29. Compaction 30. Bad Box 31. Deep Throw 32. Black Track 33. Barry White 34. Teetering 35. Lady Steps 36. Solution 8 37. Dark Mark 38. Theme 39. Walking The King 40. Kebab 41. The Shoo 42. Q.V.C. 43. Les Paul Worries 44. Dean Martin 45. Time to Strike (Instrumental) 46. Mach Song 47. Quieter Fellow 48. Known Anomalies 49. Welk 50. Muncie 51. Carpal Tunnel Syndrome 52. Billow My Sail 53. Topless, Mindless, Senseless 54. Intro 55. Short Trades 56. Cross Offer 57. Trauma 58. Walking The King 59. Les Paul Worries 60. Downtime 61. Tellerman 62. Land Luck 63. Dark Mark 64. On A Transfer 65. Solution 8 66. Viaduct Removal
Код:
fooCDtect - foobar2000 + auCDtect, baralgin.
auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved.
Tar - американская пост-хардкор группа, образованная в 1988 году в Чикаго, штат Иллинойс.
Предшественником Tar был хардкор-панк бэнд Blatant Dissent, который образован в Декальбе, штат Иллинойс, где вокалист / гитарист Джон Мор и барабанщик Майк Гринлис посещали Университет Северного Иллинойса. Позже в группу пришли басист Тим Мешер (только до 1991 года, и который играл в Snailboy), басист Том Залуцкий и гитарист Марк Заблоцкий. Заблоцкий и Мор играли на уникальных инструментах, созданных из алюминия, по проекту Яна Шнеллера из Specimen Products.
Группа выпустила альбомы на Amphetamine Reptile и Touch and Go Records до своего распада в 1995 году. За всю карьеру группа выпустила в общей сложности четыре сингла, четыре альбома, два мини-альбома, и отдали песни для шести сборников и сплит-синглов. Группа гастролировала на национальном и международном уровне с такими группами, как Jawbox, Arcwelder и The Jesus Lizard. В 1994 году группа приняла решение, что уходит после выхода заключительного альбома. Over and Out был написан и записан в течение года-полтора, спродюссирован Стивом Альбини и Бобом Уэстоном, и выпущен в 1995 году.
Tar воссоединились для разового выступления на барбекю 2012 года фестиваля PRF в Чикаго, и в конце этого года, на разогреве у Shellac в Линкольн-зале в Чикаго.
Biography
by Steve Huey
Part of the Chicago underground scene of the late '80s and early '90s, Tar played a fierce blend of abrasive noise rock and post-hardcore punk, drawing from local touchstones like Big Black and Naked Raygun. However, they were also influenced by vintage punk bands like the Sex Pistols, Stooges, and New York Dolls; plus, as they evolved, they were often compared to more metallic noisemakers like Helmet and the Jesus Lizard. Tar's thick, heavy guitar textures and pitch-dark dissonance were an accurate reflection of their moniker, and their disdain for accessibility or major-label exposure was just as accurate a reflection of the scene from which they'd arisen. After several albums for uncompromising indies Touch & Go and Amphetamine Reptile, the band elected to call it quits following what many deemed its best work.
The origins of Tar date back to a hardcore punk outfit called Blatant Dissent, which formed in DeKalb, IL, while singer/guitarist John Mohr and drummer Mike Greenlees were attending Northern Illinois University. In 1988, they relocated to Chicago and reinvented themselves as the much more challenging Tar, along with guitarist Mark Zablocki and bassist Tim Mescher. Mohr released their debut 7", "Play to Win" b/w "Mel's," on his own No Blow label, and the group subsequently landed a deal with the Amphetamine Reptile imprint. Tar made their proper debut with the 1989 EP Handsome, half of which was engineered by avowed influence Steve Albini; they followed it with another 7", "Flow Plow" b/w "Hand."
Tar's first-ever full-length appeared in 1990 in the form of Roundhouse, which was produced by Albini and found the band growing more assured in its style. Bassist Mescher left the band in early 1991 and was replaced by Tom Zaluckyj. The "Solution 8" single followed, as did their second album, Jackson, which again boasted assistance from Albini and showed Mohr developing into a stronger vocalist. Tar subsequently departed Amphetamine Reptile in favor of Touch & Go, making their debut with the 1992 single "Teetering"; a split 7" with Dischord emo heroes Jawbox followed hot on its heels. 1993's Clincher EP flirted with the grungy side of electric Neil Young, a trend that continued on the full-length Toast, which appeared later that year.
The band toured the U.S. and Europe in support of Toast, and the latter leg of the tour went poorly. Deciding that they were no longer enjoying themselves as they once had, Tar agreed to go their separate ways after one more album. Over and Out was released in 1995 and was widely acclaimed as the high point of their career, thanks to its greater variety. In the wake of Tar's dissolution, Zaluckyj and Greenlees reteamed in Luckyj, which never released a record. Greenlees also played in Ex-Chittle with former Dis- member Rob Sieracki. Meanwhile, Zaluckyj played with the B-52's' Fred Schneider for a brief period, and also worked as an engineer at Albini's studio.
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