1234 王磊

Ron Wood - 1234 (1981) {2006 Japan Mini LP DSD Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 272 Mb | MP3 @320 -> 88 Mb
Full Artwork @ 300 dpi (jpg) -> 13 Mb | 5% repair rar
© 2006 Columbia / Sony Music Japan | MHCP-1026
Rock / Hard Rock / Blues Rock

Digitally remastered reissue of Ron Wood's album originally released in 1981. DSD remastered in 2006. Includes a special cardboard sleeve case. Every aspect of this Rolling Stone's solo album screams of superstar indulgence, from its bizarre cover shot – look, there's Ron riding a camel under some jets – to co-producer Andy Johns' fawningly surreal back cover exhortation to "don't let anybody tape it because the label needs the money." There's no chance of such an occurrence: three studios are credited – and every track boasts a different lineup.

Every aspect of this Rolling Stone's solo album screams of superstar indulgence, from its bizarre cover shot - look, there's Ron riding a camel under some jets - to co-producer Andy Johns' fawningly surreal back cover exhortation to "don't let anybody tape it because the label needs the money." There's no chance of such an occurrence: three studios are credited - and every track boasts a different lineup. Many of the usual suspects appear, including sub-Stones keyboardist Ian McLagan, pianist Nicky Hopkins, and saxophonist Bobby Keys; R&B vocalist Bobby Womack; and pianist Nicky Hopkius. Even Stones drummer Charlie Watts pops up on a couple of tracks. Also, this rarefied company didn't have decent material to stretch out their chops…

Every aspect of this Rolling Stone's solo album screams of superstar indulgence, from its bizarre cover shot - look, there's Ron riding a camel under some jets - to co-producer Andy Johns' fawningly surreal back cover exhortation to "don't let anybody tape it because the label needs the money." There's no chance of such an occurrence: three studios are credited - and every track boasts a different lineup. Many of the usual suspects appear, including sub-Stones keyboardist Ian McLagan, pianist Nicky Hopkins, and saxophonist Bobby Keys; R&B vocalist Bobby Womack; and pianist Nicky Hopkius. Even Stones drummer Charlie Watts pops up on a couple of tracks. Also, this rarefied company didn't have decent material to stretch out their chops…

Leo Kottke - Balance (1979) {Vinyl, Chrysalis CHR-1234}
FLAC (tracks) - 16bit/48kHz - VINYL RIP -> 171 Mb | MP3 @320 -> 78 Mb | Artwork | 5% repair rar
© 1979 Chrysalis / Capitol Records-EMI Of Canada | CHR-1234
Finger-Picked Guitar / Progressive Folk / Contemporary Folk / New Acoustic

Out of all of Kottke's albums, I find myself going back to this one and 6 & 12 String Guitar the most. Balance is an underappreciated gem. Leo Kottke stands out to me as one of the most distinctive and talented guitarists of our day, along with the likes of Michael Hedges, Pat Metheny, Phil Keaggy, Andy Summers, The Edge, Johnny Marr, and probably a few others. His style is unlike anyone I know, full of rich acoustic textures and a voice that grows on you after a while.

Miles Davis - The Man With The Horn (1981) [Japan MiniLP, DSD 2006] (SICP-1234)
EAC rip (secure mode) | FLAC+CUE+LOG -> 344 Mb | MP3 @320 -> 120 Mb | Artwork
© 1981 Sony BMG | SICP-1234
Jazz / Jazz-Funk / Fusion / Post Bop

For Miles Davis, the six year layoff between the release of PANGAEA and THE MAN WITH THE HORN was marked by isolation, physical pain and dependency…a sense of inertia. At points on THE MAN WITH THE HORN you can hear him straining to get his chops back up, although ultimately, his musicianly instincts served him well during odd passages of rope-a-doping, and for every broken note there is a blast of vintage Miles.

THE MAN WITH THE HORN introduces yet another striking band, featuring future leaders such as reedman Bill Evans, guitarist Mike Stern, bassist Marcus Miller and drum innovator Al Foster. The opening "Fat Time" combines Miles' love for the flamenco airs and melodic gravity of Spain with a contemporary hard funk style. Evans and Stern act as virtuoso foils, a la Coltrane and Hendrix, the latter's influence apparent in Barry Finnerty's boiling clouds of distortion on "Back Seat Betty" (which settles into a coy, laid back blues vehicle for Miles' muted horn), and a rivetting "Aida," in which Miles reprises the rhythmic tumult of his mid-'70s band with dramatic give and take between his horn and a fiery guitar-driven vamp, as Al Foster thunders away underneath.

Fiona Sit (born 11 August 1981) is a Chinese ethnic Cantopop singer and actress from Hong Kong. After joining Warner Music Group in 2003, Sit first plugged her debut song "XBF" and "Madonna's Kiss", catching attention from audiences. Sit released her first album F Debut on 8 April 2004. It became a best-seller in Hong Kong