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Janus - Gravedigger (1972) [2013, EMI, 5099997545521]

Posted By: v3122
Janus - Gravedigger (1972) [2013, EMI, 5099997545521]

Janus - Gravedigger (1972)
EAC | Flac(Image) + Cue + Log & iPod M4A(Tracks) & MP3 CBR 320Kbps
2013 | 2CD | EMI, 5099997545521 | Remaster and Remix | ~ 596 or 598 or 221 Mb | Scans(png) -> 104 Mb
Rock / Progressive Rock

Gravedigger by Janus finds the band playing in a psyche-tinged style of early progressive rock still entangled in the genre's roots in the 1960s underground - and emerged just as that style of prog was going out of fashion, to the band's misfortune. It's an enjoyable enough album if you like the early prog style - dramatic opener Red Sun is a particular favourite of mine - though I wouldn't say it's solid all the way through; in particular, the brash introduction to Watcha Trying to Do?, aside from being irritating, is also tonally inconsistent with the rest of the album - it feels like someone else's song parachuted into the middle of the running order.

by Warthur, progarchives


Janus - Gravedigger (1972) [2013, EMI, 5099997545521]

Janus Biography

English Rock Band - Formed Krefeld, Germany ca.1970. Disbanded somewhere in England ca. 1974.
Ressurected ca. 1990 Glossopdale, England. Named as such by record company after aforementioned because of split personality nature of far-out music.

There are many one album wonders that emerged from the heady days of the summer of love social phenomenom of the late sixties. Some bands even lost concept of time and prolonged it well into the '70s and to quote a line from This Is Spinal Tap ended up in " the where are they now? file". Janus was one such band and their 1972 album entitled Gravedigger was one of those wonder albums. Though it may not be up there with the Beatle's Butcher Album it has been known to fetch ridiculous prices ( as much as $350 ) at record conventions and internet record trading sites. The early misadventures of Janus even rival the ficticious rock 'n' roll catastrophes of Spinal Tap. So, where are they now? One might ask. 7 albums have come to pass between 1990 and 2006. In 2012 mastermind and guardian of the Janus flame, Colin Orr, regrouped the band once more for another album that revisits the glorious '70s. But in order to understand the Janus story proper it's best to start at the beginning…

The original band had it's origins in the Midlands of England in 1969-70 when 18 year-old Colin Orr was in a nearly-made-it band that had fallen apart as a result of lack of money and creative failure. Disillusioned with the music scene in the UK, Orr packed a suitcase and along with his guitar headed for West Germany where he had found a job with NAAFI, a food supply company that serviced NATO bases. Upon his arrival at a youth hostel in Krefeld he was almost immediately noticed by a long hair freaky guy by the name of Bruno Lord who told him he was a singer looking for a guitarist to form a band. At the time there were other English lads hanging out in Germany and before they knew it they had a band together with Roy Yates on nylon string guitar, another vocalist, Derek Hyatt, Mick Peberdy on bass and Keith Bonthrone on drums. They decided to name the band Bonthrone after their drummer because they thought that it would confuse the Germans who wouldn't be able to pronounce it correctly. While working at his day job Orr started to write original material for the band. Orr liked the variation and contrast between hard and soft believing that the latter would make the former seem louder and harder and vice versa. In addition to writing some really heavy songs, some of which could have been the harbingers of the punk rock movement which was to appear a half decade or so in the future, Orr wrote some acoustic material as well. The music as a whole was completely "out there" and fit in perfectly with the burgeoning Krautrock scene and Bonthrone started to get gigs around Krefeld and generated a considerable amout of excitement. It wasn't long before some hats at EMI caught wind of the unusual phenomenom and invited Bonthrone for a session/audition which was really just a formality because they were signed on the spot to EMI's subsidiary progressive rock label Harvest. Among the bands making their home on Harvest at the time were Barclay James Harvest, Pink Floyd, The Edgar Broughton Band and Deep Purple so Bonthrone were all of a sudden running with the big dogs. The record itself consisted of one side of heavy psychedelic tracks almost exclusively written by Orr while the other side featured a sombre 20 minute suite-like group composition entitled Gravedigger ( after which the album was named ) which was ostensibly acoustic that underscored the nylon string guitar of Roy Yates along with vocal harmonizations and string arrangements that even embraced some classical motifs and themes. Astonishingly, to this day this piece surfaces from time-to-time as a teaching aid in some European universities! However EMI didn't like the name Bonthrone so they changed it to Janus after the mythological Roman god of beginnings and endings who saw both forwards and backwards presumably to reflect the the duality of the music. The cover with a skeleton crawling over sand dunes in a top hat with a white rose that record collectors are all so familiar with was the brainwave of EMI executive Ian Groves who was particularily fond of the Gravedigger suite. Initially it was proposed to put a dead guy on the cover but in order to avoid dodgy questions a skeleton was borrowed from the anatomy department at the University Of Cologne who also suggested the top hat and the white rose perhaps as some sort of a joke. If EMI were happy with the end product that was recorded in just 24 hours of studio time , the band themselves were somewhat dismayed. The way EMI had engineered it made it sound muted and more psychedelic and not as heavy as they would have liked. A shorter version of Gravedigger entitled Gravedigger II appeared on Janus' 1993 album "Innocence" that might better reflect the band's real intentions even if it was setting the record straight more than 20 years later!

Nonetheless Gravedigger sold well enough for the band to party and live in a hippie commune that was run by the East German Communist Party where they lived the life of sex, drugs and rock & roll ( in that order!). They managed a few gigs and one particular outdoor performance was put to an abrupt halt when the West German police arrived with their guns drawn 10 minutes into the show responding to complaints from local townsfolk who were calling in from as far away as 3 miles complaining about the "noise". This could quite possibly have also had something to do with Orr's rendition of the West German national anthem a la Hendrix's Star Spangled Banner! Somehow through all the hedonistic mayhem Orr was able to compose a number of forward looking concept pieces that sounded like the musical direction Pink Floyd was taking in the eighties and nineties on albums such as A Momentary Lapse Of Reason and the Division Bell. The creative process could get pretty weird at times and almost always included illlicit drugs of the halucinagenic nature. Sometimes the band would stay awake for several days and write tripped out songs with outlandish titles as titles like " Cossack's Jazzy Rock Blues" that the bass player couldn't play because of the insanely fast tempo. On one occasion Orr veered off on a hallucinagenic sojourn and sat down beside a rushing river and came up with a song simply entitled " Isn't It Strange?". Possibly the strangest song that came out of the narcotic brainstorming was a furious piece entitled "The Devil's Opera" which was almost not finished because they were late for the session but with a little help from God they made it in time. The most serious piece written during this period was a 25 minute epic entitled "Under The Shadow Of The Moon" which was written by Orr in component parts that flowed into one another with orchestrations and intricate time signatures. Although the material was rehearsed extensively very little or none of it was retained in hard copy form because before they had time to formally lay it down for a record they had been ousted from Germany by the national police force. Apparently the political activities going on inside the commune didn't sit too well with the West German authorities and it was time to shut down the party. They were invited to the local police station to reclaim their passports and this is when Janus' finest hour occurred. A display case full of seized drugs the police were so proudly showing off proved too irresistable for singer Bruno Lord who tried to pry it open. He was caught red handed and this no doubt speeded up the removal process from Germany!

They relocated to a holiday camp in Holland where they enjoyed more sex, drugs etc. and it was around this time that EMI voided their contract. Even though they still managed a few gigs the money well eventually ran dry and Janus high-tailed it back to mother England where they had a brief run at the college circut. This included a few monumental events including the distinction of being the only band in history to be ejected from The Cavern Club in Liverpool for playing too loud and behaving badly. In 1974 the band began to fall apart in earnest with singer Derek Hyatt being the first casualty. By the end of 1974 the individual band members had gone their separate ways, moving on to pursuits not related to music although Keith Bonthrone and Orr played covers on and off in bar bands. Bruno Lord would embark on a solo career eventually forming a Led Zeppelin cover band called Physical Graffitti of which he was an active member until just recently. Orr himself pursued various endeavours ultimately establishing a successful agriculture business.


The "what ifs" have weighed heavily on Orr over the years and he remains convinced to this day that the music written for the second Janus album in 1973 could have been just as colossal as anything released by heavy hitters from the seventies progressive rock movement such as Pink Floyd, Yes, Genesis et al. All the "what ifs" notwithstanding the cult status that the Gravedigger album has attained among collectors is a testimony to it's mystique and stature as a lost Krautrock gem even if all the band members hailed from the UK!

In 1989 a friend brought to Orr's attention a CD review for Gravedigger that had appeared in Record Collector magazine that declared that Janus were "considered to be a turning point in German popular music". After doing some some checking Orr discovered that EMI had been turning profits on the Gravedigger album without his knowledge. A legal challenge was invited by EMI but it was arranged it such a way that in order to prevail Orr would incur heavy financial expense so he conceded defeat. Sort of. Music had never left him completely and by this time Orr had built his own personal recording studio for recreational purposes so he decided to get most of the original band back together to record another Janus album along the lines of the formula they worked with on the Gravedigger album. The new material that he came up with sounded stale, dated and "too seventies" so the project was abandoned and Janus remained in a deep hibernation.

After some soul searching Orr decided that the creative wheels were ready to turn in another direction. He still had a desire to break down musical barriers adhering to no specific style in particular by writing something that interpolated Latin plainsong. As the name implies plainsong consists of a forlorn melody line rather than measured rhythm that also in times of old relied on the acoustics of cathedrals. Orr faced a daunting task because he wanted to include electric guitars and keyboards along with orchestrations and turn it into a rock liturgy of sorts. He enlisted the help of a salesman in a nearby Manchester music store by the name of Doug Boyes who was also a classically trained cellist. Boyes suggested another classically trained musician, vocalist Paul Phoenix, who was just completing studies at The Royal Northern College Of Music in Manchester. Phoenix had also previously sung lead in The St.Paul's Cathedral Choir which produced the theme song for the BBC television show "Tinker, Tailor, Soldier, Spy" based on the John Le Carré novel of the same name. With his experience singing religious music he was perfect for Orr's latest brainchild which would be entitled "Agnus Dei" after the Lamb Of God. The 20 minute four part epic took it's Latin lyrics from various sources and is quite possibly the first ( and only ) modern composition to fuse plainsong with rock music. Agnus Dei had all the potential to set sail for the land of cheese but instead it turned out to be a sublime work that made it into the top 50 on the Dutch charts as an EP. The full album's title, initially released as Out Of Time ( after a down beat cover version of the 1966 Rolling Stones hit ) was then changed to Agnus Dei. The remainder of the album consisted of smooth AOR songs and also featured original members Bruno Lord and Keith Bonthrone. An orphan track called "Situation Critical" was salvaged from the material he had written in 1989 based on the early Janus style that was shelved. Complete with Monty Pythonesque Mr. Gumby vocals, even Orr dismissed it as sort of a joke ( it was late they were tired ), but it nonetheless held up pretty well as a contemporary punk rock song!

Now that Janus was reborn with a fresh new sound for the 90s Orr threw caution into the wind and started work on a darker introspective album largely based on a short story he had written entitled Journey To The Underworld ( Absent Friends ). It depicted, musically, what it was like to be trapped in hell experiencing one's emotional pains of the past over and over exemplified by tracks with titles like If I'd Listened, The Angry Tower and The Infinite Maze. Largely instrumental, the story was written out in it's entirety on the CD insert. The superb vocals of Paul Phoenix returned along with Doug Boyes on cello. A renowned Chinese violinist , Rick Shaw ( his English name ) , was invited to contribute as well as another guitarist, Paul May, who came to Orr's attention through SPM ( Worldwide) Records, previously playing with the rock band A.N.D. Both Boyes and May helped out with the songwiting this time around and as a result it was somewhat more complex than the Agnus Dei album with emphasis on keyboards and orchestrations. Inventive as Journey was, it unfortunately sold poorly but oddly snippets of it began to be heard frequently as television background music all over Europe!


1993s Innocence brought two new players into the fold. Scottish Cellist Sandy Bartai was another graduate from The Royal Northern College Of Music who had an adventurous outlook towards making music replaced Boyes ( who still had a smaller role ). An old friend of Orr's, Irish bassist Dave Harrald who also was playing in the Led Zep cover band Physical Graffiti with Bruno Lord also came aboard. Lord and Keith Bonthrone also made contributions as Orr steered Janus in yet another direction Although the music was streamlined and somewhat heavier, the melodious qualities of the "new" Janus remained in place on tracks such as Forever, Harvester and Ovine. Paul May, who began taking a more active part in the creative process, had found religion and he used the music as a conduit for this new found spirituality. Into The Light, Nothing Can Move me and a philisophical Christmas song entitled Dark Christmas certainly reflected these convictions. If it got in the way at times the religious slant certainly didn't do the music that much harm either. Orr, as usual handled the keyboards as well as the guitars and percussion and a number of other musicians also made contributions. As mentioned previously a new shorter version of Gravedigger was also included sung by Bruno Lord and along with the opening track Into The Light were unmistakable nods to Janus' distant past .

Both Sandy Bartai and Colin Orr became involved with composing commercial archival music before embarking on the next Janus project which would be the most experimental Janus album to date, not that that the previous work lacked trials and errors. A four member group by the name of The Janus Ensemble based in the San Fransisco Bay area that played unusual improvisational music mixing old and new perspectives using hand made electric & acoustic instruments had come to Orr's attention in 1994. He managed to arrange a collaboration with two of the members, multi instrumentalist Barry Hall and percussionist Richard Smith. In addition to the more conventional violin, a favourite instrument of Hall was the 1,500 year old Australian aboriginal wind instrument known as the didjerido or by it's more modern name the aerophone. Appropriately titled, a haunting piece of esoteric music entitled Abo Habit combined ancient rhythms and the visceral tones of the didjerido with some ecclectic electric guitar lines and supple keyboards to produce a piece of extaordinary offbeat music that literally looked down the ages. This monstrosity along with other music on this instrumental album ( save for occasional wordless vocal harmonizations) were where musicologists nightmares came from. Traces of East Indian stylings, jazzy interludes, wacky musical musings abounded and the ghost of Frédéric Chopin even dropped in for the chamberesque Sandman, a lullaby of sorts with electric guitar riffing. Some have categorized this album as new age music and others have even compared it to Jean Michel Jarre's electronic stylings but it is much more. Beyond category would be a safe bet.


After the release of Freefall in 1994 Orr put Janus back into stasis while he evaluated how the "new" Janus figured into the big musical picture. One thing was certain the music definitely had a pronounced future/primitive character to it. How could EMI have known back in 1972 that Janus would still be producing schizophrenic music in the 90s?

In 1998 Orr decided to revisit the Agnus Dei concept and raise it up a few notches. Vocalist Paul Pheonix, who by this time had joined the renowned cappella vocal ensemble The King's Singers, was an essential with his operatic-like vocals. This expanded take on Agnus Dei also required a special saxophone sound as well. Orr always had an uncanny meticulousness on the way he wanted his compositions to sound beforehand and the saxophone sound he had in mind for this latest Janus project was something along the lines of sessionman Scott Page' searing rock sax contributions to the music of Pink Floyd, Supertramp and Toto. Through a local music shop that he had bought a ton of gear from he located saxman Dean Houston. Although more of a traditional jazzman Houston adapted superbly to Orr's ecclectic composition style. The album also introduced 16 year-old Natalie Brown whose heavenly vocal talents were discovered by her parents when she started to sing along to a karioke track with perfect pitch at the age of 15. Orr was looking for a female vocalist with enough ability and confidence to accompany Paul Phoenix's rich tenor deliveries and through a music teacher friend located Natalie Brown. The album was named Agnus Dei 2000 in anticipation of the new millenium and was picked up by the now defunct Dutch record company Arcade Music who marketed the album and supported it with an ethereal video for the title track. The music itself had all sorts of religious manifestations with atmospheric musical textures and sold internationally, becoming paricularily popular in inuit communities in the northern region of the Province Of Québec, Canada. Once again, Janus had produced a work that was truly innovative and difficllt to classify. After the success of Agnus Dei 2000 it took another 4 years for another Janus album to materialize. Much like the Alan Parsons Project Janus was largely a studio edeavour with regular and guest collaborators although they managed a live appearance on the Stuart Hall's Hall Of Fame variety show in 1999 where Paul Pheonix sang live as the musicians mimed to a pre-recorded backing track.

2002's Sea Of Sighs saw the return of Paul Phoenix, Sandy Bartai and Dean Houston's immense talents and gave Natalie Brown a more signifigant role with her pristine voice, taking on lead parts which were reminicient of the Mike Oldfield/Maggie Reilly collaborations along with his daughters Thea and Rikki on backing vocals. Sea Of Sighs was the most accessible Janus album to date with celtic sensibilities figuring prominently which added some doom and gloom, albeit with romantic suffusions and affections. Orr also focussed a bit more on both acoustic and electric guitars which set it apart from the more orchestral sound of Agnus Dei 2000.

Never restful, Orr had always taken advantage of his personal recording studio puttering and experimenting on his own like some sort of mad scientist. By 2005 he had accumulated enough material that encompassed a wide spectrum of musical excursions from the metallic Speed Thrills ( with Bruno Lord on vocals ) to the thoughtful ballad Sit Down & Listen for an album. For the most part it really rocked it out in strange ways and after some encouragement from one of his daughters made this music ( collectively known as the "S" album because every track begins or sounds like the letter "S" ) available for free download on the Janus website ( see below ). The only thing in return that is asked for is a donation to The Francis House Children's Hospice in Manchester, Derbyshire, England which is a benevolent organisation that gives support to sick children and their families. Besides his Janus projects Orr has also been active in music education at Glossopdale Community College as well as collaborating with Carmel & Heather Parry, two sisters who form the celtic pop duo, Morgan Le Faye who currently have an album out entitled Away My Tears which is available through itunes. His daughters have even formed formed their own group calling themselves The Daughters Of Janus ( who would have guessed!) Orr also continued to create archival music for the BBC and his most recent activities in 2009 have included writing and playing music for the BBC Televevision production All The Small Things, a drama show about the triumphs and tradgedies of a small church choir with a rock 'n'roll twist.

The time for Janus to re-open a time capsule and rejoin the progrock party came in the summer of 2012. Mastermind Colin Orr along with special guests finally recorded " Under The Shadow Of The Moon ", the 20 minute epic written in 1973 as a centerpiece for an album of the same name released the spring of 2013. " Manic progressive rock for the 21st century ", as Colin Orr describes it. A specially re-mixed version of the " Gravedigger " LP was also released that breathed more fire into the original along with a digital remaster.

40 years after it's creation Janus came full circle, living up to it's namesake Janus, the Roman God who looks forwards and backwards.

Why this band must be included in Progarchives :

Legendary band that produced a solitary inventive 1972 album that has achieved cult status as a Krautrock classic becoming a coveted collector's item. In the 90s & 00s the band returned with a new formula creating music that featured unusual stylistic fusions.

Ian Gledhill, progarchives
Janus - Gravedigger (1972):

Janus - Gravedigger (1972) [2013, EMI, 5099997545521]

Tracklist CD1 (Remaster):

01. Red Sun (8:55)
02. Bubbles (3:50)
03. Watcha Trying To Do? (3:53)
04. I Wanna Scream (2:43)
05. Gravedigger (20:48)
06. I'm Moving On (3:14)
07. I Don't Believe You (3:16)

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 13. April 2013, 10:19

Janus / Gravedigger (CD1)

Used drive : PLEXTOR CD-R PX-W4824A Adapter: 1 ID: 1

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 98
Overread into Lead-In and Lead-Out : Yes
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface

Used output format : User Defined Encoder
Selected bitrate : 32 kBit/s
Quality : Low
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "GENRE=%genre%" -T "COMMENT=EAC FLAC -8" %source%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 8:58.28 | 0 | 40377
2 | 8:58.28 | 3:54.07 | 40378 | 57934
3 | 12:52.35 | 3:53.56 | 57935 | 75465
4 | 16:46.16 | 2:46.50 | 75466 | 87965
5 | 19:32.66 | 20:53.56 | 87966 | 181996
6 | 40:26.47 | 3:14.58 | 181997 | 196604
7 | 43:41.30 | 3:16.41 | 196605 | 211345


Range status and errors

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Filename E:\Muzons\Janus\Janus - Gravedigger (1972, 2013 Rem.)\Janus - Gravedigger (CD1).wav

Peak level 99.8 %
Extraction speed 3.5 X
Range quality 100.0 %
Test CRC C7F53ADE
Copy CRC C7F53ADE
Copy OK

No errors occurred


AccurateRip summary

Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database

None of the tracks are present in the AccurateRip database

End of status report

foobar2000 1.2.4 / Dynamic Range Meter 1.1.1
log date: 2013-05-30 09:11:28

––––––––––––––––––––––––––––––––––––––––
Analyzed: Janus / Gravedigger (CD1)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR10 -0.01 dB -12.56 dB 8:58 01-Red Sun
DR8 -0.01 dB -9.86 dB 3:54 02-Bubbles
DR11 -0.01 dB -12.45 dB 3:54 03-Watcha Trying To Do?
DR9 -0.01 dB -10.25 dB 2:47 04-I Wanna Scream
DR11 -0.01 dB -14.43 dB 20:54 05-Gravedigger
DR9 -0.01 dB -11.18 dB 3:15 06-I'm Moving On
DR9 -0.01 dB -10.38 dB 3:17 07-I Don't Believe You
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 7
Official DR value: DR10

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 925 kbps
Codec: FLAC

Janus - Gravedigger (1972) [2013, EMI, 5099997545521]

Tracklist CD2 (Remix):

01. Red Sun (8:55)
02. Bubbles (3:50)
03. Watcha Trying To Do? (3:53)
04. I Wanna Scream (2:43)
05. Suma Manality (3:40)
06. Sinful Sally (2:54)
07. Gravedigger (20:52)

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 13. April 2013, 10:59

Janus / Gravedigger (CD2)

Used drive : PLEXTOR CD-R PX-W4824A Adapter: 1 ID: 1

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 98
Overread into Lead-In and Lead-Out : Yes
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface

Used output format : User Defined Encoder
Selected bitrate : 32 kBit/s
Quality : Low
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "GENRE=%genre%" -T "COMMENT=EAC FLAC -8" %source%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 8:56.30 | 0 | 40229
2 | 8:56.30 | 3:53.04 | 40230 | 57708
3 | 12:49.34 | 3:52.03 | 57709 | 75111
4 | 16:41.37 | 2:51.54 | 75112 | 87990
5 | 19:33.16 | 3:40.59 | 87991 | 104549
6 | 23:14.00 | 2:54.39 | 104550 | 117638
7 | 26:08.39 | 20:52.46 | 117639 | 211584


Range status and errors

Selected range

Filename E:\Muzons\Janus\Janus - Gravedigger (1972, 2013 Rem.)\Janus - Gravedigger (CD2).wav

Peak level 99.8 %
Extraction speed 3.5 X
Range quality 100.0 %
Test CRC 4415CA82
Copy CRC 4415CA82
Copy OK

No errors occurred


AccurateRip summary

Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database

None of the tracks are present in the AccurateRip database

End of status report

foobar2000 1.2.4 / Dynamic Range Meter 1.1.1
log date: 2013-05-30 09:11:46

––––––––––––––––––––––––––––––––––––––––
Analyzed: Janus / Gravedigger (CD2)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR10 -0.11 dB -11.81 dB 8:56 01-Red Sun
DR10 -0.01 dB -10.79 dB 3:53 02-Bubbles
DR10 -0.30 dB -11.15 dB 3:52 03-Watcha Trying To Do?
DR8 -0.07 dB -9.98 dB 2:52 04-I Wanna Scream
DR10 -0.11 dB -10.89 dB 3:41 05-Suma Manality
DR10 -0.08 dB -10.77 dB 2:55 06-Sinful Sally
DR11 -0.25 dB -14.25 dB 20:53 07-Gravedigger
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 7
Official DR value: DR10

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 796 kbps
Codec: FLAC

Musicians:

- Bruno Lord / lead vocals
- Derek Hyatt / lead vocals
- Colin Orr / guitars, keyboards
- Roy Yates / guitar
- Mick Peberdy / bass guitar, backing vocals
- Keith Bonthrone / drums, percussion, backing vocals

Guest Musicians:
- Thea Hanson-Orr / backing vocals on "Suma Manatilly"
- Rikki Hanson-Orr / backing vocals on "Suma Manatilly
- Ben Stafford / backing vocals on "Suma Manatilly"
- Hans Jurgen Fritz "Porky" (from TRIUMVIRAT) / keyboards on "Sinful Sally"
- Horst Dieter Krohn / string arrangements on "Gravedigger"

Janus - Gravedigger (1972) [2013, EMI, 5099997545521]

All thanks go to erro

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