VA - The Perfect Blues Collection: 25 Original Albums (2011) 25 CD Box Set

The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of "The Empress of the Blues." Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today's listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed "blues singers," Bessie Smith simply had no competition.

Back in 1912, Bessie Smith sang in the same show as Ma Rainey, who took her under her wing and coached her. Although Rainey would achieve a measure of fame throughout her career, she was soon surpassed by her protégée. In 1920, Smith had her own show in Atlantic City and, in 1923, she moved to New York. She was soon signed by Columbia and her first recording (Alberta Hunter's "Downhearted Blues") made her famous. Bessie Smith worked and recorded steadily throughout the decade, using many top musicians as sidemen on sessions including Louis Armstrong, Joe Smith (her favorite cornetist), James P. Johnson, and Charlie Green. Her summer tent show Harlem Frolics was a big success during 1925-1927, and Mississippi Days in 1928 kept the momentum going.

However, by 1929 the blues were out of fashion and Bessie Smith's career was declining despite being at the peak of her powers (and still only 35). She appeared in St. Louis Blues that year (a low-budget movie short that contains the only footage of her), but her hit recording of "Nobody Knows You When You're Down and Out" predicted her leaner Depression years. Although she was dropped by Columbia in 1931 and made her final recordings on a four-song session in 1933, Bessie Smith kept on working. She played the Apollo in 1935 and substituted for Billie Holiday in the show Stars Over Broadway. The chances are very good that she would have made a comeback, starting with a Carnegie Hall appearance at John Hammond's upcoming From Spirituals to Swing concert, but she was killed in a car crash in Mississippi. Columbia has reissued all of her recordings, first in five two-LP sets and more recently on five two-CD box sets that also contain her five alternate takes, the soundtrack of St. Louis Blues, and an interview with her niece Ruby Smith. "The Empress of the Blues," based on her recordings, will never have to abdicate her throne.

Allmusic.com

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

Отчёт EAC об извлечении, выполненном 31. марта 2012, 10:04

Bessie Smith / The Bessie Smith Story Vol. 1

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


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AccurateRip: сводка

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Конец отчёта

Big Bill Broonzy was born William Lee Conley Broonzy in the tiny town of Scott, Mississippi, just across the river from Arkansas. During his childhood, Broonzy's family – itinerant sharecroppers and the descendants of ex-slaves – moved to Pine Bluff to work the fields there. Broonzy learned to play a cigar box fiddle from his uncle, and as a teenager, he played violin in local churches, at community dances, and in a country string band. During World War I, Broonzy enlisted in the U.S. Army, and in 1920 he moved to Chicago and worked in the factories for several years. In 1924 he met Papa Charlie Jackson, a New Orleans native and pioneer blues recording artist for Paramount. Jackson took Broonzy under his wing, taught him guitar, and used him as an accompanist. Broonzy's entire first session at Paramount in 1926 was rejected, but he returned in November 1927 and succeeded in getting his first record, House Rent Stomp, onto Paramount wax. As one of his early records came out with the garbled moniker of Big Bill Broomsley, he decided to shorten his recording name to Big Bill, and this served as his handle on records until after the second World War. Among aliases used for Big Bill on his early releases were Big Bill Johnson, Sammy Sampson, and Slim Hunter.

Broonzy's earliest records do not demonstrate real promise, but this would soon change. In 1930, the Hokum Boys broke up, and Georgia Tom Dorsey decided to keep the act going by bringing in Big Bill and guitarist Frank Brasswell to replace Tampa Red, billing themselves as "the Famous Hokum Boys." With Georgia Tom and Brasswell, Broonzy hit his stride and penned his first great blues original, "I Can't Be Satisfied." This was a hit and helped make his name with record companies. Although only half-a-dozen blues artists made any records during 1932, the worst year in the history of the record business, one of them was Big Bill, who made 20 issued sides that year.

Through Georgia Tom and Tampa Red, Big Bill met Memphis Minnie and toured as her second guitarist in the early '30s, but apparently did not record with her. When he did resume recording in March 1934 it was for Bluebird's newly established Chicago studio under the direction of Lester Melrose. Melrose liked Broonzy's style, and before long, Big Bill would begin working as Melrose's unofficial second-in-command, auditioning artists, matching numbers to performers, booking sessions, and providing backup support to other musicians. He played on literally hundreds of records for Bluebird in the late '30s and into the '40s, including those made by his half-brother, Washboard Sam, Peter Chatman (aka Memphis Slim), John Lee "Sonny Boy" Williamson, and others. With Melrose, Broonzy helped develop the "Bluebird beat," connoting a type of popular blues record that incorporated trap drums and upright string bass. This was the precursor of the "Maxwell Street sound" or "postwar Chicago blues," and helped to redefine the music in a format that would prove popular in the cities. Ironically, while Broonzy was doing all this work for Melrose at Bluebird, his own recordings as singer were primarily made for ARC, and later Columbia's subsidiary Okeh. This was his greatest period, and during this time Broonzy wrote and recorded such songs as "Key to the Highway," "W.P.A. Blues," "All by Myself," and "Unemployment Stomp." For other artists, Broonzy wrote songs such as "Diggin' My Potatoes." All told, Big Bill Broonzy had a hand in creating more than 100 original songs.

When promoter John Hammond sought a traditional blues singer to perform at one of his Spirituals to Swing concerts held at Carnegie Hall in New York City, he was looking for Robert Johnson to foot the bill. Hammond learned that Johnson had recently died, and as a result, Big Bill got the nod to appear at Carnegie Hall on February 5, 1939. This appearance was very well received, and earned Broonzy a role in George Seldes' 1939 film Swingin' the Dream alongside Louis Armstrong and Benny Goodman. In the early '40s, Big Bill appeared at the Café Society, the Village Vanguard, and the Apollo Theater, in addition to touring with Lil Greenwood, all of which kept Big Bill busy during the AFM recording ban. By the mid- to late '40s, the operation in Chicago with Melrose had finally begun to wind down, just as electric blues started to heat up. Big Bill continued to record for labels ranging from majors Columbia and Mercury to fly-by-nights such as Hub and RPM. In 1949, Broonzy decided to take some time off from music, and got a job working as a janitor at the Iowa State University of Science & Technology in Ames.
In 1951 Broonzy was sought out by DJ and writer Studs Terkel and appeared in the latter's concert series I Come for to Sing. Suddenly, Broonzy started to get a lot of press attention, and by September of that year, he was in Paris recording for French Vogue. On this occasion Broonzy was finally able to wax his tune "Black, Brown and White," a song about race relations that had been in his book for years, but every record company he had ever sung it for had turned it down. In Europe, Broonzy proved incredibly popular, more so than at any time in the United States. Two separate documentary films were made on his life, in France and Belgium, respectively, and from 1951 until ill health finally put him out of the running in the fall of 1957, Broonzy nearly doubled his own 1927-1949 output in terms of new recordings.

Broonzy updated his act by adding traditional folk songs to his set, along the lines of what Josh White and Leadbelly had done in then-recent times. He took a tremendous amount of flak for doing so, as blues purists condemned Broonzy for turning his back on traditional blues style in order to concoct shows that were appealing to white tastes. But this misses the point of his whole life's work: Broonzy was always about popularizing blues, and he was the main pioneer in the entrepreneurial spirit as it applies to the field. His songwriting, producing, and work as a go-between with Lester Melrose is exactly the sort of thing that Willie Dixon would do with Chess in the '50s. This was the part of his career that Broonzy himself valued most highly, and his latter-day fame and popularity were a just reward for a life spent working so hard on behalf of his given discipline and fellow musicians. It would be a short reward, though; just about the time the autobiography he had written with Yannick Bruynoghe, Big Bill Blues, appeared in 1955, he learned he had throat cancer. Big Bill Broonzy died at age 65 in August, 1958, and left a recorded legacy which, in sheer size and depth, well exceeds that of any blues artist born on his side of the year 1900.

Allmusic.com

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

Отчёт EAC об извлечении, выполненном 31. марта 2012, 11:02

Big Bill Broonzy / Big Bill Blues

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
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Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

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Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\002 Big Bill Broonzy - Big Bill Blues (1954)\1954 Big Bill Blues.wav

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AccurateRip: сводка

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Конец отчёта

One of the original rock & roll greats, Little Richard merged the fire of gospel with New Orleans R&B, pounding the piano and wailing with gleeful abandon. While numerous other R&B greats of the early '50s had been moving in a similar direction, none of them matched the sheer electricity of Richard's vocals. With his bullet-speed deliveries, ecstatic trills, and the overjoyed force of personality in his singing, he was crucial in upping the voltage from high-powered R&B into the similar, yet different, guise of rock & roll. Although he was only a hitmaker for a couple of years or so, his influence upon both the soul and British Invasion stars of the 1960s was vast, and his early hits remain core classics of the rock repertoire.

Heavily steeped in gospel music while growing up in Georgia, when Little Richard began recording in the early '50s he played unexceptional jump blues/R&B that owed a lot to his early inspirations Billy Wright and Roy Brown. In 1955, at Lloyd Price's suggestion, Richard sent a demo tape to Specialty Records, who were impressed enough to sign him and arrange a session for him in New Orleans. That session, however, didn't get off the ground until Richard began fooling around with a slightly obscene ditty during a break. With slightly cleaned-up lyrics, "Tutti Frutti" was the record that gave birth to Little Richard as he is now known – the gleeful "woo!"s, the furious piano playing, the sax-driven, pedal-to-the-metal rhythm section. It was also his first hit, although, ridiculous as it now seems, Pat Boone's cover version outdid Richard's on the hit parade.

Boone would also try to cover Richard's next hit, "Long Tall Sally," but by that time it was evident that audiences black and white much preferred the real deal. In 1956 and 1957, Richard reeled off a string of classic hits – "Long Tall Sally," "Slippin' and "Slidin'," "Jenny, Jenny," "Keep a Knockin'," "Good Golly, Miss Molly," "The Girl Can't Help It" – that remain the foundation of his fame. While Richard's inimitable mania was the key to his best records, he also owed a lot of his success to the gutsy playing of ace New Orleans session players like Lee Allen (tenor sax), Alvin Tyler (baritone sax), and especially Earl Palmer (drummer), who usually accompanied the singer in both New Orleans and Los Angeles studios. Richard's unforgettable appearances in early rock & roll movies, especially The Girl Can't Help It, also did a lot to spread the rock & roll gospel to the masses.

Richard was at the height of his commercial and artistic powers when he suddenly quit the business during an Australian tour in late 1957, enrolling in a Bible college in Alabama shortly after returning to the States. Richard had actually been feeling the call of religion for a while before his announcement, but it was nonetheless a shock to both his fans and the music industry. Specialty drew on unreleased sessions for a few more hard-rocking singles in the late '50s, but Richard virtually vanished from the public eye for a few years. When he did return to recording, it was as a gospel singer, cutting a few little-heard sacred sides for End, Mercury, and Atlantic in the early '60s.

By 1962, though, Richard had returned to rock & roll, touring Britain to an enthusiastic reception. Among the groups that supported him on those jaunts were the Rolling Stones and the Beatles, whose vocals (Paul McCartney's especially) took a lot of inspiration from Richard's. In 1964, the Beatles cut a knockout version of "Long Tall Sally," with McCartney on lead, that may have even outdone the original. It's been speculated that the success of the Beatles, and other British Invaders who idolized Richard, finally prompted the singer into making a full-scale comeback as an unapologetic rock & roller. Hooking up with Specialty once again, he had a small hit in 1964 with "Bama Lama Bama Loo." These and other sides were respectable efforts in the mold of his classic '50s sides, but tastes had changed too much for Richard to climb the charts again. He spent the rest of the '60s in a continual unsuccessful comeback, recording for Vee-Jay (accompanied on some sides by Jimi Hendrix, who was briefly in Richard's band), OKeh, and Modern (for whom he even tried recording in Memphis with Stax session musicians).

It was the rock & roll revival of the late '60s and early '70s, though, that really saved Richard's career, enabling him to play on the nostalgia circuit with great success (though he had a small hit, "Freedom Blues," in 1970). He had always been a flamboyant performer, brandishing a six-inch pompadour and mascara, and constant entertaining appearances on television talk shows seemed to ensure his continuing success as a living legend. Yet by the late '70s, he'd returned to the church again. Somewhat predictably, he eased back into rock and show business by the mid-'80s. Since then, he's maintained his profile with a role in Down and Out in Beverly Hills (the movie's soundtrack also returned him to the charts, this time with "Great Gosh a-Mighty") and guest appearances on soundtracks, compilations, and children's rock records. At this point it's safe to assume that he never will get that much-hungered-for comeback hit, but he remains one of rock & roll's most colorful icons, still capable of turning on the charm and charisma in his infrequent appearances in the limelight.

Allmusic.com

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

Отчёт EAC об извлечении, выполненном 31. марта 2012, 11:52

Little Richard / Little Richard

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
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Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\003 Little Richard - Little Richard (1958)\1958 Little Richard.wav

Пиковый уровень 98.8 %
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CRC теста 25B65374
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Копирование… OK

Ошибок не произошло


AccurateRip: сводка

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Конец отчёта

General critical consensus holds Mahalia Jackson as the greatest gospel singer ever to live; a major crossover success whose popularity extended across racial divides, she was gospel's first superstar, and even decades after her death remains, for many listeners, a defining symbol of the music's transcendent power. With her singularly expressive contralto, Jackson continues to inspire the generations of vocalists who follow in her wake; among the first spiritual performers to introduce elements of blues into her music, she infused gospel with a sensuality and freedom it had never before experienced, and her artistry rewrote the rules forever. Born in one of the poorest sections of New Orleans on October 16, 1911, Jackson made her debut in the children's choir of the Plymouth Rock Baptist Church at the age of four, and within a few years was a prominent member of the Mt. Moriah Baptist's junior choir. Raised next door to a sanctified church, she was heavily influenced by their brand of gospel, with its reliance on drums and percussion over piano; another major inspiration was the blues of Bessie Smith and Ma Rainey.

By the time she reached her mid-teens, then, Jackson's unique vocal style was fully formed, combining the full-throated tones and propulsive rhythms of the sanctified church and the deep expressiveness of the blues with the note-bending phrasing of her Baptist upbringing. After quitting school during the eighth grade, Jackson relocated to Chicago in 1927, where she worked as a maid and laundress; within months of her arrival, she was singing leads with the choir at the Greater Salem Baptist Church, where she joined the three sons of her pastor in their group the Johnson Brothers. Although other small choir groups had cut records in the past, the Johnson Brothers might have been the first professional gospel unit ever; the first organized group to play the Chicago church circuit, they even produced a series of self-written musical dramas in which Jackson assumed the lead role. Her provocative performing style – influenced by the Southern sanctified style of keeping time with the body and distinguished by jerks and steps for physical emphasis – enraged many of the more conservative Northern preachers, but few could deny her fierce talent.

After the members of the Johnson Brothers went their separate ways during the mid-'30s, Jackson began her solo career accompanied by pianist Evelyn Gay, who herself later went on to major fame as one half of gospel's Gay Sisters. During the week, Jackson also went to beauty school, and soon opened her own salon. As her reputation as a singer grew throughout the Midwest, in 1937 she made her first recordings for Decca, becoming the first gospel artist signed to the label; curiously, none of the tracks she recorded during her May 21 session was by Thomas A. Dorsey, the legendary composer for whom she began working as a song demonstrator around that same time. (He even wrote "Peace in the Valley" with her in mind.) While her Decca single "God's Gonna Separate the Wheat from the Tares" sold only modestly, prompting a lengthy studio hiatus, Jackson's career continued on the upswing – she soon began performing live in cities as far away as Buffalo, New Orleans, and Birmingham, becoming famous in churches throughout the country for not only her inimitable voice but also her flirtatious stage presence and spiritual intensity.

Jackson did not record again until 1946, signing with Apollo Records; although her relations with the label were often strained, the work she produced during her eight-year stay on their roster was frequently brilliant. While her first Apollo recordings, including "I Want to Rest" and "He Knows My Heart" fared poorly – so much so, in fact, that the label almost dropped her – producer Art Freeman insisted Jackson record W. Herbert Brewster's "Move on Up a Little Higher"; released in early 1948, the single became the best-selling gospel record of all time, selling in such great quantities that stores could not even meet the demand. Virtually overnight, Jackson became a superstar; beginning in 1950, she became a regular guest on journalist Studs Terkel's Chicago television series, and among White intellectuals and jazz critics, she acquired a major cult following based in large part on her eerie similarities to Bessie Smith. In 1952, her recording of "I Can Put My Trust in Jesus" even won a prize from the French Academy, resulting in a successful tour of Europe – her rendition of "Silent Night" even became one of the all-time best-selling records in Norway's history.

Jackson's success soon reached such dramatic proportions that in 1954 she began hosting her own weekly radio series on CBS, the first program of its kind to broadcast the pure, sanctified gospel style over national airwaves. The show surrounded her with a supporting cast which included not only pianist Mildred Falls and organist Ralph Jones, but also a White quartet led by musical director Jack Halloran; although her performances with Halloran's group moved Jackson far away from traditional gospel towards an odd hybrid which crossed the line into barbershop quartet singing, they proved extremely popular with White audiences, and her transformation into a true crossover star was complete. Also in 1954 she signed to Columbia, scoring a Top 40 hit with the single "Rusty Old Halo," and two years later made her debut on The Ed Sullivan Show. However, with Jackson's success came the inevitable backlash – purists decried her music's turn toward more pop-friendly production, and as her fame soared, so did her asking price, so much so that by the late '50s, virtually no Black churches could afford to pay her performance fee.

A triumphant appearance at the 1958 Newport Jazz Festival solidified Jackson's standing among critics, but her records continued moving her further away from her core audience – when an LP with Percy Faith became a smash, Columbia insisted on more recordings with orchestras and choirs; she even cut a rendition of "Guardian Angels" backed by comic Harpo Marx. In 1959, she appeared in the film Imitation of Life, and two years later sang at John F. Kennedy's Presidential inauguration. During the '60s, Jackson was also a confidant and supporter of Dr. Martin Luther King, and at his funeral sang his last request, "Precious Lord"; throughout the decade she was a force in the civil rights movement, but after 1968, with King and the brothers Kennedy all assassinated, she retired from the political front. At much the same time, Jackson went through a messy and very public divorce, prompting a series of heart attacks and the rapid loss of over a hundred pounds; in her last years, however, she recaptured much of her former glory, concluding her career with a farewell concert in Germany in 1971. She died January 27, 1972.

Allmusic.com

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

Отчёт EAC об извлечении, выполненном 31. марта 2012, 12:43

Mahalia Jackson / Live at Newport 1958

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

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11 | 34:49.12 | 2:34.50 | 156687 | 168286
12 | 37:23.62 | 4:37.45 | 168287 | 189106


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\004 Mahalia Jackson - Live at Newport '58 (1958)\1958 Live at Newport '58.wav

Пиковый уровень 99.5 %
Качество диапазона 100.0 %
CRC теста 224A958A
CRC копии 224A958A
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

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Трек 2 точное извлечение (доверие 3) [72015F95]
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Трек 4 точное извлечение (доверие 3) [8AFB2F5E]
Трек 5 точное извлечение (доверие 3) [82FE8BC4]
Трек 6 точное извлечение (доверие 2) [36EDD759]
Трек 7 точное извлечение (доверие 3) [B18F5D9B]
Трек 8 точное извлечение (доверие 3) [7C84AFDA]
Трек 9 точное извлечение (доверие 3) [FE390F23]
Трек 10 точное извлечение (доверие 3) [90F2068B]
Трек 11 точное извлечение (доверие 3) [E2F6A7F2]
Трек 12 точное извлечение (доверие 3) [D31C7963]

Все треки извлечены точно

Конец отчёта

There were two distinct sides to Chuck Willis. In addition to being a convincing blues shouter, the Atlanta-born Willis harbored a vulnerable blues balladeer side. In addition, he was a masterful songwriter who penned some of the most distinctive R&B numbers of the 1950s. He can't be granted principal credit for his 1957 smash adaptation of "C.C. Rider," an irresistible update of a classic folk-blues, but Willis did write such gems as "I Feel So Bad" (later covered by Elvis Presley, Little Milton, and Otis Rush), the anguished ballads "Don't Deceive Me (Please Don't Go)" and "It's Too Late" (the latter attracting covers by Buddy Holly, Charlie Rich, and Otis Redding) and his swan song, "Hang Up My Rock and Roll Shoes."

Harold Willis (he adopted Chuck as a stage handle) received his early training singing at YMCA-sponsored "Teenage Canteens" in Atlanta and fronting the combos of local bandleaders Roy Mays and Red McAllister. Powerful DJ Zenas "Daddy" Sears took an interest in the young vocalist's career, hooking him up with Columbia Records in 1951. After a solitary single for the major firm, Willis was shuttled over to its recently reactivated OKeh R&B subsidiary.

In 1952, he crashed the national R&B lists for OKeh with a typically plaintive ballad, "My Story," swiftly encoring on the hit parade with a gentle cover of Fats Domino's "Goin' to the River" and his own "Don't Deceive Me" the next year and "You're Still My Baby" and the surging Latin-beat "I Feel So Bad" in 1954. Willis also penned a heart-tugging chart-topper for Ruth Brown that year, "Oh What a Dream."

Willis moved over to Atlantic Records in 1956 and immediately enjoyed another round of hits with "It's Too Late" and "Juanita." Atlantic strove mightily to cross Willis over into pop territory, inserting an exotic steel guitar at one session and chirpy choirs on several more. The strategy eventually worked when his 1957 revival of the ancient "C.C. Rider" proved the perfect number to do the "Stroll" to; American Bandstand gave the track a big push, and Willis had his first R&B number one hit as well as a huge pop seller (Gene "Daddy G" Barge's magnificent sax solo likely aided its ascent).

Barge returned for Willis's similar follow-up, "Betty and Dupree," which also did well for him. But the turban-wearing crooner's time was growing short – he had long suffered from ulcers prior to his 1958 death from peritonitis. Much has been made of the ironic title of his last hit, the touching "What Am I Living For," but it was no more a clue to his impending demise than its flip, the joyous "Hang Up My Rock and Roll Shoes." Both tracks became massive hits upon the singer's death, and his posthumous roll continued with "My Life" and a powerful "Keep A-Driving" later that year.

Allmusic.com

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

Отчёт EAC об извлечении, выполненном 31. марта 2012, 13:31

Chuck Willis / Wails The Blues

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:15.43 | 0 | 14667
2 | 3:15.43 | 2:55.03 | 14668 | 27795
3 | 6:10.46 | 3:12.70 | 27796 | 42265
4 | 9:23.41 | 2:11.50 | 42266 | 52140
5 | 11:35.16 | 3:00.10 | 52141 | 65650
6 | 14:35.26 | 2:26.03 | 65651 | 76603
7 | 17:01.29 | 3:04.40 | 76604 | 90443
8 | 20:05.69 | 2:33.40 | 90444 | 101958
9 | 22:39.34 | 2:55.55 | 101959 | 115138
10 | 25:35.14 | 2:21.40 | 115139 | 125753
11 | 27:56.54 | 2:22.72 | 125754 | 136475
12 | 30:19.51 | 3:02.00 | 136476 | 150125


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\005 Chuck Willis - Wails the Blues (1958)\1958 Wails The Blues.wav

Пиковый уровень 100.0 %
Качество диапазона 99.9 %
CRC теста 0CA2B2D8
CRC копии 0CA2B2D8
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [6AB48417]
Трек 2 точное извлечение (доверие 3) [E696EA9D]
Трек 3 точное извлечение (доверие 3) [02EAD76F]
Трек 4 точное извлечение (доверие 3) [A6A7F9C8]
Трек 5 точное извлечение (доверие 3) [074879F7]
Трек 6 точное извлечение (доверие 3) [A4DDFA16]
Трек 7 точное извлечение (доверие 3) [C74E2074]
Трек 8 точное извлечение (доверие 3) [69F68239]
Трек 9 точное извлечение (доверие 3) [3A34AD64]
Трек 10 точное извлечение (доверие 3) [0E02552A]
Трек 11 точное извлечение (доверие 3) [FE7DF8C5]
Трек 12 точное извлечение (доверие 3) [10C33AD9]

Все треки извлечены точно

Конец отчёта

OK, to be fair, For LP Fans Only is no more a real Elvis Presley album than, say, Yesterday and Today was a real Beatles album – Elvis was nine months through his two-year hitch in the army and RCA needed to get something "new" in the way of an LP out on him, so they threw together a quartet of sides from his Sun Records singles that had never been on album, five of his early RCA sides (which don't sound too different from the Sun stuff stylistically) that had similarly missed being put onto long-player, and one odd song off of the Love Me Tender soundtrack EP, and voila – a new Elvis LP. It doesn't sound like much from that description, but in its time For LP Fans Only was (along with its follow-up, A Date With Elvis) one of the choicest of all Elvis Presley albums. From 1959 until 1976, unless you wanted to try hunting down the original singles, this was the only way that any listeners got to hear the King's Sun Records singles "That's All Right," "Mystery Train," and "My Baby Left Me," and the only album to offer such early RCA sides as "Shake, Rattle & Roll" as well. Maybe it could all have been done better and more coherently, and it would've been nice if the producers had avoided the electronically rechanneled stereo through which the original mono sides were processed, but all RCA was trying to do was get some Elvis Presley material out there – they didn't get interested in the history or the particulars of the music until about 20 years later, and considering their obliviousness, they did astonishingly well. At least the songs were out there – a lot of listeners wore out copies of this album just lending them around to the uninitiated – and taken on its own terms, there weren't five more exciting rock & roll albums than this that you could buy in 1959 (or a lot of years after). It still holds up as one of the best rock & roll albums ever released, and for anyone who wants to remember (or find out) how most listeners discovered Elvis' early stuff during the 1960s and 1970s, this is one place to start, though vinyl connoisseurs will want to get a mono copy, and CD purchasers should get hold of the 2001-release audiophile Japanese version, mastered in 24-bit digital audio.

Review by Bruce Eder, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 31. марта 2012, 13:31

Chuck Willis / Wails The Blues

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:15.43 | 0 | 14667
2 | 3:15.43 | 2:55.03 | 14668 | 27795
3 | 6:10.46 | 3:12.70 | 27796 | 42265
4 | 9:23.41 | 2:11.50 | 42266 | 52140
5 | 11:35.16 | 3:00.10 | 52141 | 65650
6 | 14:35.26 | 2:26.03 | 65651 | 76603
7 | 17:01.29 | 3:04.40 | 76604 | 90443
8 | 20:05.69 | 2:33.40 | 90444 | 101958
9 | 22:39.34 | 2:55.55 | 101959 | 115138
10 | 25:35.14 | 2:21.40 | 115139 | 125753
11 | 27:56.54 | 2:22.72 | 125754 | 136475
12 | 30:19.51 | 3:02.00 | 136476 | 150125


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\005 Chuck Willis - Wails the Blues (1958)\1958 Wails The Blues.wav

Пиковый уровень 100.0 %
Качество диапазона 99.9 %
CRC теста 0CA2B2D8
CRC копии 0CA2B2D8
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [6AB48417]
Трек 2 точное извлечение (доверие 3) [E696EA9D]
Трек 3 точное извлечение (доверие 3) [02EAD76F]
Трек 4 точное извлечение (доверие 3) [A6A7F9C8]
Трек 5 точное извлечение (доверие 3) [074879F7]
Трек 6 точное извлечение (доверие 3) [A4DDFA16]
Трек 7 точное извлечение (доверие 3) [C74E2074]
Трек 8 точное извлечение (доверие 3) [69F68239]
Трек 9 точное извлечение (доверие 3) [3A34AD64]
Трек 10 точное извлечение (доверие 3) [0E02552A]
Трек 11 точное извлечение (доверие 3) [FE7DF8C5]
Трек 12 точное извлечение (доверие 3) [10C33AD9]

Все треки извлечены точно

Конец отчёта

One of the great blues singers of the post-World War II period, Jimmy Witherspoon was also versatile enough to fit comfortably into the jazz world. Witherspoon was born on August 8, 1920, in Gurdon, AR. As a child, he sang in a church choir, and made his debut recordings with Jay McShann for Philo and Mercury in 1945 and 1946. His own first recordings, using McShann's band, resulted in a number one R&B hit in 1949 with "Ain't Nobody's Business, Pts. 1 & 2" on Supreme Records. Live performances of "No Rollin' Blues" and "Big Fine Girl" provided 'Spoon with two more hits in 1950.

The mid-'50s were a lean time, with his style of shouting blues temporarily out of fashion; singles were tried for Federal, Chess, Atco, Vee Jay, and others, with little success. Jimmy Witherspoon at the Monterey Jazz Festival (HiFi Jazz) from 1959 lifted him back into the limelight. Partnerships with Ben Webster or Groove Holmes were recorded, and he toured Europe in 1961 with Buck Clayton, performing overseas many more times in the decades to follow; some memorable music resulted, but Witherspoon's best 1960s album is Evening Blues (Prestige), which features T-Bone Walker on guitar and Clifford Scott on saxophone. As the '70s began, Witherspoon decided to take a short break from live performances, settled in Los Angeles, took a job as a disc jockey, and continued making records. In 1971 Witherspoon teamed up with former Animals vocalist Eric Burdon for the album Guilty. Unfortunately it sold poorly. By 1973 his short retirement from live performances was over. Witherspoon was ready to get back on the road and assembled an amazing band featuring a young Robben Ford on lead guitar. Those live shows had received positive reviews, rejuvenating Witherspoon's move toward a definite rock/soul sound. He traveled to London in 1974 to record Love Is a Five Letter Word with British blues producer Mike Vernon. Vernon had produced critically acclaimed British blues albums by John Mayall, Fleetwood Mac, and Ten Years After. By the early '80s, Witherspoon was diagnosed with throat cancer. Although he remained active and was a popular concert attraction, the effect of the disease on his vocals was obvious. Witherspoon passed away on September 18, 1997, at the age of 77.

Allmusic.com

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

Отчёт EAC об извлечении, выполненном 1. апреля 2012, 9:20

Jimmy Witherspoon / In Person

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
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2 | 4:00.54 | 3:48.04 | 18054 | 35157
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4 | 12:01.08 | 2:40.07 | 54083 | 66089
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7 | 22:23.49 | 4:43.55 | 100774 | 122053
8 | 27:07.29 | 5:58.63 | 122054 | 148966


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\007 Jimmy Witherspoon - In Person (1961)\1961 In Person.wav

Пиковый уровень 98.8 %
Качество диапазона 100.0 %
CRC теста 6D2730E3
CRC копии 6D2730E3
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [CB2E8B8A]
Трек 2 точное извлечение (доверие 3) [1758E97F]
Трек 3 точное извлечение (доверие 3) [F76D91A7]
Трек 4 точное извлечение (доверие 3) [578C05B3]
Трек 5 точное извлечение (доверие 3) [1EB577F3]
Трек 6 точное извлечение (доверие 3) [1C18EA65]
Трек 7 точное извлечение (доверие 3) [5114A87E]
Трек 8 точное извлечение (доверие 3) [10CA530B]

Все треки извлечены точно

Конец отчёта

Reading about the power inherent in Robert Johnson's music is one thing, but actually experiencing it is another matter entirely. The official 1998 edition of the original 1961 album was certainly worth the wait, remastered off the best quality original 78s available, of far superior quality to any of the source materials used on even the 1991 box set. Johnson's guitar takes on a fullness never heard on previous reissues, and except for a nagging hiss in spots on "Terraplane Blues" (the equalization on this disc is extreme, to even sport some minute turntable rumble in the low end), this really brings his music alive. If there is such a thing as a greatest-hits package available on Johnson, this landmark album, which jump-started the whole '60s blues revival, would certainly be the one. The majority of Johnson's best-known tunes, the ones that made the legend, are all aboard: "Crossroads," "Walkin' Blues," "Me & the Devil Blues," "Come On In My Kitchen," and the apocalyptic visions contained in "Hellhound On My Trail" are the blues at its finest, the lyrics sheer poetry. And making its first appearance anywhere is a newly discovered (in 1998) alternate take of "Traveling Riverside Blues" that's appended to the original 16-track lineup. If you are starting your blues collection from the ground up, be sure to make this your very first purchase.

Review by Cub Koda, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 1. апреля 2012, 13:00

Robert Johnson / King Of The Delta Blues Singers

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 2:30.62 | 0 | 11311
2 | 2:30.62 | 3:03.25 | 11312 | 25061
3 | 5:34.12 | 2:53.50 | 25062 | 38086
4 | 8:27.62 | 2:32.20 | 38087 | 49506
5 | 11:00.07 | 2:40.65 | 49507 | 61571
6 | 13:40.72 | 2:52.08 | 61572 | 74479
7 | 16:33.05 | 2:52.72 | 74480 | 87451
8 | 19:26.02 | 2:37.48 | 87452 | 99274
9 | 22:03.50 | 2:53.65 | 99275 | 112314
10 | 24:57.40 | 2:40.00 | 112315 | 124314
11 | 27:37.40 | 2:53.37 | 124315 | 137326
12 | 30:31.02 | 2:30.35 | 137327 | 148611
13 | 33:01.37 | 2:48.73 | 148612 | 161284
14 | 35:50.35 | 2:19.30 | 161285 | 171739
15 | 38:09.65 | 2:36.30 | 171740 | 183469
16 | 40:46.20 | 2:40.07 | 183470 | 195476
17 | 43:26.27 | 2:39.48 | 195477 | 207449


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\008 Robert Johnson - King of the Delta Blues Singers (1961)\1961 King Of The Delta Blues Singers.wav

Пиковый уровень 98.9 %
Качество диапазона 100.0 %
CRC теста B3F6BAAB
CRC копии B3F6BAAB
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [FE95A8B4]
Трек 2 точное извлечение (доверие 3) [743376F0]
Трек 3 точное извлечение (доверие 3) [C830B756]
Трек 4 точное извлечение (доверие 3) [04AE4A02]
Трек 5 точное извлечение (доверие 3) [8B120F98]
Трек 6 точное извлечение (доверие 3) [98806AE4]
Трек 7 точное извлечение (доверие 3) [39465DDA]
Трек 8 точное извлечение (доверие 3) [11C1DC9F]
Трек 9 точное извлечение (доверие 3) [6A82876C]
Трек 10 точное извлечение (доверие 3) [054E3C7A]
Трек 11 точное извлечение (доверие 3) [78C4FAB4]
Трек 12 точное извлечение (доверие 3) [8CDECE9B]
Трек 13 точное извлечение (доверие 3) [DCF8EE43]
Трек 14 точное извлечение (доверие 3) [E860C4AF]
Трек 15 точное извлечение (доверие 3) [2FA02722]
Трек 16 точное извлечение (доверие 3) [89D34B00]
Трек 17 точное извлечение (доверие 3) [8095FA9C]

Все треки извлечены точно

Конец отчёта

Sonny Boy Williamson was, in many ways, the ultimate blues legend. By the time of his death in 1965, he had been around long enough to have played with Robert Johnson at the start of his career and Eric Clapton, Jimmy Page and Robbie Robertson at the end of it. In between, he drank a lot of whiskey, hoboed around the country, had a successful radio show for 15 years, toured Europe to great acclaim and simply wrote, played and sang some of the greatest blues ever etched into black phonograph records. His delivery was sly, evil and world-weary, while his harp-playing was full of short, rhythmic bursts one minute and powerful, impassioned blowing the next. His songs were chock-full of mordant wit, with largely autobiographical lyrics that hold up to the scrutiny of the printed page. Though he took his namesake from another well-known harmonica player, no one really sounded like him.

A moody, bitter, and suspicious man, no one wove such a confusing web of misinformation as Sonny Boy Williamson II. Even his birth date (stated as December 5, 1899 in most reference books, but some sources claim his birth may have been in either 1897 or 1909) and real name (Aleck or Alex or Willie "Rice" – which may or may not be a nickname – Miller or Ford) cannot be verified with absolute certainty. Of his childhood days in Mississippi, absolutely nothing is known. What is known is that by the mid-'30s, he was traveling the Delta working under the alias of Little Boy Blue. With blues legends like Robert Johnson, Robert Nighthawk, Robert Jr. Lockwood, and Elmore James as interchangeable playing partners, he worked the juke joints, fish fries, country suppers and ballgames of the era. By the early '40s, he was the star of KFFA's King Biscuit Time, the first live blues radio show to hit the American airwaves. As one of the major ruses to occur in blues history, his sponsor – the Interstate Grocery Company – felt they could push more sacks of their King Biscuit Flour with Miller posing as Chicago harmonica star John Lee "Sonny Boy" Williamson. In today's everybody-knows-everything video age, it's hard to think that such an idea would work, much less prosper. After all, the real Sonny Boy was a national recording star, and Miller's vocal and harmonica style was in no way derivative of him. But Williamson had no desire to tour in the South, so prosper it did, and when John Lee was murdered in Chicago, Miller became – in his own words – "the original Sonny Boy." Among his fellow musicians, he was usually still referred to as Rice Miller, but to the rest of the world he did, indeed, become the Sonny Boy Williamson.

The show was an immediate hit, prompting IGC to introduce Sonny Boy Corn Meal, complete with a likeness of Williamson on the front of the package. With all this local success, however, Sonny Boy was not particularly anxious to record. Though he often claimed in his twilight years that he had recorded in the '30s, no evidence of that appears to have existed. Lillian McMurray, the owner of Trumpet Records in Jackson, MS, had literally tracked him down to a boarding house in nearby Belzoni and enticed him to record for her. The music Sonny Boy made for her between 1951 to 1954 show him in peak form, his vocal, instrumental, and songwriting skills honed to perfection. Williamson struck paydirt on his first Trumpet release, "Eyesight to the Blind" and though the later production on his Chess records would make the Trumpet sides seem woefully under-recorded by comparison, they nonetheless stand today as classic performances, capturing juke joint blues in one of its finest hours.

Another major contribution to the history of the blues occurred when Sonny Boy brought King Biscuit Time guest star Elmore James into the studio for a session. With Williamson blowing harp, a drummer keeping time, and the tape machine running surreptitiously, Elmore recorded the first version of what would become his signature tune, Robert Johnson's "Dust My Broom." By this time Sonny Boy had divorced his first wife (who also happened to be Howlin' Wolf's sister) and married Mattie Gordon. This would prove to be the longest and most enduring relationship of his life outside of music, with Mattie putting up with the man's rambling ways, and living a life of general rootlessness in the bargain. On two different occasions Sonny Boy moved to Detroit, taking up residence in the Baby Boy Warren band for brief periods, and contributed earth-shattering solos on Warren sides for Blue Lake and Excello in 1954.

By early 1955, after leasing a single to Johnny Vincent's Ace label, McMurray had sold Williamson's contract to Buster Williams in Memphis, who in turn sold it to Leonard Chess in Chicago. All the pieces were finally tumbling into place, and Sonny Boy finally had a reason to take up permanent residence north of the Mason-Dixon line; he now was officially a Chess recording artist. His first session for Chess took place on August 12, 1955, and the single pulled from it, "Don't Start Me to Talkin'," started doing brisk business on the R&B charts. By his second session for the label, he was reunited with longtime musical partner Robert Jr. Lockwood. Lockwood – who had been one of the original King Biscuit Boys – had become de facto house guitarist for Chess, as well as moonlighting for other Chicago labels. With Lockwood's combination of Robert Johnson rhythms and jazz chord embellishments, Williamson's harp and parched vocals sounded fresher than ever and Lockwood's contributions to the success of Sonny Boy's Chess recordings cannot be overestimated.

For a national recording artist, Williamson had a remarkable penchant for pulling a disappearing act for months at a time. Sometimes, when Chicago bookings got too lean, he would head back to Arkansas, fronting the King Biscuit radio show for brief periods. But in 1963 he was headed to Europe for the first time, as part of the American Folk Blues Festival. The folk music boom was in full swing and Europeans were bringing over blues artists, both in and past their prime, to face wildly appreciative white audiences for the first time. Sonny Boy unleashed his bag of tricks and stole the show every night. He loved Europe and stayed behind in Britain when the tour headed home. He started working the teenage beat club circuit, touring and recording with the Yardbirds and Eric Burdon's band, whom he always referred to as "de Mammimals." On the folk-blues tours, Sonny Boy would be very dignified and laid-back. But in the beat club setting, with young, white bands playing on eleven behind him, he'd pull out every juke joint trick he used with the King Biscuit Boys and drive the kids nuts. "Help Me" became a surprise hit in Britain and across Europe. Then in his mid-'60s (or possibly older), Williamson was truly appreciative of all the attention, and contemplated moving to Europe permanently. But after getting a harlequin, two-tone, city gentleman's suit (complete with bowler hat, rolled umbrella and attaché case full of harmonicas) made up for himself, he headed back to the States – and the Chess studios – for some final sessions. When he returned to England in 1964, it was as a conquering hero. One of his final recordings, with Jimmy Page on guitar, was entitled "I'm Trying to Make London My Home."

In 1965, he headed home, back to Mississippi one last time, and took over the King Biscuit show again. Still wearing his custom-made suit, he regaled the locals with stories of his travels across Europe. Some were impressed, others who had known him for years felt he could have just as well substituted the name "Mars" for Europe in explaining his exploits, so used were they to Sonny Boy's tall tales. But after hoboing his way around the United States for thirty-odd years, and playing to appreciative audiences throughout Europe, Sonny Boy had a perfectly good reason for returning to the Delta; he had come home to die. He would enlist the help of old friends like Houston Stackhouse and Peck Curtis to take him around to all the back-road spots he had seen as a boy, sometimes paying his respects to old friends, other days just whiling away an afternoon on the banks of a river fishing.

When Ronnie Hawkins' ex-bandmates, the Hawks, were playing in the area, they made a special point of seeking out Sonny Boy and spent an entire evening backing him up in a juke joint. All through the night, Williamson kept spitting into a coffee can beside him. When Robbie Robertson got up to leave the bandstand during a break, he noticed the can was filled with blood. On May 25, 1965, Curtis and Stackhouse were waiting at the KFFA studios for Sonny Boy to do the daily King Biscuit broadcast. When Williamson didn't show, Curtis left the station and headed to the rooming house where Sonny Boy was staying, only to find him lying in bed, dead of an apparent heart attack. He was buried in the Whitfield Cemetery in Tutwiler, MS, and his fun277169eral was well-attended. As Houston Stackhouse said, "He was well thought of through that country." He was elected to the Blues Foundation Hall of Fame in 1980.

Allmusic.com

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

Отчёт EAC об извлечении, выполненном 1. апреля 2012, 14:05

Sonny Boy Williamson / Sonny Boy Williamson & Memphis Slim

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:37.10 | 0 | 20784
2 | 4:37.10 | 4:07.22 | 20785 | 39331
3 | 8:44.32 | 4:39.59 | 39332 | 60315
4 | 13:24.16 | 3:39.56 | 60316 | 76796
5 | 17:03.72 | 5:40.25 | 76797 | 102321
6 | 22:44.22 | 4:18.40 | 102322 | 121711
7 | 27:02.62 | 5:31.74 | 121712 | 146610


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\009 Sonny Boy Williamson - Sonny Boy Williamson & Memphis Slim (1964)\1964 Sonny Boy Williamson & Memphis Slim.wav

Пиковый уровень 98.1 %
Качество диапазона 100.0 %
CRC теста 0E3399D4
CRC копии 0E3399D4
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [FC916BFF]
Трек 2 точное извлечение (доверие 3) [320D9EC4]
Трек 3 точное извлечение (доверие 3) [D47D7A8F]
Трек 4 точное извлечение (доверие 3) [902DC68E]
Трек 5 точное извлечение (доверие 2) [9F5DACA2]
Трек 6 точное извлечение (доверие 3) [00D3CA64]
Трек 7 точное извлечение (доверие 3) [88E60A47]

Все треки извлечены точно

Конец отчёта

Since her youth Franklin had admired Dinah Washington, and it's a safe bet that the level of emotional commitment Washington brought to her work was a major influence on the blossoming style of Aretha, not to mention Washington's effortless sense of swing. Shortly before she died, Washington took appreciate notice of her acolyte as well. So Aretha's tribute to Washington is as logical as it is satisfying. Recorded when Aretha was just 21, UNFORGETTABLE is somewhat of a departure from her more R&B-oriented early work. However, the string arrangements of Johnny Mersey adn the jazzy bass work of George Duvivier mesh perfectly with Franklin's high-flying vocal fireworks. From the slow, subtle caress of "What a Difference a Day Made" to the organ-led blues of "Nobody Knows the Way I Feel This Morning," the young Aretha is in total command of the material here, simultaneously paying homage to and progressing from the influence of Washington.

Review by Allmusic.com

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

Отчёт EAC об извлечении, выполненном 1. апреля 2012, 15:57

Aretha Franklin / Unforgettable: A Tribute to Dinah Washington

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:42.40 | 0 | 16689
2 | 3:42.40 | 4:37.42 | 16690 | 37506
3 | 8:20.07 | 3:33.55 | 37507 | 53536
4 | 11:53.62 | 3:30.48 | 53537 | 69334
5 | 15:24.35 | 5:13.05 | 69335 | 92814
6 | 20:37.40 | 2:42.67 | 92815 | 105031
7 | 23:20.32 | 2:47.53 | 105032 | 117609
8 | 26:08.10 | 4:36.25 | 117610 | 138334
9 | 30:44.35 | 3:39.10 | 138335 | 154769
10 | 34:23.45 | 2:23.25 | 154770 | 165519
11 | 36:46.70 | 3:18.72 | 165520 | 180441


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\010 Aretha Franklin - Unforgettable. A Tribute to Dinah Washington (1964)\1964 Unforgettable. A Tribute to Dinah Washington.wav

Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC теста BC36C528
CRC копии BC36C528
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [D4928F79]
Трек 2 точное извлечение (доверие 3) [5FE2813B]
Трек 3 точное извлечение (доверие 3) [854A2884]
Трек 4 точное извлечение (доверие 3) [5DCB20A2]
Трек 5 точное извлечение (доверие 3) [AE915052]
Трек 6 точное извлечение (доверие 3) [7919AC58]
Трек 7 точное извлечение (доверие 3) [DFECAA07]
Трек 8 точное извлечение (доверие 3) [72BCFE57]
Трек 9 точное извлечение (доверие 3) [9185649F]
Трек 10 точное извлечение (доверие 3) [C9846BA8]
Трек 11 точное извлечение (доверие 3) [21096875]

Все треки извлечены точно

Конец отчёта

This was the first such presentation of a Delta blues musician done by Columbia, which seemed like a pretty hip label at the time, since they had both Bob Dylan and Paul Revere and the Raiders. The man's picture on the front is mesmerizing, in a word; the white shirt, black string tie, and silver steel guitar just adding to the excitement. Perhaps this album picture was the first glimpse many young listeners had of such a style of guitar. It was decades before Dire Straits appropriated the image. Revisionist critical thinking has it that the later recordings by Son House can't match the music created during his '30s sessions for Paramount. Here, of course, we have the music as sports syndrome, an area where the elderly are always going to fail in someone's eyes. So much of music enjoyment, however, is a subjective reaction that so often involves many other factors, among them time and place. The sound of the metal slide quietly hovering over the strings can bring to mind only one thing in the mind of a westerner: an angry rattlesnake. And the way many listeners' jaws dropped upon hearing music such as this for the first time may not be quite as intense as a hiker's facial expression upon encountering such a creature, but it is close enough. There is a second blues legend appearing here as well. Guitarist and harmonica player Al Wilson was a founding member of Canned Heat, and a musician so good at what he did that he became a sterling example of the possibility that young white blues fans could actually learn to play this music really well, with intensity. The original pressing contains nine tracks, each of them gems. The length some of the tracks are allowed to go to is really wonderful. One of them is more than nine minutes long. Producers of country blues material in the 21st century would probably frown on such a thing because they are guilty of helping water the genre down over the years. The inevitable repackaging of material from these recording sessions in the '90s contained alternate takes, a decision that picks open arguments about whether the old man's playing at that time really warranted hearing every take, or, in fact, whether such documentation is really even that important in a genre such as blues. However one feels about such controversial subjects, it definitely seems like producer John Hammond picked the right tracks the first time out.

Review by Eugene Chadbourne, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 1. апреля 2012, 15:01

Son House / Father of Folk Blues

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:21.20 | 0 | 19594
2 | 4:21.20 | 4:34.05 | 19595 | 40149
3 | 8:55.25 | 6:13.65 | 40150 | 68189
4 | 15:09.15 | 2:32.07 | 68190 | 79596
5 | 17:41.22 | 3:41.25 | 79597 | 96196
6 | 21:22.47 | 5:45.38 | 96197 | 122109
7 | 27:08.10 | 2:08.15 | 122110 | 131724
8 | 29:16.25 | 6:14.25 | 131725 | 159799
9 | 35:30.50 | 9:28.25 | 159800 | 202424


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\011 Son House - Father of Folk Blues (1965)\1965 Father of Folk Blues.wav

Пиковый уровень 92.5 %
Качество диапазона 100.0 %
CRC теста FB0196FE
CRC копии FB0196FE
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [9A4077B4]
Трек 2 точное извлечение (доверие 3) [2394243E]
Трек 3 точное извлечение (доверие 3) [3F57F058]
Трек 4 точное извлечение (доверие 3) [717E3E55]
Трек 5 точное извлечение (доверие 3) [A70C6C26]
Трек 6 точное извлечение (доверие 3) [F408CCE6]
Трек 7 точное извлечение (доверие 3) [13407DBB]
Трек 8 точное извлечение (доверие 3) [191494B7]
Трек 9 точное извлечение (доверие 3) [B5C449F6]

Все треки извлечены точно

Конец отчёта

Although both of these performers are usually identified with styles of the 1950s, this is a fine overlooked album of upbeat (even frenetic at times) late-'60s soul. Both singers are in fine voice on a set of strong material that stands quite comfortably with similar urban soul efforts of the era from Chicago and Detroit. The CD reissue adds two significant bonus tracks from their 1967 single with Kaleidoscope, "Nobody" and "Find Yourself Someone to Love, " although the group's presence, while it is credited, is not evident on the B-side.

Review by Richie Unterberger, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 1. апреля 2012, 16:39

Johnny Watson & Larry Williams / Two For The Price Of One

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:22.55 | 0 | 15204
2 | 3:22.55 | 2:42.65 | 15205 | 27419
3 | 6:05.45 | 2:35.55 | 27420 | 39099
4 | 8:41.25 | 2:15.05 | 39100 | 49229
5 | 10:56.30 | 2:57.37 | 49230 | 62541
6 | 13:53.67 | 2:25.10 | 62542 | 73426
7 | 16:19.02 | 2:44.20 | 73427 | 85746
8 | 19:03.22 | 2:15.05 | 85747 | 95876
9 | 21:18.27 | 2:54.43 | 95877 | 108969
10 | 24:12.70 | 2:44.25 | 108970 | 121294
11 | 26:57.20 | 2:37.37 | 121295 | 133106
12 | 29:34.57 | 2:04.35 | 133107 | 142441
13 | 31:39.17 | 4:41.03 | 142442 | 163519
14 | 36:20.20 | 2:15.42 | 163520 | 173686
15 | 38:35.62 | 3:16.18 | 173687 | 188404
16 | 41:52.05 | 3:19.17 | 188405 | 203346
17 | 45:11.22 | 2:28.05 | 203347 | 214451
18 | 47:39.27 | 3:09.38 | 214452 | 228664
19 | 50:48.65 | 5:00.30 | 228665 | 251194
20 | 55:49.20 | 3:18.10 | 251195 | 266054


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\012 Johnny Watson & Larry Williams - Two for the Price of One (1967)\1967 Two For The Price Of One.wav

Пиковый уровень 96.0 %
Качество диапазона 100.0 %
CRC копии 1B694AA1
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [7F453046]
Трек 2 точное извлечение (доверие 3) [053123E0]
Трек 3 точное извлечение (доверие 3) [BAB63835]
Трек 4 точное извлечение (доверие 3) [5CAAB386]
Трек 5 точное извлечение (доверие 3) [B679874A]
Трек 6 точное извлечение (доверие 3) [6174BA91]
Трек 7 точное извлечение (доверие 3) [47E247FF]
Трек 8 точное извлечение (доверие 3) [75726B3B]
Трек 9 точное извлечение (доверие 3) [AFED3AB8]
Трек 10 точное извлечение (доверие 3) [D4EB07F2]
Трек 11 точное извлечение (доверие 3) [BAC5FEF6]
Трек 12 точное извлечение (доверие 3) [B06380E0]
Трек 13 точное извлечение (доверие 3) [48A67454]
Трек 14 точное извлечение (доверие 3) [2D63F30E]
Трек 15 точное извлечение (доверие 3) [05BFD0EC]
Трек 16 точное извлечение (доверие 3) [1E443C9F]
Трек 17 точное извлечение (доверие 3) [0127EFCC]
Трек 18 точное извлечение (доверие 3) [BBD3FDFF]
Трек 19 точное извлечение (доверие 3) [C6AEFFB9]
Трек 20 точное извлечение (доверие 3) [C1F25179]

Все треки извлечены точно

Конец отчёта

A formidable contender in the ring before he shifted his focus to pounding the piano instead, Champion Jack Dupree often injected his lyrics with a rowdy sense of down-home humor. But there was nothing lighthearted about his rock-solid way with a boogie; when he shouted "Shake Baby Shake," the entire room had no choice but to acquiesce.

Dupree was notoriously vague about his beginnings, claiming in some interviews that his parents died in a fire set by the Ku Klux Klan, at other times saying that the blaze was accidental. Whatever the circumstances of the tragic conflagration, Dupree grew up in New Orleans' Colored Waifs' Home for Boys (Louis Armstrong also spent his formative years there). Learning his trade from barrelhouse 88s ace Willie "Drive 'em Down" Hall, Dupree left the Crescent City in 1930 for Chicago and then Detroit. By 1935, he was boxing professionally in Indianapolis, battling in an estimated 107 bouts.

In 1940, Dupree made his recording debut for Chicago A&R man extraordinaire Lester Melrose and OKeh Records. Dupree's 1940-1941 output for the Columbia subsidiary exhibited a strong New Orleans tinge despite the Chicago surroundings; his driving "Junker's Blues" was later cleaned up as Fats Domino's 1949 debut, "The Fat Man." After a stretch in the Navy during World War II (he was a Japanese P.O.W. for two years), Dupree decided tickling the 88s beat pugilism any old day. He spent most of his time in New York and quickly became a prolific recording artist, cutting for Continental, Joe Davis, Alert, Apollo, and Red Robin (where he cut a blasting "Shim Sham Shimmy" in 1953), often in the company of Brownie McGhee. Contracts meant little; Dupree masqueraded as Brother Blues on Abbey, Lightnin' Jr. on Empire, and the truly imaginative Meat Head Johnson for Gotham and Apex.

King Records corralled Dupree in 1953 and held onto him through 1955 (the year he enjoyed his only R&B chart hit, the relaxed "Walking the Blues.") Dupree's King output rates with his very best; the romping "Mail Order Woman," "Let the Doorbell Ring," and "Big Leg Emma's" contrasting with the rural "Me and My Mule" (Dupree's vocal on the latter emphasizing a harelip speech impediment for politically incorrect pseudo-comic effect).

After a year on RCA's Groove and Vik subsidiaries, Dupree made a masterpiece LP for Atlantic. 1958's Blues From the Gutter is a magnificent testament to Dupree's barrelhouse background, boasting marvelous readings of "Stack-O-Lee," "Junker's Blues," and "Frankie & Johnny" beside the risqué "Nasty Boogie." Dupree was one of the first bluesmen to leave his native country for a less racially polarized European existence in 1959. He lived in a variety of countries overseas, continuing to record prolifically for Storyville, British Decca (with John Mayall and Eric Clapton lending a hand at a 1966 date), and many other firms.

Perhaps sensing his own mortality, Dupree returned to New Orleans in 1990 for his first visit in 36 years. While there, he played the Jazz & Heritage Festival and laid down a zesty album for Bullseye Blues, Back Home in New Orleans. Two more albums of new material were captured by the company the next year prior to the pianist's death in January of 1992. Jack Dupree was a champ to the very end.

Allmusic.com

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

Отчёт EAC об извлечении, выполненном 1. апреля 2012, 18:18

"Champion" Jack Dupree / Anthologie du Blues Vol. 1

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:47.54 | 0 | 17078
2 | 3:47.54 | 5:25.43 | 17079 | 41496
3 | 9:13.22 | 3:58.11 | 41497 | 59357
4 | 13:11.33 | 4:34.11 | 59358 | 79918
5 | 17:45.44 | 3:49.63 | 79919 | 97156
6 | 21:35.32 | 2:36.29 | 97157 | 108885
7 | 24:11.61 | 5:14.29 | 108886 | 132464
8 | 29:26.15 | 3:45.53 | 132465 | 149392
9 | 33:11.68 | 5:29.67 | 149393 | 174134
10 | 38:41.60 | 4:23.19 | 174135 | 193878
11 | 43:05.04 | 3:15.12 | 193879 | 208515


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\013 'Champion' Jack Dupree - Anthologie du Blues, Vol. 1 (1968)\1968 Anthologie du Blues Vol. 1.wav

Пиковый уровень 98.8 %
Качество диапазона 100.0 %
CRC теста 00FD48C4
CRC копии 00FD48C4
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [5DEC3D5A]
Трек 2 точное извлечение (доверие 3) [6D562AE0]
Трек 3 точное извлечение (доверие 3) [7D07F869]
Трек 4 точное извлечение (доверие 3) [9845CAB3]
Трек 5 точное извлечение (доверие 3) [296A1566]
Трек 6 точное извлечение (доверие 3) [E1078BB6]
Трек 7 точное извлечение (доверие 3) [1875BEAA]
Трек 8 точное извлечение (доверие 3) [75F45E94]
Трек 9 точное извлечение (доверие 3) [D1DA3332]
Трек 10 точное извлечение (доверие 3) [23554271]
Трек 11 точное извлечение (доверие 3) [0A45CD5D]

Все треки извлечены точно

Конец отчёта

In January of 1969, British power blues quintet Fleetwood Mac came to Chess Records studios to jam with the likes of Willie Dixon, S.P. Leary, Honeyboy Edwards, and longtime Muddy Waters' pianist Otis Spann. The sessions were so rich and fruitful that three-fifths of the Mac (specifically bassist John McVie and guitarists Peter Green and Danny Kirwin) impressed Spann enough to cut a record with them at the same sessions. While the classic "Country Girl" and a seven-minute "Someday Soon Baby" (which features a lengthy intro from Green on which Spann can be heard barely off mic telling the rest of the band to "let him play on") ended up on the Mac's Blues Jam at Chess double set: remaining cuts included "Dig You" and "Walkin'" and are a near perfect match of Spann's exciting, emotive singing and the Mac's youthful muscle. The Biggest Thing Since Colossus was released on Mac manager/producer/strongman Mike Vernon's London-based Blue Horizon label.

Review by John Duffy, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 1. апреля 2012, 19:25

Otis Spann (with Fleetwood Mac) / The Biggest Thing Since Colossus

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.32 | 5:22.05 | 32 | 24186
2 | 5:22.37 | 2:54.08 | 24187 | 37244
3 | 8:16.45 | 3:26.55 | 37245 | 52749
4 | 11:43.25 | 6:13.27 | 52750 | 80751
5 | 17:56.52 | 3:04.35 | 80752 | 94586
6 | 21:01.12 | 3:00.50 | 94587 | 108136
7 | 24:01.62 | 5:15.28 | 108137 | 131789
8 | 29:17.15 | 3:08.35 | 131790 | 145924
9 | 32:25.50 | 4:40.47 | 145925 | 166971
10 | 37:06.22 | 3:02.43 | 166972 | 180664


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\014 Otis Spann - The Biggest Thing Since Colossus (1969)\1969 The Biggest Thing Since Colossus.wav

Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC теста 19AF9127
CRC копии 19AF9127
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [02B94CAC]
Трек 2 точное извлечение (доверие 3) [60060F7C]
Трек 3 точное извлечение (доверие 3) [51F1DBD3]
Трек 4 точное извлечение (доверие 3) [881A8DC1]
Трек 5 точное извлечение (доверие 3) [1C23FAE0]
Трек 6 точное извлечение (доверие 3) [CD7A0329]
Трек 7 точное извлечение (доверие 3) [A7C8F24E]
Трек 8 точное извлечение (доверие 3) [FB334924]
Трек 9 точное извлечение (доверие 3) [FABD9458]
Трек 10 точное извлечение (доверие 3) [5C008CF8]

Все треки извлечены точно

Конец отчёта

Winter's debut album for Columbia was also arguably his bluesiest and best. Straight out of Texas with a hot trio, Winter made blues-rock music for the angels, tearing up a cheap Fender guitar with total abandon on tracks like "I'm Yours and I'm Hers," "Leland Mississippi Blues," and perhaps the slow blues moment to die for on this set, B.B. King's "Be Careful with a Fool." Winter's playing and vocals have yet to become mannered or clichéd on this session, and if you've ever wondered what the fuss is all about, here's the best place to check out his true legacy.

Review by Cub Koda, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 1. апреля 2012, 20:27

Johnny Winter / Johnny Winter

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:31.59 | 0 | 20383
2 | 4:31.59 | 5:16.51 | 20384 | 44134
3 | 9:48.35 | 2:49.03 | 44135 | 56812
4 | 12:37.38 | 3:55.12 | 56813 | 74449
5 | 16:32.50 | 3:30.38 | 74450 | 90237
6 | 20:03.13 | 2:46.05 | 90238 | 102692
7 | 22:49.18 | 3:42.19 | 102693 | 119361
8 | 26:31.37 | 4:46.43 | 119362 | 140854
9 | 31:18.05 | 2:58.06 | 140855 | 154210
10 | 34:16.11 | 3:08.02 | 154211 | 168312
11 | 37:24.13 | 3:37.29 | 168313 | 184616
12 | 41:01.42 | 2:35.40 | 184617 | 196281


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\015 Johnny Winter - Johnny Winter (1969)\1969 Johnny Winter.wav

Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC теста 67C2450F
CRC копии 67C2450F
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [B2034085]
Трек 2 точное извлечение (доверие 3) [2BB291AC]
Трек 3 точное извлечение (доверие 3) [66CED86C]
Трек 4 точное извлечение (доверие 3) [0E9A8385]
Трек 5 точное извлечение (доверие 3) [540F40D7]
Трек 6 точное извлечение (доверие 3) [DDD97BAA]
Трек 7 точное извлечение (доверие 3) [A4629922]
Трек 8 точное извлечение (доверие 3) [66A249BA]
Трек 9 точное извлечение (доверие 3) [52A5E3B3]
Трек 10 точное извлечение (доверие 3) [ED04F462]
Трек 11 точное извлечение (доверие 3) [B13C7CD4]
Трек 12 точное извлечение (доверие 3) [359CFEDC]

Все треки извлечены точно

Конец отчёта

A masterful songwriter whose touching blues ballad "Please Send Me Someone to Love," a multi-layered universal lament, was a number one R&B hit in 1950, Percy Mayfield had the world by the tail until a horrific 1952 auto wreck left him facially disfigured. That didn't stop the poet laureate of the blues from writing in a prolific fashion, though. As Ray Charles' favorite scribe during the '60s, he handed the Genius such gems as "Hit the Road Jack" and "At the Club."

Like so many of his postwar L.A. contemporaries, Mayfield got his musical start in Texas but moved to the coast during the war. Surmising that Jimmy Witherspoon might like to perform a tune he'd penned called "Two Years of Torture," Mayfield targeted Supreme Records as a possible buyer for his song. But the bosses at Supreme liked his own gentle reading so much that they insisted he wax it himself in 1947 with an all-star band that included saxophonist Maxwell Davis, guitarist Chuck Norris, and pianist Willard McDaniel.

Art Rupe's Specialty logo signed Mayfield in 1950 and he scored a solid string of R&B smashes over the next couple of years. "Please Send Me Someone to Love" and its equally potent flip "Strange Things Happening" were followed in the charts by "Lost Love," "What a Fool I Was," "Prayin' for Your Return," "Cry Baby," and "Big Question," cementing Mayfield's reputation as a blues balladeer of the highest order. Davis handled sax duties on most of Mayfield's Specialty sides as well. Mayfield's lyrics were usually as insightfully downbeat as his tempos; he was a true master at expressing his innermost feelings, laced with vulnerability and pathos (his "Life Is Suicide" and "The River's Invitation" are two prime examples).

Even though his touring was drastically curtailed after the accident, Mayfield hung in there as a Specialty artist through 1954, switching to Chess in 1955-1956 and Imperial in 1959. Charles proved thankful enough for Mayfield's songwriting genius to sign him to his Tangerine logo in 1962; over the next five years, the singer waxed a series of inexorably classy outings, many with Brother Ray's band (notably "My Jug and I" in 1964 and "Give Me Time to Explain" the next year). It's a rare veteran blues artist indeed who hasn't taken a whack at one or more Mayfield copyrights. Mayfield himself persisted into the '70s, scoring minor chart items for RCA and Atlantic while performing on a limited basis until his 1984 death.

Allmusic.com

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

Отчёт EAC об извлечении, выполненном 1. апреля 2012, 21:14

Percy Mayfield / Percy Mayfield Sings Percy Mayfield

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 2:42.74 | 0 | 12223
2 | 2:42.74 | 2:41.43 | 12224 | 24341
3 | 5:24.42 | 3:00.36 | 24342 | 37877
4 | 8:25.03 | 3:01.17 | 37878 | 51469
5 | 11:26.20 | 2:58.34 | 51470 | 64853
6 | 14:24.54 | 3:48.24 | 64854 | 81977
7 | 18:13.03 | 3:01.08 | 81978 | 95560
8 | 21:14.11 | 3:04.12 | 95561 | 109372
9 | 24:18.23 | 3:47.13 | 109373 | 126410
10 | 28:05.36 | 2:32.63 | 126411 | 137873
11 | 30:38.24 | 2:29.42 | 137874 | 149090
12 | 33:07.66 | 3:01.02 | 149091 | 162667


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\016 Percy Mayfield - Sings Percy Mayfield (1970)\1970 Percy Mayfield Sings Percy Mayfield.wav

Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC теста B9E7ED92
CRC копии B9E7ED92
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [8F378658]
Трек 2 точное извлечение (доверие 3) [B9D5BF0E]
Трек 3 точное извлечение (доверие 3) [DC19421D]
Трек 4 точное извлечение (доверие 3) [CFA28F73]
Трек 5 точное извлечение (доверие 3) [272B7599]
Трек 6 точное извлечение (доверие 3) [666603C2]
Трек 7 точное извлечение (доверие 3) [932296B4]
Трек 8 точное извлечение (доверие 3) [DB713553]
Трек 9 точное извлечение (доверие 3) [6860BC07]
Трек 10 точное извлечение (доверие 3) [7004B2EA]
Трек 11 точное извлечение (доверие 3) [DEDB4B71]
Трек 12 точное извлечение (доверие 3) [FA796F0C]

Все треки извлечены точно

Конец отчёта

An R&B oldies show with a difference, the artists represented the cream of the crop of jump blues, and in 1970, they were still in fine form. The disc stars Otis, Esther Phillips, Eddie Vinson, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Pee Wee Crayton, and Johnny's guitar wielding son, Shuggie.

Review by Bill Dahl, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 2. апреля 2012, 9:01

The Johnny Otis Show / Live at Monterey!

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:18.05 | 0 | 14854
2 | 3:18.05 | 4:46.65 | 14855 | 36369
3 | 8:04.70 | 4:55.05 | 36370 | 58499
4 | 13:00.00 | 2:57.50 | 58500 | 71824
5 | 15:57.50 | 2:38.15 | 71825 | 83689
6 | 18:35.65 | 3:01.07 | 83690 | 97271
7 | 21:36.72 | 3:28.20 | 97272 | 112891
8 | 25:05.17 | 3:27.05 | 112892 | 128421
9 | 28:32.22 | 3:30.45 | 128422 | 144216
10 | 32:02.67 | 3:33.33 | 144217 | 160224
11 | 35:36.25 | 6:50.27 | 160225 | 191001
12 | 42:26.52 | 3:07.55 | 191002 | 205081
13 | 45:34.32 | 4:59.73 | 205082 | 227579
14 | 50:34.30 | 3:01.50 | 227580 | 241204
15 | 53:36.05 | 4:06.22 | 241205 | 259676
16 | 57:42.27 | 4:09.65 | 259677 | 278416
17 | 61:52.17 | 2:45.55 | 278417 | 290846
18 | 64:37.72 | 4:51.25 | 290847 | 312696
19 | 69:29.22 | 2:38.48 | 312697 | 324594


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\017 The Johnny Otis Show - Live at Monterey! (1971)\1971 Live at Monterey!.wav

Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC теста EC3DD7AE
CRC копии EC3DD7AE
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [E3BD4610]
Трек 2 точное извлечение (доверие 3) [5B2EED05]
Трек 3 точное извлечение (доверие 3) [3C57EFE9]
Трек 4 точное извлечение (доверие 3) [C9F59D23]
Трек 5 точное извлечение (доверие 3) [931D4F73]
Трек 6 точное извлечение (доверие 3) [31044CE8]
Трек 7 точное извлечение (доверие 3) [E03BF700]
Трек 8 точное извлечение (доверие 3) [AD091D7C]
Трек 9 точное извлечение (доверие 3) [256E0473]
Трек 10 точное извлечение (доверие 3) [2B611806]
Трек 11 точное извлечение (доверие 3) [EC2A32DC]
Трек 12 точное извлечение (доверие 3) [96DDAADF]
Трек 13 точное извлечение (доверие 3) [254E978D]
Трек 14 точное извлечение (доверие 3) [EBEEE650]
Трек 15 точное извлечение (доверие 3) [DC72AE40]
Трек 16 точное извлечение (доверие 3) [E5107B55]
Трек 17 точное извлечение (доверие 3) [4B57252F]
Трек 18 точное извлечение (доверие 3) [C32CC4A8]
Трек 19 точное извлечение (доверие 3) [0286B209]

Все треки извлечены точно

Конец отчёта

The material is superb, consisting of some of Willie Dixon's best-known songs of the 1960s, and the production is smoothly professional, but none of the performances here are likely to make you forget the hits by Howlin' Wolf, Muddy Waters, and others.

Review by Bruce Eder, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 2. апреля 2012, 10:01

Willie Dixon / I Am The Blues

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 6:15.63 | 0 | 28187
2 | 6:15.63 | 6:44.39 | 28188 | 58526
3 | 13:00.27 | 4:18.30 | 58527 | 77906
4 | 17:18.57 | 4:58.23 | 77907 | 100279
5 | 22:17.05 | 4:07.22 | 100280 | 118826
6 | 26:24.27 | 4:18.04 | 118827 | 138180
7 | 30:42.31 | 4:52.06 | 138181 | 160086
8 | 35:34.37 | 3:40.15 | 160087 | 176601
9 | 39:14.52 | 4:40.61 | 176602 | 197662


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\018 Willie Dixon - I Am the Blues (1970)\1970 I Am The Blues.wav

Пиковый уровень 87.0 %
Качество диапазона 100.0 %
CRC теста A71E3283
CRC копии A71E3283
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [5B513D0A]
Трек 2 точное извлечение (доверие 3) [BE0D492D]
Трек 3 точное извлечение (доверие 3) [7B0896F6]
Трек 4 точное извлечение (доверие 3) [6B122948]
Трек 5 точное извлечение (доверие 3) [568B8152]
Трек 6 точное извлечение (доверие 3) [35E58B64]
Трек 7 точное извлечение (доверие 3) [77C5B546]
Трек 8 точное извлечение (доверие 3) [95D6F604]
Трек 9 точное извлечение (доверие 3) [F505327C]

Все треки извлечены точно

Конец отчёта

Quiet and extremely unassuming off the bandstand, Hubert Sumlin played a style of guitar incendiary enough to stand tall beside the immortal Howlin' Wolf. The Wolf was Sumlin's imposing mentor for more than two decades, and it proved a mutually beneficial relationship; Sumlin's twisting, darting, unpredictable lead guitar constantly energized The Wolf's 1960s Chess sides, even when the songs themselves (check out "Do the Do" or "Mama's Baby" for conclusive proof) were less than stellar. Sumlin started out twanging the proverbial broom wire nailed to the wall before he got his mitts on a real guitar. He grew up near West Memphis, Arkansas, briefly hooking up with another Young Lion with a rosy future, harpist James Cotton, before receiving a summons from the mighty Wolf to join him in Chicago in 1954. Sumlin learned his craft nightly on the bandstand behind Wolf, his confidence growing as he graduated from rhythm guitar duties to lead. By the dawn of the '60s, Sumlin's slashing axe was a prominent component on the great majority of Wolf's waxings, including "Wang Dang Doodle," "Shake for Me," "Hidden Charms" (boasting perhaps Sumlin's greatest recorded solo), "Three Hundred Pounds of Joy," and "Killing Floor."

Although they had a somewhat tempestuous relationship, Sumlin remained loyal to Wolf until the big man's 1976 death. But Sumlin cut a handful of solo sessions before that, beginning with a most unusual 1964 date in East Berlin that was produced by Horst Lippmann during a European tour under the auspices of the American Folk Blues Festival (the "behind the Iron Curtain" session also featured pianist Sunnyland Slim and bassist Willie Dixon). In subsequent years Sumlin allowed his vocal talents to shine, recording solo sets that revealed him to be an understated but effective singer – while his guitar continued to communicate most forcefully. The esteem with which he was held by musicians of a later generation was ably demonstrated by the guest list on Sumlin's 2004 album About Them Shoes, including Keith Richards, Eric Clapton, Levon Helm, and David Johansen, not to mention a noted bluesman from Sumlin's own past, harmonica player James Cotton, the old friend and bandmate who first played with Sumlin in West Memphis back in their teenage years of the early '50s, before Cotton joined up with Muddy Waters and moved to Chicago, paralleling Sumlin's own journey to the Windy City around the same time. He followed up About Them Shoes with Treblemaker in 2007. Hubert Sumlin died of heart failure in Wayne, New Jersey on December 4, 2011; he was 80 years old. Mick Jagger and Keith Richards paid for the bluesman's funeral expenses.

Allmusic.com

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

Отчёт EAC об извлечении, выполненном 2. апреля 2012, 11:57

Hubert Sumlin & His Friends / Kings of Chicago Blues Vol. 2

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 2:41.40 | 0 | 12114
2 | 2:41.40 | 3:48.37 | 12115 | 29251
3 | 6:30.02 | 3:42.28 | 29252 | 45929
4 | 10:12.30 | 3:41.20 | 45930 | 62524
5 | 13:53.50 | 2:48.23 | 62525 | 75147
6 | 16:41.73 | 3:14.69 | 75148 | 89766
7 | 19:56.67 | 3:32.47 | 89767 | 105713
8 | 23:29.39 | 3:45.16 | 105714 | 122604
9 | 27:14.55 | 3:34.23 | 122605 | 138677
10 | 30:49.03 | 4:04.44 | 138678 | 157021
11 | 34:53.47 | 5:29.74 | 157022 | 181770


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\019 Hubert Sumlin & His Friends - Kings of Chicago Blues Vol. 2 (1971)\1971 Kings of Chicago Blues Vol. 2.wav

Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC теста FD46557F
CRC копии FD46557F
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [95C89309]
Трек 2 точное извлечение (доверие 3) [79494248]
Трек 3 точное извлечение (доверие 3) [85157762]
Трек 4 точное извлечение (доверие 3) [15C9EC30]
Трек 5 точное извлечение (доверие 3) [32BD563A]
Трек 6 точное извлечение (доверие 3) [F02FD090]
Трек 7 точное извлечение (доверие 3) [D288762F]
Трек 8 точное извлечение (доверие 3) [80958AA7]
Трек 9 точное извлечение (доверие 3) [8AB98201]
Трек 10 точное извлечение (доверие 3) [71083788]
Трек 11 точное извлечение (доверие 3) [D3A64329]

Все треки извлечены точно

Конец отчёта

Taj Mahal followed up Giant Step/De Ole Folks at Home (1969) with another double-disc concert platter whose title pretty much sums up the contents. The Real Thing (1971) is drawn from a mid-February run of shows at the Fillmore East in New York City where he, Spencer Davis, the Chambers Brothers, and Roberta Flack, among others, shared the bill. Mahal (vocals / banjo / guitar / harmonica / arranger / fife / harp / steel guitar / harmonica) is supported by an interesting extended aggregate with a brass section consisting of Joseph Daley (tuba/horn/trombone), Bob Stewart (horn), and a pair of former Charles Mingus bandmembers, Earl McIntyre (horn) and Howard Johnson (horn). While at times they tend to overpower the usually intimate nature of the performances, that is certainly not the case for the majority of the arrangements. The opener, "Fishin' Blues," is a solo with Mahal accompanying himself on banjo. "Ain't Gwine to Whistle Dixie (Any Mo')" is significantly lengthened from the form found on Giant Step (1968) as it stretches nearly nine minutes and allows plenty of room for interaction, offering up a spirited fife interlude from Mahal. In addition to providing an overview from his back catalog, The Real Thing contains a few new compositions. The full ensemble gets a workout on the funky "Sweet Mama Janisse" and the toe-tappin' rural flavor of the instrumental "Tom and Sally Drake" is lightly augmented by a sole tuba – presumably that of Johnson. Sleepy John Estes' "Diving Duck Blues" arguably submits the most successful incorporation of brass, sporting a driving, full-throttle rhythm and soulful interpretation. The 2000 CD reissue was extended to fit the entire live set, adding the previously unavailable "She Caught the Katy and Left Me a Mule to Ride," matching the intensity of the sizeable bluesy, closing jam "You Ain't No Street Walker Mama, Honey But I Do Love They Way You Strut."

Review by Lindsay Planer, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 2. апреля 2012, 13:11

Taj Mahal / The Real Thing

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 2:57.50 | 0 | 13324
2 | 2:57.50 | 9:11.02 | 13325 | 54651
3 | 12:08.52 | 3:32.45 | 54652 | 70596
4 | 15:41.22 | 3:24.33 | 70597 | 85929
5 | 19:05.55 | 5:34.15 | 85930 | 110994
6 | 24:39.70 | 6:13.55 | 110995 | 139024
7 | 30:53.50 | 3:39.07 | 139025 | 155456
8 | 34:32.57 | 3:46.25 | 155457 | 172431
9 | 38:19.07 | 5:30.08 | 172432 | 197189
10 | 43:49.15 | 4:08.17 | 197190 | 215806
11 | 47:57.32 | 18:56.18 | 215807 | 301024


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\020 Taj Mahal - The Real Thing (1971)\1971 The Real Thing.wav

Пиковый уровень 100.0 %
Качество диапазона 99.9 %
CRC теста 40595825
CRC копии 40595825
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [69B89AD2]
Трек 2 точное извлечение (доверие 3) [2913556E]
Трек 3 точное извлечение (доверие 3) [5F8550CF]
Трек 4 точное извлечение (доверие 3) [C41F7DB4]
Трек 5 точное извлечение (доверие 3) [D819129B]
Трек 6 точное извлечение (доверие 3) [7DC35528]
Трек 7 точное извлечение (доверие 3) [18E0ABA3]
Трек 8 точное извлечение (доверие 3) [D83E2B40]
Трек 9 точное извлечение (доверие 3) [43341D45]
Трек 10 точное извлечение (доверие 3) [0D6D2963]
Трек 11 точное извлечение (доверие 3) [1C244C69]

Все треки извлечены точно

Конец отчёта

After a string of mediocre albums throughout most of the 1970s, Muddy Waters hooked up with Johnny Winter for 1977's Hard Again, a startling comeback and a gritty demonstration of the master's powers. Fronting a band that includes such luminaries as James Cotton and "Pine Top" Perkins, Waters is not only at the top of his game, but is having the time of his life while he's at it. The bits of studio chatter that close "Mannish Boy" and open "Bus Driver" show him to be relaxed and obviously excited about the proceedings. Part of this has to be because the record sounds so good. Winter has gone for an extremely bare production style, clearly aiming to capture Waters in conversation with a band in what sounds like a single studio room. This means that sometimes the songs threaten to explode in chaos as two or three musicians begin soloing simultaneously. Such messiness is actually perfect in keeping with the raw nature of this music; you simply couldn't have it any other way. There is something so incredibly gratifying about hearing Waters shout out for different soloists, about the band missing hits or messing with the tempos. Hey this isn't pop music, it's the blues, and a little dirt never hurt anybody. The unsung star of this session is drummer Willie "Big Eyes" Smith, whose deep grooves make this record come alive. The five-minute, one-chord "Mannish Boy" wouldn't be nearly as compelling as it is if it weren't for Smith's colossal pocket. Great blues from one of the dominant voices of the genre.

Review by Daniel Gioffre, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 2. апреля 2012, 14:08

Muddy Waters / Hard Again

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 5:24.52 | 0 | 24351
2 | 5:24.52 | 7:48.25 | 24352 | 59476
3 | 13:13.02 | 2:21.35 | 59477 | 70086
4 | 15:34.37 | 4:25.03 | 70087 | 89964
5 | 19:59.40 | 3:31.12 | 89965 | 105801
6 | 23:30.52 | 3:36.15 | 105802 | 122016
7 | 27:06.67 | 5:27.03 | 122017 | 146544
8 | 32:33.70 | 6:01.15 | 146545 | 173634
9 | 38:35.10 | 7:11.60 | 173635 | 206019
10 | 45:46.70 | 3:55.00 | 206020 | 223644


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\021 Muddy Waters - Hard Again (1977)\1977 Hard Again.wav

Пиковый уровень 100.0 %
Качество диапазона 99.9 %
CRC теста 5785D14A
CRC копии 5785D14A
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 5) [56B92623]
Трек 2 точное извлечение (доверие 5) [C14D7537]
Трек 3 точное извлечение (доверие 5) [DAF35F11]
Трек 4 точное извлечение (доверие 5) [ABA82D42]
Трек 5 точное извлечение (доверие 5) [36300AF0]
Трек 6 точное извлечение (доверие 5) [CCA52CDB]
Трек 7 точное извлечение (доверие 5) [AA3C99FB]
Трек 8 точное извлечение (доверие 5) [17F268FF]
Трек 9 точное извлечение (доверие 5) [B5CDAF55]
Трек 10 точное извлечение (доверие 5) [9A8B876A]

Все треки извлечены точно

Конец отчёта

It's hard to overestimate the impact Stevie Ray Vaughan's debut, Texas Flood, had upon its release in 1983. At that point, blues was no longer hip, the way it was in the '60s. Texas Flood changed all that, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. Vaughan became a genuine star and, in doing so, sparked a revitalization of the blues. This was a monumental impact, but his critics claimed that, no matter how prodigious Vaughan's instrumental talents were, he didn't forge a distinctive voice; instead, he wore his influences on his sleeve, whether it was Albert King's pinched yet muscular soloing or Larry Davis' emotive singing. There's a certain element of truth in that, but that was sort of the point of Texas Flood. Vaughan didn't hide his influences; he celebrated them, pumping fresh blood into a familiar genre. When Vaughan and Double Trouble cut the album over the course of three days in 1982, he had already played his set lists countless times; he knew how to turn this material inside out or goose it up for maximum impact. The album is paced like a club show, kicking off with Vaughan's two best self-penned songs, "Love Struck Baby" and "Pride and Joy," then settling into a pair of covers, the slow-burning title track and an exciting reading of Howlin' Wolf's "Tell Me," before building to the climax of "Dirty Pool" and "I'm Crying." Vaughan caps the entire thing with "Lenny," a lyrical, jazzy tribute to his wife. It becomes clear that Vaughan's true achievement was finding something personal and emotional by fusing different elements of his idols. Sometimes the borrowing was overt, and other times subtle, but it all blended together into a style that recalled the past while seizing the excitement and essence of the present.

Review by Stephen Thomas Erlewine, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 2. апреля 2012, 16:40

Stevie Ray Vaughan / Texas Flood

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 2:23.57 | 0 | 10781
2 | 2:23.57 | 3:40.15 | 10782 | 27296
3 | 6:03.72 | 5:21.33 | 27297 | 51404
4 | 11:25.30 | 2:48.67 | 51405 | 64071
5 | 14:14.22 | 3:22.23 | 64072 | 79244
6 | 17:36.45 | 4:40.12 | 79245 | 100256
7 | 22:16.57 | 2:47.20 | 100257 | 112801
8 | 25:04.02 | 5:02.33 | 112802 | 135484
9 | 30:06.35 | 3:47.12 | 135485 | 152521
10 | 33:53.47 | 5:07.13 | 152522 | 175559
11 | 39:00.60 | 0:37.27 | 175560 | 178361
12 | 39:38.12 | 7:42.25 | 178362 | 213036
13 | 47:20.37 | 3:54.03 | 213037 | 230589
14 | 51:14.40 | 3:31.55 | 230590 | 246469
15 | 54:46.20 | 4:20.10 | 246470 | 265979


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\022 Stevie Ray Vaughan & Double Trouble - Texas Flood (1983)\1983 Texas Flood.wav

Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC теста 4650234F
CRC копии 4650234F
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 6) [295AC9A7]
Трек 2 точное извлечение (доверие 6) [2788E90B]
Трек 3 точное извлечение (доверие 6) [DB246BFF]
Трек 4 точное извлечение (доверие 6) [7A3E1A42]
Трек 5 точное извлечение (доверие 6) [426E1547]
Трек 6 точное извлечение (доверие 5) [FB0470D5]
Трек 7 точное извлечение (доверие 6) [91BA4E45]
Трек 8 точное извлечение (доверие 6) [C9F613F5]
Трек 9 точное извлечение (доверие 6) [B2785939]
Трек 10 точное извлечение (доверие 6) [E6672B64]
Трек 11 точное извлечение (доверие 5) [67824805]
Трек 12 точное извлечение (доверие 6) [5A989342]
Трек 13 точное извлечение (доверие 6) [A79501CA]
Трек 14 точное извлечение (доверие 6) [EF9E8EF9]
Трек 15 точное извлечение (доверие 5) [0BBB5F34]

Все треки извлечены точно

Конец отчёта

On his second album, Keb' Mo' begins to expand the borders of his Delta blues by recording with a full band on a couple of tracks and attempting more expansive, rock-based song structures. The attempts aren't entirely successful and it's ironic that he decided to try rock-oriented material after he received such praise for his traditionalist debut. Still, there are a few songs on the album that rank with the best on his first album, which suggests that Just Like You is merely a sophomore slump.

Review by Thom Owens, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 2. апреля 2012, 17:43

Keb' Mo' / Just Like You

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:07.52 | 0 | 18576
2 | 4:07.52 | 3:16.18 | 18577 | 33294
3 | 7:23.70 | 4:52.65 | 33295 | 55259
4 | 12:16.60 | 3:39.57 | 55260 | 71741
5 | 15:56.42 | 3:25.70 | 71742 | 87186
6 | 19:22.37 | 2:33.30 | 87187 | 98691
7 | 21:55.67 | 4:58.40 | 98692 | 121081
8 | 26:54.32 | 3:58.30 | 121082 | 138961
9 | 30:52.62 | 2:54.25 | 138962 | 152036
10 | 33:47.12 | 3:12.63 | 152037 | 166499
11 | 37:00.00 | 3:07.12 | 166500 | 180536
12 | 40:07.12 | 3:46.60 | 180537 | 197546
13 | 43:53.72 | 2:33.30 | 197547 | 209051


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\023 Keb' Mo' - Just Like You (1996)\1996 Just Like You.wav

Пиковый уровень 98.8 %
Качество диапазона 99.9 %
CRC теста CE6CDA01
CRC копии CE6CDA01
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 3) [C9B1D61C]
Трек 2 точное извлечение (доверие 3) [117DF5EA]
Трек 3 точное извлечение (доверие 3) [575C19A5]
Трек 4 точное извлечение (доверие 3) [8233A6A5]
Трек 5 точное извлечение (доверие 3) [9E3D62C2]
Трек 6 точное извлечение (доверие 3) [7EA7469E]
Трек 7 точное извлечение (доверие 3) [81779F75]
Трек 8 точное извлечение (доверие 3) [FDF4A34C]
Трек 9 точное извлечение (доверие 3) [142D3F59]
Трек 10 точное извлечение (доверие 3) [FA8BE7AF]
Трек 11 точное извлечение (доверие 3) [F9F0E2F5]
Трек 12 точное извлечение (доверие 3) [CE37214D]
Трек 13 точное извлечение (доверие 3) [89B83653]

Все треки извлечены точно

Конец отчёта

Life, Love & the Blues is slick, funky, and thoroughly commercial. The queen of R&B does an admirable job of keeping her head above water, but this package of covers comes off more like the work of a tight lounge band than the work of a blues master.

Review by Tim Sheridan, Allmusic.com

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

Отчёт EAC об извлечении, выполненном 2. апреля 2012, 18:55

Etta James / Life, Love & The Blues

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:29.25 | 0 | 15699
2 | 3:29.25 | 5:56.37 | 15700 | 42436
3 | 9:25.62 | 4:55.70 | 42437 | 64631
4 | 14:21.57 | 5:03.38 | 64632 | 87394
5 | 19:25.20 | 7:01.40 | 87395 | 119009
6 | 26:26.60 | 4:09.35 | 119010 | 137719
7 | 30:36.20 | 5:17.70 | 137720 | 161564
8 | 35:54.15 | 4:25.02 | 161565 | 181441
9 | 40:19.17 | 4:57.15 | 181442 | 203731
10 | 45:16.32 | 5:21.25 | 203732 | 227831
11 | 50:37.57 | 4:01.40 | 227832 | 245946
12 | 54:39.22 | 4:59.03 | 245947 | 268374


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\024 Etta James - Life, Love & the Blues (1998)\1998 Life, Love & The Blues.wav

Пиковый уровень 100.0 %
Качество диапазона 99.9 %
CRC теста A408D65F
CRC копии A408D65F
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 2) [E68554EE]
Трек 2 точное извлечение (доверие 2) [F36B2996]
Трек 3 точное извлечение (доверие 2) [2C71D114]
Трек 4 точное извлечение (доверие 2) [6AE937A1]
Трек 5 точное извлечение (доверие 2) [56073E55]
Трек 6 точное извлечение (доверие 2) [7D9130AB]
Трек 7 точное извлечение (доверие 2) [881554E3]
Трек 8 точное извлечение (доверие 2) [C8BEFEE3]
Трек 9 точное извлечение (доверие 2) [7F2B6255]
Трек 10 точное извлечение (доверие 2) [675034B6]
Трек 11 точное извлечение (доверие 2) [8E8FBDA9]
Трек 12 точное извлечение (доверие 2) [08A1F65D]

Все треки извлечены точно

Конец отчёта

Not known for his acoustic work, Buddy Guy unplugs for a rare album-length excursion into folk blues. Continuing the rootsy, bare-bones approach that made 2001’s electric Sweet Tea (also produced by Dennis Herring) so gutsy and memorable, the guitarist gets down and dirty with 12 tracks that sound like they were recorded after hours in his living room or on his back porch. Guy’s stinging leads are still evident as is his emotive voice, but both are less flamboyant in the unplugged setting. Accompanied by spare stand-up bass and brushed drums, Guy sounds nearly possessed on covers from Skip James ("Hard Time Killing Floor"), Johnny Shines ("Moanin’ and Groanin’"), Son House ("Louise McGhee"), and John Lee Hooker ("Sally Mae") among others. It’s a low-key, low-down affair made for late nights, rainy days, and the saddest of moods. Guy is just as convincing here–arguably more so–as on his barnstorming electric albums, making Blues Singer one of the bravest and most poignant albums in his catalog.

Review by Hal Horowitz

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

Отчёт EAC об извлечении, выполненном 2. апреля 2012, 19:51

Buddy Guy / Blues Singer

Дисковод: PIONEER DVD-RW DVR-218L Adapter: 0 ID: 0

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000

Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 128 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -5" %s


TOC извлечённого CD

Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 2:48.42 | 0 | 12641
2 | 2:48.42 | 5:17.13 | 12642 | 36429
3 | 8:05.55 | 3:33.67 | 36430 | 52471
4 | 11:39.47 | 4:04.65 | 52472 | 70836
5 | 15:44.37 | 2:47.23 | 70837 | 83384
6 | 18:31.60 | 5:24.01 | 83385 | 107685
7 | 23:55.61 | 3:30.10 | 107686 | 123445
8 | 27:25.71 | 4:29.46 | 123446 | 143666
9 | 31:55.42 | 3:44.74 | 143667 | 160540
10 | 35:40.41 | 4:27.70 | 160541 | 180635
11 | 40:08.36 | 4:14.69 | 180636 | 199754
12 | 44:23.30 | 5:00.30 | 199755 | 222284


Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла F:\_МУЗЫКА\The Perfect Blues Collection 25 Original Albums (Box Set 25 CD's)\025 Buddy Guy - Blues Singer (2003)\2003 Blues Singer.wav

Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC теста E84D9E27
CRC копии E84D9E27
Копирование… OK

Ошибок не произошло


AccurateRip: сводка

Трек 1 точное извлечение (доверие 23) [FB6975EC]
Трек 2 точное извлечение (доверие 25) [E44FF22D]
Трек 3 точное извлечение (доверие 25) [81F9B7A1]
Трек 4 точное извлечение (доверие 24) [ED1C8866]
Трек 5 точное извлечение (доверие 24) [B4E9D6FC]
Трек 6 точное извлечение (доверие 25) [D651845B]
Трек 7 точное извлечение (доверие 25) [B72D5C0E]
Трек 8 точное извлечение (доверие 24) [6AB83C0C]
Трек 9 точное извлечение (доверие 25) [3BF1CEFE]
Трек 10 точное извлечение (доверие 25) [0D40B5E2]
Трек 11 точное извлечение (доверие 25) [32A1DF81]
Трек 12 точное извлечение (доверие 25) [E28E3629]

Все треки извлечены точно

Конец отчёта