(Folk, Contemporary Folk, Bluegrass, Afro-Celtic) Putumayo Presents: The Laura Love Collection - 1995, FLAC (tracks+.cue), lossless

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 25. November 2011, 1:44
Putumayo - 118 - Laura Love / The Laura Love Collection
Used drive  : Optiarc DVD RW AD-7700H   Adapter: 0  ID: 1
Read mode               : Secure
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Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
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Gap handling                                : Appended to previous track
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TOC of the extracted CD
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        2  |  4:22.35 |  4:58.10 |     19685    |    42044
        3  |  9:20.45 |  4:36.52 |     42045    |    62796
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        6  | 23:23.00 |  3:17.00 |    105225    |   119999
        7  | 26:40.00 |  2:59.30 |    120000    |   133454
        8  | 29:39.30 |  4:31.20 |    133455    |   153799
        9  | 34:10.50 |  4:26.62 |    153800    |   173811
       10  | 38:37.37 |  4:13.33 |    173812    |   192819
       11  | 42:50.70 |  3:42.62 |    192820    |   209531
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Track 10
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Track 11
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All tracks accurately ripped
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End of status report

REM GENRE Blues
REM DATE 1995
REM DISCID 840AE90B
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Putumayo - 118 - Laura Love"
TITLE "The Laura Love Collection"
FILE "01 - All Our Lives.wav" WAVE
  TRACK 01 AUDIO
    TITLE "All Our Lives"
    PERFORMER "Putumayo - 118 - Laura Love"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "If You Leave Me Now"
    PERFORMER "Putumayo - 118 - Laura Love"
    INDEX 00 04:21:07
FILE "02 - If You Leave Me Now.wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "Bang Bang"
    PERFORMER "Putumayo - 118 - Laura Love"
    INDEX 00 04:55:62
FILE "03 - Bang Bang.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Anyway"
    PERFORMER "Putumayo - 118 - Laura Love"
    INDEX 00 04:35:42
FILE "04 - Anyway.wav" WAVE
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "Less Is More"
    PERFORMER "Putumayo - 118 - Laura Love"
    INDEX 00 04:43:65
FILE "05 - Less Is More.wav" WAVE
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "In A Heartbeat"
    PERFORMER "Putumayo - 118 - Laura Love"
    INDEX 00 04:37:47
FILE "06 - In A Heartbeat.wav" WAVE
    INDEX 01 00:00:00
  TRACK 07 AUDIO
    TITLE "Take A Ride"
    PERFORMER "Putumayo - 118 - Laura Love"
    INDEX 00 03:14:02
FILE "07 - Take A Ride.wav" WAVE
    INDEX 01 00:00:00
  TRACK 08 AUDIO
    TITLE "I'm A Givin' Way"
    PERFORMER "Putumayo - 118 - Laura Love"
    INDEX 00 02:57:00
FILE "08 - I'm A Givin' Way.wav" WAVE
    INDEX 01 00:00:00
  TRACK 09 AUDIO
    TITLE "This Place I Love"
    PERFORMER "Putumayo - 118 - Laura Love"
    INDEX 00 04:28:65
FILE "09 - This Place I Love.wav" WAVE
    INDEX 01 00:00:00
  TRACK 10 AUDIO
    TITLE "Ha Me A Riddle I Day"
    PERFORMER "Putumayo - 118 - Laura Love"
    INDEX 00 04:25:50
FILE "10 - Ha Me A Riddle I Day.wav" WAVE
    INDEX 01 00:00:00
  TRACK 11 AUDIO
    TITLE "Wayfaring Stranger"
    PERFORMER "Putumayo - 118 - Laura Love"
    INDEX 00 04:10:48
FILE "11 - Wayfaring Stranger.wav" WAVE
    INDEX 01 00:00:00

Biography
Love was born Laura Jones in Lincoln, Nebraska in 1960. She is of African American, Native American, and Caucasian descent. Love had a difficult childhood, raised by a mother with schizophrenia and in foster homes. Her father, who had little involvement in her life, was the jazz musician Preston Love who played sax with Count Basie, Lucky Millander and Johnny Otis and formed his own band in the 1950s. Love's mother, Wini, had been a singer in Preston's jazz band.
Over the past several years, Laura Love has become quite acclaimed in the Northwest music scene as an unparalleled vocalist, bassist, and songwriter. Love's style is a synthesis of inner-city funk and folk-ish sensibility. One of the most difficult tasks for a musician is to find an apt label for her music; folk/funk, African/Appalachian, and House/Celtic have been bandied about for Laura Love. Whatever you choose to call it, Love's original music is at once fresh, def, and rooted in tradition.
Laura Love began her career at the age of 16, singing jazz and pop standards for the prisoners at the Nebraska State Penitentiary. Love relocated to Seattle, Washington, where she was a member of the late 1980s rock group Boom Boom G.I. Since then, Love has played in a blues- grunge outfit, in a duo, trio, and in the funny feminist foursome, Venus Envy.
Love has released three albums: Menstrual Hut (1989), Z Therapy (1990), and Pangaea (1993), all on her own label, Octoroon Biography.
After Love released three albums, Putumayo released a collection of her songs. Her album Welcome to Pagan Place included the controversial song "I Want You Gone", about George W. Bush.
Shum Ticky followed in 1998 and Fourteen Days arrived in 2000 on Zoe Records.
Although a popular headliner in her own right, she has opened for John Lee Hooker, Lyle Lovett, Bo Diddley, Karla Bonoff, and Elayne Boosler and been invited to perform at a number of folk and eclectic music festivals.
She published an autobiography, You Ain't Got No Easter Clothes, with an accompanying album of the same name, in 2004. Her style has been described as "Afro-Celtic" and has also been influenced by bluegrass.

AMG Review by Darryl Cater
Laura Love was just another bass player on the Seattle grunge scene until a critic chastised her for wasting her talents in an "annoyingly pointless" band called Boom Boom G.I. Smacked with a midlife crisis before her time, she began writing songs which abandoned grunge altogether in favor of a uniquely eclectic mix of influences from around the world. So far-flung are these influences, in fact, that the all-American girl signed her first record contract with a world music label, Putumayo. The sole product of that contract is this anthology, which features highlights from her first three albums (all of which were issued on her own Octoroon Biography label).
The Collection is an excellent introduction to Love's distinctive style, which she calls "Afro-Celtic". That's as good a description as any, but it fails to capture the breadth of her eclecticism. Her funky bass-plucking draws on soul and R&B, but her raw-but-rangy vocals seem most influenced by the blues and bluegrass. The widely varied rhythms come chiefly from African percussion, while the fiddling, pennywhistling, reeling, and balladeering of the Irish are littered throughout the album. The songs lack pop polish, favoring the authentic roughness of low-income musical traditions, both urban and rural. There are also healthy doses of Native American spirit, rock & roll drive, European yodeling, Harlem-style street poetry, and jazz swing. But the most inventive element of her songcraft is the dynamic vocal arrangement she gives to her memorable melodies. It seems impossible not to become engaged by the hyper harmonies, which lend considerable sophistication to bouncy lines like "A Ha Me a Riddle I Day" and "I d'nuh I d'nuh I d'nuh I do not always think less is more." When it comes to these richly layered arrangements, more very often is more.