gssmg7 · 05-Окт-16 19:10(8 лет 3 месяца назад, ред. 05-Окт-16 19:59)
Chris Brokaw / Red Cities Жанр: Instrumental Guitar Rock Носитель: CD Страна-производитель диска (релиза): USA Год издания: 2001 Издатель (лейбл): Atavistic Номер по каталогу: ALP134CD Аудиокодек: FLAC (*.flac) Тип рипа: image+.cue Битрейт аудио: lossless Продолжительность: 46:48 Источник (релизер): gssmg7 Наличие сканов в содержимом раздачи: да Треклист:
01. Gauntlet (1:12)
02. The Fields (Part II) (10:38)
03. Calimoxcho (2:28)
04. Even As We Speak (1:15)
05. The Fields (3:57)
06. King Ferdinand (3:44)
07. Tournament (3:37)
08. Bath House (1:56)
09. Topsfield State Fair (2:44)
10. Wallet Corner (0:49)
11. Dresden Promenade (5:24)
12. The Look Of Love (3:38)
13. Shadows (2:35)
14. At The Crossroads (2:14) http://www.chrisbrokaw.com/index.shtml
Лог создания рипа
Exact Audio Copy V1.0 beta 2 from 29. April 2011 EAC extraction logfile from 24. September 2016, 15:00 Chris Brokaw / Red Cities Used drive : Optiarc DVD RW AD-5280S Adapter: 1 ID: 1 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No Read offset correction : 48 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Installed external ASPI interface Used output format : User Defined Encoder Selected bitrate : 128 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files\FLAC\flac.exe Additional command line options : -V -8 -T "Genre=%genre%" -T "Artist=%artist%" -T "Title=%title%" -T "Album=%albumtitle%" -T "Date=%year%" -T "Tracknumber=%tracknr%" -T "Comment=%comment%" %source% TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 1:14.61 | 0 | 5610 2 | 1:14.61 | 10:40.12 | 5611 | 53622 3 | 11:54.73 | 2:31.73 | 53623 | 65020 4 | 14:26.71 | 1:15.59 | 65021 | 70704 5 | 15:42.55 | 3:58.55 | 70705 | 88609 6 | 19:41.35 | 3:46.11 | 88610 | 105570 7 | 23:27.46 | 3:44.02 | 105571 | 122372 8 | 27:11.48 | 1:57.32 | 122373 | 131179 9 | 29:09.05 | 2:46.06 | 131180 | 143635 10 | 31:55.11 | 0:50.30 | 143636 | 147415 11 | 32:45.41 | 5:27.42 | 147416 | 171982 12 | 38:13.08 | 3:39.59 | 171983 | 188466 13 | 41:52.67 | 2:40.53 | 188467 | 200519 14 | 44:33.45 | 2:15.06 | 200520 | 210650 Range status and errors Selected range Filename C:\Chris Brokaw (2001) - Red Cities\Chris Brokaw (2001) - Red Cities.wav Peak level 98.8 % Extraction speed 3.8 X Range quality 100.0 % Test CRC A6611AA1 Copy CRC A6611AA1 Copy OK No errors occurred AccurateRip summary Track 1 accurately ripped (confidence 8) [FE81FBD2] (AR v2) Track 2 accurately ripped (confidence 8) [1ED3C738] (AR v2) Track 3 accurately ripped (confidence 8) [84D66489] (AR v2) Track 4 accurately ripped (confidence 9) [63B44F44] (AR v2) Track 5 accurately ripped (confidence 8) [486E6195] (AR v2) Track 6 accurately ripped (confidence 8) [3430E70F] (AR v2) Track 7 accurately ripped (confidence 8) [D39EBB2F] (AR v2) Track 8 accurately ripped (confidence 8) [912941CD] (AR v2) Track 9 accurately ripped (confidence 8) [53732357] (AR v2) Track 10 accurately ripped (confidence 8) [25B568EB] (AR v2) Track 11 accurately ripped (confidence 8) [65BE4D9E] (AR v2) Track 12 accurately ripped (confidence 8) [C33D70BB] (AR v2) Track 13 accurately ripped (confidence 8) [821644C8] (AR v2) Track 14 accurately ripped (confidence 9) [B8A8D421] (AR v2) All tracks accurately ripped End of status report ==== Log checksum A0C9B2EE7C00D5570D19D411B8AF74FC279BB58B8394E9CBD9D364AFDF3C61E1 ====
Содержание индексной карты (.CUE)
REM GENRE Rock REM DATE 2001 REM DISCID D50AF80E REM COMMENT "ExactAudioCopy v1.0b2" PERFORMER "Chris Brokaw" TITLE "Red Cities" FILE "Chris Brokaw (2001) - Red Cities.flac" WAVE TRACK 01 AUDIO TITLE "Gauntlet" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "The Fields (Part II)" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 01:13:16 INDEX 01 01:14:61 TRACK 03 AUDIO TITLE "Calimoxcho" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 11:53:28 INDEX 01 11:54:73 TRACK 04 AUDIO TITLE "Even As We Speak" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 14:24:27 INDEX 01 14:26:71 TRACK 05 AUDIO TITLE "The Fields" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 01 15:42:55 TRACK 06 AUDIO TITLE "King Ferdinand" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 19:40:66 INDEX 01 19:41:35 TRACK 07 AUDIO TITLE "Tournament" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 23:26:01 INDEX 01 23:27:46 TRACK 08 AUDIO TITLE "Bath House" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 27:05:03 INDEX 01 27:11:48 TRACK 09 AUDIO TITLE "Topsfield State Fair" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 29:08:35 INDEX 01 29:09:05 TRACK 10 AUDIO TITLE "Wallet Corner" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 31:53:41 INDEX 01 31:55:11 TRACK 11 AUDIO TITLE "Dresden Promenade" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 32:42:71 INDEX 01 32:45:41 TRACK 12 AUDIO TITLE "The Look Of Love" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 38:10:39 INDEX 01 38:13:08 TRACK 13 AUDIO TITLE "Shadows" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 41:52:23 INDEX 01 41:52:67 TRACK 14 AUDIO TITLE "At The Crossroads" PERFORMER "Chris Brokaw" FLAGS DCP INDEX 00 44:29:01 INDEX 01 44:33:45
Доп. информация
Recorded at Zippah Recording, Brookline MA, January-March 2001.
Mastered at Peerless, Newton MA.
Об альбоме (сборнике)
Guitar instrumentals that display unmistakable virtuosity but notable restraint...Brokaw transcends the mathmatical plod of most of his contemporaries. There's real blood and romance here - Godspeed's grandeur, rustic stylings that shows up most John Fahey disciples as ham-fisted phonies, and even an unabashed urge to rock when needs must. ~ John Mulvey, Uncut, July 2002 Brokaw is the shadowy standout figure of other people's recordings. Among the cult figures who lean on his guitar playing for support are the former Lemonhead Evan Dando and Come's Thalia Zedek, while as a member of Codeine he pioneered the dense, bulldozer riffs that today seem commonplace in the American underground. His first solo album, comprising 14 instrumentals on which he plays everything, features fuzzedup flamenco guitar figures, the kind of psychedelic spaghetti-western sounds favored by Calexico, and seismic shifts in mood, from the apocalyptic to the whimsical, the brilliant to the banal. Regrettably, the finest track, the 10 minute "Field pt. II" is scheduled rather too early. Programme your CD player accordingly to avoid disappointment. ~ Stewart Lee, Sunday Times, June 2, 2002 Red Cities swings though dark and edgy moods, fitting seamlessly between post-rock, frenetic strumming and lazy Tex-Mex borderland workouts. ~ Tim Perry, The Independent, May 25, 2002 A litany of succulent electric guitar textures and bold rhythms, this should appeal to anyone who cherishes their Calexico, Tom Verlaine or Aerial M records. Punctuated by xylophone trills and taces of feedback, it runs the gamut from spaghetti western twang to ambient drift and faux free-jazz, the disparate styles homogenised by Brokaw's facility for splendidly plangent chord changes. The middle of the stage is now his. ~ David Sheppard, Mojo, July 2002 ...an instrumental affair, full of intense axe abuse, topped by an unlikely cover of "The Look Of Love". Think Hank Marvin smashing Cliff Richard's face off with his Strat. ~ Tim Footman, Careless Talk Costs Lives, June 2002 ...a series of brooding instrumental sketches propelled by sparse percussion and dominated by (Brokaw's) skeletal guitar tone....a moonlit trawl through some blasted desert rock that is as singleminded and lonesome as some of John Fahey's electric material. ~ David Keenan, The Wire, June 2002 Chris played everything (guitar and percussion) on these atmospheric instrumentals. There's a western-noir feel to most of it and the most effective tracks build in emotional intensity just like Come, every note heavy with mysterious longing and deep enough to flip your stomach over. After a short intro, the longest track "The Fields (Part II)" takes a trip deep into the city night where events are unfolding outside the upstairs window, each note delivering ever more irreversible immanence. Chris really knows how to pack a sledge full of raw emotion into every note, and this is a stunningly dense dark cinematic ride. Only lighter track is the more playful "Topsfield State Fair," which perhaps skirts closer to Pullman campfire folkiness than the deeper Come shadows the rest of the album so satisfyingly evokes. I'm not sure if the title of the album was in any way inspired by the W.S. Burroughs classic 'Cities of the Red Night' but if anyone was ever ambitious enough to try to make a film of that book, this would make a perfect soundtrack. ~ brainwashed.com
uitar instrumentals that display unmistakable virtuosity but notable restraint...Brokaw transcends the mathmatical plod of most of his contemporaries. There's real blood and romance here - Godspeed's grandeur, rustic stylings that shows up most John Fahey disciples as ham-fisted phonies, and even an unabashed urge to rock when needs must. ~ John Mulvey, Uncut, July 2002 Brokaw is the shadowy standout figure of other people's recordings. Among the cult figures who lean on his guitar playing for support are the former Lemonhead Evan Dando and Come's Thalia Zedek, while as a member of Codeine he pioneered the dense, bulldozer riffs that today seem commonplace in the American underground. His first solo album, comprising 14 instrumentals on which he plays everything, features fuzzedup flamenco guitar figures, the kind of psychedelic spaghetti-western sounds favored by Calexico, and seismic shifts in mood, from the apocalyptic to the whimsical, the brilliant to the banal. Regrettably, the finest track, the 10 minute "Field pt. II" is scheduled rather too early. Programme your CD player accordingly to avoid disappointment. ~ Stewart Lee, Sunday Times, June 2, 2002 Red Cities swings though dark and edgy moods, fitting seamlessly between post-rock, frenetic strumming and lazy Tex-Mex borderland workouts. ~ Tim Perry, The Independent, May 25, 2002 A litany of succulent electric guitar textures and bold rhythms, this should appeal to anyone who cherishes their Calexico, Tom Verlaine or Aerial M records. Punctuated by xylophone trills and taces of feedback, it runs the gamut from spaghetti western twang to ambient drift and faux free-jazz, the disparate styles homogenised by Brokaw's facility for splendidly plangent chord changes. The middle of the stage is now his. ~ David Sheppard, Mojo, July 2002 ...an instrumental affair, full of intense axe abuse, topped by an unlikely cover of "The Look Of Love". Think Hank Marvin smashing Cliff Richard's face off with his Strat. ~ Tim Footman, Careless Talk Costs Lives, June 2002 ...a series of brooding instrumental sketches propelled by sparse percussion and dominated by (Brokaw's) skeletal guitar tone....a moonlit trawl through some blasted desert rock that is as singleminded and lonesome as some of John Fahey's electric material. ~ David Keenan, The Wire, June 2002 Chris played everything (guitar and percussion) on these atmospheric instrumentals. There's a western-noir feel to most of it and the most effective tracks build in emotional intensity just like Come, every note heavy with mysterious longing and deep enough to flip your stomach over. After a short intro, the longest track "The Fields (Part II)" takes a trip deep into the city night where events are unfolding outside the upstairs window, each note delivering ever more irreversible immanence. Chris really knows how to pack a sledge full of raw emotion into every note, and this is a stunningly dense dark cinematic ride. Only lighter track is the more playful "Topsfield State Fair," which perhaps skirts closer to Pullman campfire folkiness than the deeper Come shadows the rest of the album so satisfyingly evokes. I'm not sure if the title of the album was in any way inspired by the W.S. Burroughs classic 'Cities of the Red Night' but if anyone was ever ambitious enough to try to make a film of that book, this would make a perfect soundtrack. ~ brainwashed.com
