Prefab Sprout / Jordan: The Comeback (2013 Blu-spec CD 2 edition) Жанр: Alternative/Indie Rock, Sophisti-Pop Носитель: BSCD2 Страна-производитель диска (релиза): Japan Год издания: 2013 (1990) Издатель (лейбл): Sony Music (Epic) Номер по каталогу: SICP 30404 Страна исполнителя (группы): UK Аудиокодек: FLAC (*.flac) Тип рипа: tracks+.cue Продолжительность: 01:04:11 Источник: собственный рип Наличие сканов в содержимом раздачи: да
01. Looking for Atlantis 04:03 02. Wild Horses 03:44 03. Machine Gun Ibiza 03:43 04. We Let the Stars Go 03:39 05. Carnival 2000 03:24 06. Jordan: The Comeback 04:13 07. Jesse James Symphony 02:15 08. Jesse James Bolero 04:11 09. Moon Dog 04:07 10. All the World Loves Lovers 03:50 11. All Boys Believe Anything 01:34 12. The Ice Maiden 03:20 13. Paris Smith 02:55 14. Wedding March 02:50 15. One of the Broken 03:55 16. Michael 03:02 17. Mercy 01:23 18. Scarlet Nights 04:17 19. Doo-Wop in Harlem 03:44 Al songs written by Paddy McAloon
Код:
Exact Audio Copy V1.3 from 2. September 2016 EAC extraction logfile from 22. April 2019, 23:43 Prefab Sprout / Jordan: The Comeback Used drive : ASUS BW-12D1S-U Adapter: 1 ID: 1 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No Read offset correction : 667 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 : Native Win32 interface for Win NT & 2000 Gap handling : Appended to previous track Used output format : User Defined Encoder Selected bitrate : 1024 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files (x86)\Exact Audio Copy\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 | 4:02.63 | 0 | 18212 2 | 4:02.63 | 3:44.19 | 18213 | 35031 3 | 7:47.07 | 3:43.00 | 35032 | 51756 4 | 11:30.07 | 3:39.14 | 51757 | 68195 5 | 15:09.21 | 3:23.49 | 68196 | 83469 6 | 18:32.70 | 4:13.26 | 83470 | 102470 7 | 22:46.21 | 2:15.20 | 102471 | 112615 8 | 25:01.41 | 4:10.51 | 112616 | 131416 9 | 29:12.17 | 4:07.02 | 131417 | 149943 10 | 33:19.19 | 3:50.10 | 149944 | 167203 11 | 37:09.29 | 1:34.25 | 167204 | 174278 12 | 38:43.54 | 3:19.49 | 174279 | 189252 13 | 42:03.28 | 2:55.28 | 189253 | 202405 14 | 44:58.56 | 2:50.24 | 202406 | 215179 15 | 47:49.05 | 3:55.06 | 215180 | 232810 16 | 51:44.11 | 3:02.18 | 232811 | 246478 17 | 54:46.29 | 1:23.25 | 246479 | 252728 18 | 56:09.54 | 4:17.07 | 252729 | 272010 19 | 60:26.61 | 3:44.03 | 272011 | 288813 Track 1 Filename E:\Torrents of Autumn\Prefab Sprout [1990] Jordan~ The Comeback (Blu-specCD2, Japan, 2013)\01. 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Paris Smith.wav Peak level 100.0 % Extraction speed 7.4 X Track quality 100.0 % Test CRC 82E45C93 Copy CRC 82E45C93 Accurately ripped (confidence 8) [56E30624] (AR v2) Copy OK Track 14 Filename E:\Torrents of Autumn\Prefab Sprout [1990] Jordan~ The Comeback (Blu-specCD2, Japan, 2013)\14. Wedding March.wav Peak level 100.0 % Extraction speed 6.5 X Track quality 99.9 % Test CRC 8BDB3EF8 Copy CRC 8BDB3EF8 Accurately ripped (confidence 8) [E6238291] (AR v2) Copy OK Track 15 Filename E:\Torrents of Autumn\Prefab Sprout [1990] Jordan~ The Comeback (Blu-specCD2, Japan, 2013)\15. One of the Broken.wav Pre-gap length 0:00:03.59 Peak level 100.0 % Extraction speed 8.0 X Track quality 100.0 % Test CRC 26419692 Copy CRC 26419692 Accurately ripped (confidence 8) [E53D244C] (AR v2) Copy OK Track 16 Filename E:\Torrents of Autumn\Prefab Sprout [1990] Jordan~ The Comeback (Blu-specCD2, Japan, 2013)\16. 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Код:
REM GENRE Pop/Rock REM DATE 1990 REM DISCID EE0F0A13 REM COMMENT "ExactAudioCopy v1.3" PERFORMER "Prefab Sprout" TITLE "Jordan: The Comeback" REM COMPOSER "" FILE "01. Looking for Atlantis.wav" WAVE TRACK 01 AUDIO TITLE "Looking for Atlantis" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Wild Horses" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 00 04:00:51 FILE "02. Wild Horses.wav" WAVE INDEX 01 00:00:00 FILE "03. Machine Gun Ibiza.wav" WAVE TRACK 03 AUDIO TITLE "Machine Gun Ibiza" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 01 00:00:00 FILE "04. We Let the Stars Go.wav" WAVE TRACK 04 AUDIO TITLE "We Let the Stars Go" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 01 00:00:00 TRACK 05 AUDIO TITLE "Carnival 2000" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 00 03:35:54 FILE "05. Carnival 2000.wav" WAVE INDEX 01 00:00:00 TRACK 06 AUDIO TITLE "Jordan: the Comeback" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 00 03:22:49 FILE "06. Jordan- the Comeback.wav" WAVE INDEX 01 00:00:00 TRACK 07 AUDIO TITLE "Jesse James Symphony" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 00 04:11:53 FILE "07. Jesse James Symphony.wav" WAVE INDEX 01 00:00:00 FILE "08. Jesse James Bolero.wav" WAVE TRACK 08 AUDIO TITLE "Jesse James Bolero" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 01 00:00:00 TRACK 09 AUDIO TITLE "Moon Dog" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 00 04:09:62 FILE "09. Moon Dog.wav" WAVE INDEX 01 00:00:00 FILE "10. All the World Loves Lovers.wav" WAVE TRACK 10 AUDIO TITLE "All the World Loves Lovers" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 01 00:00:00 FILE "11. All Boys Believe Anything.wav" WAVE TRACK 11 AUDIO TITLE "All Boys Believe Anything" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 01 00:00:00 FILE "12. The Ice Maiden.wav" WAVE TRACK 12 AUDIO TITLE "The Ice Maiden" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 01 00:00:00 FILE "13. Paris Smith.wav" WAVE TRACK 13 AUDIO TITLE "Paris Smith" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 01 00:00:00 FILE "14. Wedding March.wav" WAVE TRACK 14 AUDIO TITLE "Wedding March" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 01 00:00:00 TRACK 15 AUDIO TITLE "One of the Broken" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 00 02:46:40 FILE "15. One of the Broken.wav" WAVE INDEX 01 00:00:00 TRACK 16 AUDIO TITLE "Michael" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 00 03:52:59 FILE "16. Michael.wav" WAVE INDEX 01 00:00:00 FILE "17. Mercy.wav" WAVE TRACK 17 AUDIO TITLE "Mercy" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 01 00:00:00 FILE "18. Scarlet Nights.wav" WAVE TRACK 18 AUDIO TITLE "Scarlet Nights" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 01 00:00:00 TRACK 19 AUDIO TITLE "Doo-Wop in Harlem" PERFORMER "Prefab Sprout" REM COMPOSER "Paddy McAloon" INDEX 00 04:14:44 FILE "19. Doo-Wop in Harlem.wav" WAVE INDEX 01 00:00:00
“‘Other music fills my ears, but I still hear her sing’: Prefab Sprout’s Jordan: The Comeback” Five years removed from their smash hit Steve McQueen, and since then slowly self-destructing and unsure of their future as a band, Prefab Sprout were close to the edge. Saddled with an inability to break through the American airwaves (mostly due to their refusal to tour the U.S.) and lessening support from their U.S. label Epic, the Prefabs were at a loss on what to do from thereon. Coinciding with this trying time in the band’s history was the return of Steve McQueen producer Thomas Dolby, who had experienced success overseas with his 1982 hit “She Blinded Me with Science.” Coupled with Dolby’s heavily-detailed production and frontman Paddy McAloon’s ambitious idea for the band’s latest work, the Prefabs were on their way to birthing their masterpiece. Arriving just over a year after the scaled-down Protest Songs, Jordan: The Comeback immediately turned the tables on what the Prefabs could and could not do—for one, put out a multi-concept album spanning an hour’s worth of music and a multitude of styles unforeseen on any other Prefab Sprout record to date. Paddy McAloon truly went all out for what he assumed to be it, suspecting this to be the end of the Prefabs as he knew it, writing nineteen songs that could be divided into four different sections with uniquely different themes. Part one, and the most accessible portion of Jordan, contains five songs with no connection whatsoever; songs with the most potential to be a hit single yet daringly experimenting with new sounds. “Machine Gun Ibiza” is sleazy, lounging about with a catchy groove and sardonic lyrical quips to boot, while the lively samba that drives “Carnival 2000” perfectly contrasts with the lustful “Wild Horses” and the touching ballad “We Let the Stars Go.” Isolated from the rest of the record, this opening run of songs serves as a sampler of the various sounds the Prefabs could cover, but gives the listener no idea of what the rest of Jordan contains. The first of the three suites on Jordan is introduced with its titular cut and a glaringly obvious idea of what this segment of the album concerns—the long dead King of Rock, Elvis Presley. Various references to the rock ’n’ roll icon are made throughout the suite, such as his addictions (“Jordan: The Comeback”) and his life in Tupelo, Mississippi (“Jesse James Symphony”), all with an underlying theme anticipating his long-awaited comeback (“Moon Dog”), while offering parallels between him and the outlaw Jesse James (“Jesse James Symphony”/ ”Jesse James Bolero”). The second of the conceptual suites focuses on love and its various effects, both good and bad. “All the World Loves Lovers” features a hopeless romantic as its narrator, always hoping for his love to last forever but always sounding like he has already had his heart broken one too many times; whereas the duo of “All Boys Believe Anything” and “The Ice Maiden” signal a sexual awakening from its narrator, the latter paying particular attention to the object of his dreamworld infatuation, the “blonde with disheveled hair” (who in turn was inspired by ABBA’s Agnetha Fältskog) soundtracked to rather Steely Dan-ian programmed horns and breathy vocalizations. Returning to the theme of the comeback, one of redemption, is the final conceptual suite of Jordan and the most ambitious sixteen minutes of music Prefab Sprout ever put to tape. “One of the Broken” opines on the difficulties of religion and worship while devoting itself to the power it has to redeem someone once broken, while the narration of “Michael” features Lucifer desperate for redemption, attempting to reason with the titular character for God’s forgiveness but not receiving it, despite the fact he “never could resist a sinner or ignore a distress call.” “Mercy” scales back, reducing the precedent drama to a mere hymn that appropriately bridges the gap between “Michael” and the anthemic “Scarlet Nights.” Giving way to the finale, an “acapella meets pure prayer” on “Doo Wop in Harlem,” which ends Jordan on a very cathartic note, merging the sentimentality of earlier songs with the undercurrent of redemption and self-realization. A purely ambitious record, Jordan: The Comeback isn’t unique to the Prefab Sprout canon, but thematically is an oddity with concepts once briefly discussed in the past now fully exposed for all to see—mortality, romance, redemption both personal and spiritual all define the overarching concept of Jordan: The Comeback, a record that is undoubtedly the Prefab’s opus magnum. (Posted on 02/12/2017 by Aaron W. (sputnikmusic.com) https://www.sputnikmusic.com/review/75512/Prefab-Sprout-Jordan-The-Comeback/
One of the most acclaimed British pop bands of the ’80s and ’90s, Prefab Sprout was the creative vehicle of vocalist, songwriter, and multi-instrumentalist Paddy McAloon, who has been regularly hailed as one of the greatest songwriters of his era. McAloon has often been compared favorably to Elvis Costello, Paul McCartney, and even Cole Porter, not just because of his lyrical and instrumental gifts but for the ambitious creative vision of his catalog. A notorious perfectionist who is also known for his shyness and his struggles with health problems, McAloon has created a relatively small body of work (ten albums in three decades), but Prefab Sprout’s music is beloved in the U.K., and they have a smaller but passionately loyal audience in the United States. Moving from the smart, beautifully crafted pop of 1984’s Swoon and 1985’s Steve McQueen (titled Two Wheels Good in the U.S.), Prefab Sprout would explore the influences of American music on 1988’s From Langley Park to Memphis, embrace the sound and style of stage musicals on 1990’s Jordan: The Comeback, use the Old West as a metaphor on the 2001 concept album The Gunman and Other Stories, and celebrated the power and energy of music on 2009’s Let’s Change the World with Music and 2013’s Crimson/Red. Prefab Sprout were formed in Newcastle, England, in 1977 by Paddy McAloon, who sings and plays guitar and piano, and his bass-playing younger brother, Martin. In the group’s early days, McAloon spun several fanciful tales about the origin of their odd name (one favorite was that the young McAloon had misheard the line “hotter than a pepper sprout” in Nancy Sinatra & Lee Hazlewood's “Jackson”), but the truth is that an adolescent McAloon had devised the meaningless name in homage to the long-winded and equally silly band names of his late-’60s/early-’70s youth. With an early fan, Wendy Smith, drafted into the lineup to sing helium-register backing vocals, the trio released its first single, “Lions in My Own Garden (Exit Someone),” on its own Candle label in July 1982. Written for a girlfriend who had left Newcastle to study in Limoges, France (check the acronym of the title), the song was exceedingly clever, but obviously heartfelt. The single’s warm reception, including many plays on John Peel’s radio show, led to the Sprout’s signing to CBS subsidiary Kitchenware Records, which reissued the single in April 1983. Another single, “The Devil Has All the Best Tunes,” followed later that year. Prefab Sprout’s first album, Swoon, was released in March 1984. Shortly after Swoon’s release, drummer Neil Conti joined the group, and Thomas Dolby was tapped to produce the second Prefab Sprout album, 1985’s Steve McQueen (retitled Two Wheels Good in the U.S. due to litigation from the late actor’s estate). Dolby smoothed out the kinks a bit, and his keyboards helped enrich the album’s sound. Prefab Sprout returned to the studio without Dolby in the summer of 1985 and quickly recorded an album’s worth of material that was initially meant to be released in a limited edition as a tour souvenir. However, several months after Steve McQueen was released, its song “When Love Breaks Down” (which had been released as a single four different times in the U.K. without chart success) finally became a hit, and CBS feared a new album would hurt its predecessor’s sales, so the project was shelved. The “proper” follow-up to Steve McQueen was 1988’s From Langley Park to Memphis. It became their biggest hit, thanks to the massive U.K. chart success of “The King of Rock and Roll” (about a one-hit wonder stuck performing his silly novelty song on the nostalgia circuit; ironically, it was Prefab Sprout’s sole U.K. Top Ten hit and remains their best-known song) and the U.S. college radio success of the genial Bruce Springsteen parody “Cars and Girls.” Following that chart action, CBS dusted off the shelved acoustic project from 1985 and released it (in the U.K. only) under the title Protest Songs in June 1989. Issued in 1990, Jordan: The Comeback, which McAloon describes as a concept album about Jesse James and Elvis Presley, was released to enormous critical acclaim in late 1990, but unfortunately, its ornate, lush production and suite-like structure doomed it to commercial failure in the U.S., though it was another big hit in the U.K. A fine but unimaginative best-of, A Life of Surprises, met similar respective fates in the summer of 1992. Many thought Prefab Sprout disbanded at that point, and indeed, Conti did leave the band at some point in the ’90s. However, McAloon had written (and in some cases, recorded) several albums’ worth of material during the first half of the decade, abandoning them all before finally releasing the crystalline Andromeda Heights in 1997. The album wasn’t even released in the U.S., but it was another deserved U.K. hit. An album of subtle beauty, Andromeda Heights showed how far McAloon had come as a songwriter and singer since Swoon. A much-improved two-disc anthology, The 38 Carat Collection, was released by CBS in 1999 as the group was leaving the label. (Unexpectedly, the group’s U.S. label, Epic, belatedly reissued this set as The Collection in early 2001.) Wendy Smith left the group during this period, after the birth of her first child. Prefab Sprout, by this point consisting solely of the McAloon brothers, signed to EMI in late 2000 and delivered their Western-themed concept album, The Gunman and Other Stories, in early 2001. Unfortunately, the album’s release was delayed several months when Paddy McAloon was diagnosed with a medical disorder rendering him partially blind. As McAloon was homebound due to his health problems between 1999 and 2002, he wrote an album of music inspired by true life stories he recorded from radio broadcasts. Combining the radio recordings with orchestral arrangements of McAloon’s melodies, the mostly instrumental I Trawl the Megahertz became his first solo album when it was released in 2003. After a six-year layoff, McAloon returned to recording as Prefab Sprout and released the self-produced, performed, and recorded Let’s Change the World with Music in 2009. This set’s songs and concept date to 1992 and were originally to be recorded as the follow-up album to Jordan: The Comeback; for various reasons, those sessions never happened. It was initially issued by Ministry of Sound and later in the year licensed by Sony/BMG in the U.K. In 2010, the independent Tompkins Square imprint issued the album in the United States. Both the album Crimson/Red and its lead single, “The Best Jewel Thief in the World,” were issued by the Icebreaker label in 2013. In March 2017, a video posted on the Internet featured a homemade solo acoustic clip of McAloon performing an original song, “America,” a protest against U.S. immigration policies under Donald Trump. In 2019, Sony reissued McAloon’s I Trawl the Megahertz under the Prefab Sprout banner. (Stewart Mason, AllMusic)
Jordan: The Comeback is Prefab Sprout’s largely successful attempt to embrace the breadth of popular music; wisely reuniting with producer Thomas Dolby, Paddy McAloon freely indulges his myriad ambitions and obsessions to weave a dense, finely textured tapestry closer in spirit and construction to a lavish Broadway musical than to the conventional rock concept LP. Over the course of no less than 19 tracks, McAloon chases his twin preoccupations of religion and celebrity, creating a loose thematic canvas perfect for his expanding musical palette; quickly dispensing with common pop idioms, the album moves from tracks like the samba-styled “Carnival 2000” to the self-explanatory “Jesse James Symphony” and its companion piece “Jesse James Bolero” with remarkable dexterity. Dolby’s atmospheric production lends an even greater visual dimension to the songs, which—with their tightly constructed narratives and occasional spoken-word passages—seem almost destined to someday reach the stage; indeed, Jordan: The Comeback is like an original cast recording minus the actors, or a rock opera without the silliness and bombast—a truly inspired work. (Jason Ankeny, AllMusic)
Paddy McAloon Martin McAloon Wendy Smith Neil Conti + Luis Jardim: percussion Judd Lander : harmonica (“Looking for Atlantis”) Jenny Agutter: spoken voices (“Wild Horses”) The Phantom Horns: brass (“Carnival 2000”) Produced by Thomas Dolby
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