Стиль: Alt. Folk, Acoustic, Experimental || Страна: UK || Годы выпуска: 2004 - 2012 Аудио кодек: FLAC || Наличие сканов: 7/11 || Продолжительность: 7:08:18 || MySpace
Лейбл: Tompkins Square Номер по каталогу: TSQ1837 Формат: CD, Album, Digipak Страна: US Год выхода диска: 2008 Аудио кодек: FLAC Тип рипа: image+.cue Продолжительность: 28:30 Наличие сканов: да Источник: RedRUm1, Decadence.nnm.ru Треклист: 1. Celeste Pt 1 (Open C Major Tuning) [14:45] 2. Celeste Pt 2 (Open C Minor Tuning) [13:46]
Another Tompkins Square reissue of early James Blackshaw material, and this is about as early as it gets: Celeste originally surfaced on Celebrate Psi Phenomenon a full five years ago and set the blueprint fr just about every solo recording he's made since. While the first part of the album finds Blackshaw in solo 12-string mode, the second deviates from the well-trodden Takoma-styled path and heads into an effects-laden drone composition. This sort of style-melding approach would come to characterise more mature works in Blackshaw's canon (by the time we get to 2007's The Cloud Of Unknowing the guitarist's 12-string skills had become integrated with more composed, song-like constructions), but there's something particularly compelling about hearing such a raw talent in its incubative period.
Код:
Отчёт EAC об извлечении, выполненном 26. марта 2009, 23:00 James Blackshaw / Celeste Дисковод: ASUS DRW-2014S1 Adapter: 2 ID: 1 Режим чтенияДостоверный (C2: нет, Точный поток: да, Отключение кэша: да) Коррекция смещения при чтении6 Способность читать области Lead-in и Lead-out : Нет Выходной форматВнутренние WAV-операции 44.100 Гц; 16 бит; стерео Другие параметры: Заполнение пропущенных сэмплов тишиной : Да Удаление блоков с тишиной в начале и конце : Нет Встроенный Win32-интерфейс для Win NT/2000 Характеристики диапазона извлечения и сообщения об ошибках Выбранный диапазон Имя файла C:\My Music\James Blackshaw\James Blackshaw - Celeste\James Blackshaw - Celeste.wav Пиковый уровень 100.0 % Качество диапазона 100.0 % CRC D30105F1 Копирование... OK Ошибок не произошло Конец отчёта
Код:
REM GENRE Folk REM DATE 2004 REM DISCID 1806AE02 REM COMMENT "ExactAudioCopy v0.95b4" PERFORMER "James Blackshaw" TITLE "Celeste" FILE "James Blackshaw - Celeste.flac" WAVE TRACK 01 AUDIO TITLE "Celeste Pt 1 (Open C Major Tuning)" PERFORMER "James Blackshaw" FLAGS DCP INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Celeste Pt 2 (Open C Minor Tuning)" PERFORMER "James Blackshaw" FLAGS DCP INDEX 01 14:44:42
#777Лейбл: Tompkins Square Номер по каталогу: TSQ1851 Формат: CD, Album, Reissue Страна: US Дата выхода диска: 25 Mar 2008 Аудио кодек: FLAC Тип рипа: image+.cue Продолжительность: 34:32 Наличие сканов: да Источник: RedRUm1, Decadence.nnm.ru Треклист: 1. Lost Prayers and Motionless Dance [34:32]
Lost Prayers and Motionless Dances was composer/guitarist James Blackshaw's third recording. It followed his debut, Celeste, and a long out of print split album with Davenport (his half, White Goddess, can be found as a download on eMusic), and was issued by Digitalis Industries as a CD-R in an edition of 200 copies. Thankfully, in 2008, New York's fine indie Tompkins Square Records made it available as a proper CD release. This is a single work that clocks in at a bit over 34 minutes. It is introduced by Blackshaw playing not his guitar, but a harmonium, a series of notes and minor chords droning and breathing, before it trims itself to a single droning note. At just under the eight-minute mark, his trademark 12-string enters over it, tuned to C F C F C F; shimmering, airy chords are strummed with the drone note in the foreground, but in the space of less than a couple of minutes, that guitar begins interacting with the drone in ever more complex and compelling ways. The glorious fingerpicking style he employs makes not only the guitar strings play a counter-melody over the harmonium, but also creates separate ones over and against one another. Stuttering stops that fall in between the cracks of his myriad rhythmic inflections offer color and textural differentiations that are sometimes gradual, and at others seemingly sudden, but never jarring. Blackshaw employs sitar techniques in his picking, creating a beautiful raga-esque feel in certain sections of the work, where open drones and long-held lines come seamlessly together offering a new set of modal possibilities. Of course, this doesn't begin to describe what is really happening here in this music; it is very mysterious -- wonderfully so -- but in a sense that it is connected to something both inside and outside of itself. Blackshaw is a not an academic guitarist; he may have the technique of a master, but more than this, what he does possess is a way to plug fully into the music he is offering like a poet, to surround himself with its dynamics, its heart, its gaps. This sense of beauty builds until it has nowhere else to go, and although what comes after it -- when radio and percussion sounds enter and the guitar simply vanishes for a while -- is a bit jarring, it never takes away the center of the music that came before it; in a very alien way, it adds something immeasurable and heartbreaking, even when the guitar eventually returns to bring the work to a close. Highly recommended.
Код:
Отчёт EAC об извлечении, выполненном 11. марта 2009, 21:12 James Blackshaw / Lost Prayers and Motionless Dance Дисковод: ASUS DRW-2014S1 Adapter: 2 ID: 1 Режим чтенияДостоверный (C2: нет, Точный поток: да, Отключение кэша: да) Коррекция смещения при чтении6 Способность читать области Lead-in и Lead-out : Нет Выходной форматВнутренние WAV-операции 44.100 Гц; 16 бит; стерео Другие параметры: Заполнение пропущенных сэмплов тишиной : Да Удаление блоков с тишиной в начале и конце : Нет Встроенный Win32-интерфейс для Win NT/2000 Характеристики диапазона извлечения и сообщения об ошибках Выбранный диапазон Имя файла C:\My Music\James Blackshaw\James Blackshaw - Lost Prayers and Motionless Dance\James Blackshaw - Lost Prayers and Motionless Dance.wav Пиковый уровень 100.0 % Качество диапазона 100.0 % CRC 5332A355 Копирование... OK Ошибок не произошло Конец отчёта
Код:
REM GENRE Folk REM DATE 2004 REM DISCID 02081701 REM COMMENT "ExactAudioCopy v0.95b4" PERFORMER "James Blackshaw" TITLE "Lost Prayers and Motionless Dance" FILE "James Blackshaw - Lost Prayers and Motionless Dance.flac" WAVE TRACK 01 AUDIO TITLE "Lost Prayers and Motionless Dance" PERFORMER "James Blackshaw" FLAGS DCP INDEX 01 00:00:00
#777Лейбл: Tompkins Square Номер по каталогу: TSQ1844 Формат: CD, Album, Reissue Страна: US Дата выхода диска: 25 Mar 2008 Аудио кодек: FLAC Тип рипа: image+.cue Продолжительность: 29:45 Наличие сканов: да Источник: RedRUm1, Decadence.nnm.ru Треклист: 1. Sunshrine [26:29] 2. Skylark Herald's Dawn [3:16]
James Blackshaw's Sunshrine was originally issued in 2005 by the Digitalis Industries label in an edition of 1,000 CDs. A year later, Bo'Weavil re-released it on vinyl as half of a double album that also included his first recording, Celeste. That pressing was limited to 525 copies and sold out quickly. Blackshaw was garnering a small but very dedicated following to be sure. His earlier recordings had been reviewed in The Wire and in Signal to Noise, and were circulated by word of mouth and on dubbed CD-Rs for two years. Blackshaw was introduced to American shores via the Cloud of Unknowing album in 2007, thanks to the great ears over at New York's Tompkins Square imprint. The label has undertaken a great labor of love in providing the American releases of Blackshaw's back catalog: this is the third and final entry in that series on CD. Sunshrine is the shortest of Blackshaw's early recordings. It is comprised of two tracks; the title piece at 26 and a half minutes and "Skylark Herald's Dawn," a beautiful little sketch that lasts just a bit over three minutes. Call it a mini-album, a long EP, whatever; the title track is perhaps the single most stunning piece of music Blackshaw released up to Cloud of Unknowing (yes, 2006's O True Believers album on Important notwithstanding). Blackshaw plays both six- and 12-string guitars on "Sunshrine," and an Indian sarod, harmonium, organ, bells, and bowed cymbals as well. The track is pristinely recorded and is developed, as his previous works had been, by combining modal notions of Indian raga with long drones juxtaposed against various melodies and fluctuating rhythmic pulses and dynamic textures. Blackshaw has been compared to many other guitarists, from Bert Jansch and John Fahey to Davy Graham and Leo Kottke, but none of that matters anymore. He has his own method of playing that was no doubt influenced by many preceding players, but he has developed a telltale style that, no matter what he's playing, you know it is his signature. Technique be damned -- though he has boatloads -- it's the spirit of the things he records that makes him so special. This piece, which unfolds slowly at first (the guitar doesn't enter for the first two minutes), picks up in rhythmic intensity and shifting lyric lines played against the drone strings, and then vanishes altogether for a bit as the sounds of rubbed bowed cymbals, bells, and sarod enter; open tones on a bottom-scale bass note on the organ provide a foundation for an ecstatic climb through the heavens into the emptiness of space beyond. It's almost frightening, but as the organ opens up, adding more notes to form a single chord, and then a second one, the bells' tone seems to change to one of expectancy. They seem outside of emptiness rather than its arbiter. They offer an entry way for the organ and an added harmonium drone as an arrival of some kind -- it's some other routed sound possibility into the listener's own world, and it all connects up wondrously when "Skylark Herald's Dawn" brings the listener back to the Earth with a single six-string guitar offering, and then, finally, into silence. Sunshrine is a deeply moving work that is deceptively experimental at its heart, while remaining wholly and perfectly accessible on the surface.
Код:
Отчёт EAC об извлечении, выполненном 16. февраля 2009, 12:57 James Blackshaw / Sunshrine Дисковод: ASUS DRW-2014S1 Adapter: 2 ID: 1 Режим чтенияДостоверный (C2: нет, Точный поток: да, Отключение кэша: да) Коррекция смещения при чтении6 Способность читать области Lead-in и Lead-out : Нет Выходной форматВнутренние WAV-операции 44.100 Гц; 16 бит; стерео Другие параметры: Заполнение пропущенных сэмплов тишиной : Да Удаление блоков с тишиной в начале и конце : Нет Встроенный Win32-интерфейс для Win NT/2000 Характеристики диапазона извлечения и сообщения об ошибках Выбранный диапазон Имя файла C:\My Music\James Blackshaw\James Blackshaw - Sunshrine\James Blackshaw - Sunshrine.wav Пиковый уровень 100.0 % Качество диапазона 100.0 % CRC 1DA6313C Копирование... OK Ошибок не произошло Конец отчёта
Код:
REM GENRE "Contemporary Folk" REM DATE 2005 REM DISCID 1206F902 REM COMMENT "ExactAudioCopy v0.95b4" PERFORMER "James Blackshaw" TITLE "Sunshrine" FILE "James Blackshaw - Sunshrine.flac" WAVE TRACK 01 AUDIO TITLE "Sunshrine" PERFORMER "James Blackshaw" FLAGS DCP INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Skylark Herald's Dawn" PERFORMER "James Blackshaw" FLAGS DCP INDEX 01 26:29:34
#777Лейбл: Important Records Номер по каталогу: imprec084 Формат: CD, Album Страна: US Год выхода диска: 2006 Аудио кодек: FLAC Тип рипа: image+.cue Продолжительность: 43:14 Наличие сканов: да Источник: RedRUm1, Decadence.nnm.ru Треклист: 1. Transient Life in Twilight [11:38] 2. The Elk with Jade Eyes [18:16] 3. Spiralling Skeleton Memorial [7:34] 4. O True Believers [5:46]
James Blackshaw both plays and writes with a maturity and inventiveness that belie his youth (he recorded this album at 23). There are few 12-string guitar players his age who would dare to attempt a full-length, all-instrumental acoustic solo album, and even fewer who could carry it off if they tried. But Blackshaw does it in style, and does it all by himself. The album's four tracks include some multi-tracking, and Blackshaw varies the musical texture by adding Indian elements (tanpura and harmonium on "The Elk with Jade Eyes") and percussion ("O True Believers"), but the dense center of his music is the guitar itself, fingerpicked in a rolling, glistening style that sometimes brings to mind Robbie Basho and at other times John Fahey. While his music conveys moments of dark mournfulness and of spiky irritability, the overwhelming feeling this album communicates is one of subdued but very real joy. The music is generally tonal and harmonically straightforward, and it is one testament to his startling gifts as a composer that it's almost impossible to tell when Blackshaw is improvising and when he's performing prewritten music.
Код:
Отчёт EAC об извлечении, выполненном 24. декабря 2008, 11:00 для диска: James Blackshaw / O True Believers Дисковод: ASUS DRW-2014S1 Adapter: 2 ID: 1 Режим чтения: Достоверный (C2: нет, Точный поток: да, Отключение кэша: да) Коррекция смещения при чтении: 6 Способность читать области Lead-in и Lead-out : Нет Выходной формат: Внутренние WAV-операции 44.100 Гц; 16 бит; стерео Другие параметры: Заполнение пропущенных сэмплов тишиной : Да Удаление блоков с тишиной в начале и конце : Нет Встроенный Win32-интерфейс для Win NT/2000 Характеристики диапазона извлечения и сообщения об ошибках Выбранный диапазон Имя файла C:\My Music\James Blackshaw\James Blackshaw - O True Believers\James Blackshaw - O True Believers.wav Пиковый уровень 100.0 % Качество диапазона 99.9 % CRC 57261F61 Копирование... OK Ошибок не произошло Конец отчёта
Код:
REM GENRE Acoustic REM DATE 2006 REM DISCID 310A2204 REM COMMENT "ExactAudioCopy v0.95b4" PERFORMER "James Blackshaw" TITLE "O True Believers" FILE "James Blackshaw - O True Believers.flac" WAVE TRACK 01 AUDIO TITLE "Transient Life in Twilight" PERFORMER "James Blackshaw" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "The Elk with Jade Eyes" PERFORMER "James Blackshaw" INDEX 01 11:38:27 TRACK 03 AUDIO TITLE "Spiralling Skeleton Memorial" PERFORMER "James Blackshaw" INDEX 01 29:54:00 TRACK 04 AUDIO TITLE "O True Believers" PERFORMER "James Blackshaw" INDEX 01 37:27:68
#777Лейбл: Kning Disk Номер по каталогу: KD015 Формат: CD, Live Album Страна: Sweden Год выхода диска: September, 2006 Аудио кодек: FLAC Тип рипа: tracks+.cue Продолжительность: 42:07 Наличие сканов: нет Источник: wikieup, What.CD Треклист: 1. Sunshrine [16:28] 2. Celeste I [8:43] 3. Transient Life In Twilight [9:14] 4. Spiralling Skeleton Memorial [7:43]
It hasn't taken long for young UK-based guitarist James Blackshaw to embed himself into the collective consciousness of the picky underground music scene. After only a handful of (mostly limited edition) releases he has already been elevated to sit alongside Jack Rose, Steffen Basho-Junghans et al, and is compared here and there to Sandy Bull, John Fahey and the other usual suspects. The truth is though that Blackshaw has very much his own sound, and it's too easy to become lost in comparisons - his 'Sunshrine' and 'O True Believers' records knocked our socks clean off this year and it wasn't simply because it sounded like someone else. No the guitarist has a charm that is very much his own, and that is only too evident in 'Walking into Sleep' - a live recording in the lovely rainy Swedish city of Gothenburg. Knowing that Blackshaw plays these four extended pieces live is a testament to his skill, there's never a note out of place as he performs a 'best of' from his catalogue - 'Sunshrine' from the aforementioned Digitalis-released album, 'Celeste' from his first ever release and two tracks from the wonderful 'O True Believers' on Important Records. The label press release tells me that people left the gig with a warm glow after seeing the performance, and this translates surprisingly well to disc, leaving you feeling contented and genuinely happy from hearing the sublime sound of 12-string guitar. As usual this disc is hideously limited (only 465 copies!) and it's already sold out at the source so it's not going to last long...
Код:
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 12. April 2010, 23:08 James Blackshaw / Waking Into Sleep - Goteborg, 27.05.06 Used drive : HL-DT-STDVDRRW GSA-H20L Adapter: 5 ID: 0 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No Read offset correction : 102 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 : 320 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files\FLAC\flac.exe Additional command line options : -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 16:27.39 | 0 | 74063 2 | 16:27.39 | 8:42.68 | 74064 | 113281 3 | 25:10.32 | 9:13.65 | 113282 | 154821 4 | 34:24.22 | 7:42.71 | 154822 | 189542 Track 1 Filename C:\Documents and Settings\HP_Administrator\My Documents\My Music\FLAC Rips\01 Sunshrine.wav Pre-gap length 0:00:02.00 Peak level 98.1 % Track quality 100.0 % Test CRC F654989C Copy CRC F654989C Accurately ripped (confidence 2) [F3EFB234] Copy OK Track 2 Filename C:\Documents and Settings\HP_Administrator\My Documents\My Music\FLAC Rips\02 Celeste I.wav Pre-gap length 0:00:03.04 Peak level 98.1 % Track quality 100.0 % Test CRC 619DA982 Copy CRC 619DA982 Accurately ripped (confidence 2) [DB6001DD] Copy OK Track 3 Filename C:\Documents and Settings\HP_Administrator\My Documents\My Music\FLAC Rips\03 Transient Life in Twilight.wav Pre-gap length 0:00:03.00 Peak level 98.1 % Track quality 99.9 % Test CRC 8AD0663F Copy CRC 8AD0663F Accurately ripped (confidence 2) [1073AD1F] Copy OK Track 4 Filename C:\Documents and Settings\HP_Administrator\My Documents\My Music\FLAC Rips\04 Spiralling Skeleton Memorial.wav Pre-gap length 0:00:03.00 Peak level 98.1 % Track quality 100.0 % Test CRC 4895D5D8 Copy CRC 4895D5D8 Accurately ripped (confidence 2) [6665053E] Copy OK All tracks accurately ripped No errors occurred End of status report
Код:
REM GENRE Folk REM DATE 2006 REM DISCID 3309DF04 REM COMMENT "ExactAudioCopy v0.99pb4" PERFORMER "James Blackshaw" TITLE "Waking Into Sleep - Goteborg, 27.05.06" FILE "01 Sunshrine.wav" WAVE TRACK 01 AUDIO TITLE "Sunshrine" PERFORMER "James Blackshaw" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Celeste I" PERFORMER "James Blackshaw" INDEX 00 16:24:35 FILE "02 Celeste I.wav" WAVE INDEX 01 00:00:00 TRACK 03 AUDIO TITLE "Transient Life in Twilight" PERFORMER "James Blackshaw" INDEX 00 08:39:68 FILE "03 Transient Life in Twilight.wav" WAVE INDEX 01 00:00:00 TRACK 04 AUDIO TITLE "Spiralling Skeleton Memorial" PERFORMER "James Blackshaw" INDEX 00 09:10:65 FILE "04 Spiralling Skeleton Memorial.wav" WAVE INDEX 01 00:00:00
#777Лейбл: Tompkins Square Номер по каталогу: SQ1967 Формат: CD, Album Страна: US Дата выхода диска: 23 May 2007 Аудио кодек: FLAC Тип рипа: image+.cue Продолжительность: 42:42 Наличие сканов: да Источник: RedRUm1, Decadence.nnm.ru Треклист: 1. The Cloud Of Unknowing [10:55] 2. Running To The Ghost [6:16] 3. Clouds Collapse [3:56] 4. The Mirror Speaks [6:31] 5. Stained Glass Windows [15:04]
Still in his middle twenties at the time of this recording, British acoustic 12-string guitarist James Blackshaw has distinguished himself as an innovative and original voice in a very limited medium. Along with Glenn Jones, Jack Rose, and Sir Richard Bishop, Blackshaw is forging a new acoustic trail for the guitar. Comparisons between all of these guitarists are futile, as are attempts to report on their "influences." Blackshaw in particular stands out for his use solely of a 12-string; his long elegant lines and incredibly detailed methods of fingerpicking; his meld of Eastern modes alongside pastoral Western harmonics; his historical sense of Celtic folk music; and his elegant, full bodied, but nearly fluid approach to both composition and improvisation -- which are blended seamlessly in his pieces. The Cloud of Unknowing is his first recording readily available in the United States. Released by the venerable yet tiny Tompkins Square imprint (which also reissued his back catalog), this is a side of Blackshaw displayed only partially on his Celeste, Sunshrine, and O True Believers recordings. Using various tunings, Blackshaw seemingly enters the opening title track from the middle, spinning an airy narrative from a complex yet utterly accessible extrapolation of theme and variation. There are drones that actually provide a rhythmic counterpoint to his enveloping mist of ringing strings and climbing and falling scalar work. On "Running to the Ghost," Blackshaw also plays glockenspiel, and is accompanied by violinist Fran Bury (who also guests on the set's final cut, "Stained Glass Windows"). The opening rhythmic pattern established by his fingerpicking -- especially on the low strings -- is glissando-like in structure, and is given weight by the accompanying instruments. His bass strings move off indirectly from the shimmering harmonic interplay and become a series of counterpoint harmonies, offering melodic possibilities in the middle that are hinted at rather than openly stated. The brief "Clouds Collapse" is a soundscape track that acts as the album's hinge and breaks the listener's concentration momentarily before his minor-key "The Mirror Speaks" reenters with a much more pronounced theme and architecture, where scales are improvised on a nearly country & western theme (with a Middle Eastern melody playing against and into the theme), but stretched to the breaking point. Think of "(Ghost) Riders in the Sky" alongside an oud melody played by Hamza el Din. The album's 15-plus-minute closer, "Stained Glass Windows," opens so blissfully and sparely that it feels like it doesn't fit the disc. Blackshaw's meandering scalar work appears almost haphazardly inside a very loose and deceptively simple and seemingly random thematic structure. It picks up speed quickly, however, and gently and purposely becomes a full-blown 12-string bliss-out accented by a double rhythmic counterpoint played against a pair of melodies. One feels literally as if in the presence of the Divine. This feeling is simply ratcheted up for seven minutes or so before Bury's violin, accented and textured by electronics, enters in full dissonant mode, creating a sense of the Fall. It's chaotic, harsh, and utterly ruinous in a sense, until the realization that it is in this space of freedom and dislocation that you struggle to find your ground, and its intention is to show the flip side of the lyric order of Western music (think Ornette Coleman playing violin with sound effects blurring nearly every line except his pitch frequencies), which, inexplicably, takes the track abruptly out into the void, where the listener is left wondering breathlessly about what just transpired. The Cloud of Unknowing is Blackshaw's most sophisticated and utterly engaging album yet, and offers American audiences a startling first listen to a musical visionary. Highly recommended.
Код:
Отчёт EAC об извлечении, выполненном 12. января 2009, 9:02 для диска: James Blackshaw / The Cloud Of Unknowing Дисковод: ASUS DRW-2014S1 Adapter: 2 ID: 1 Режим чтения: Достоверный (C2: нет, Точный поток: да, Отключение кэша: да) Коррекция смещения при чтении: 6 Способность читать области Lead-in и Lead-out : Нет Выходной формат: Внутренние WAV-операции 44.100 Гц; 16 бит; стерео Другие параметры: Заполнение пропущенных сэмплов тишиной : Да Удаление блоков с тишиной в начале и конце : Нет Встроенный Win32-интерфейс для Win NT/2000 Характеристики диапазона извлечения и сообщения об ошибках Выбранный диапазон Имя файла C:\My Music\James Blackshaw\James Blackshaw - The Cloud Of Unknowing\James Blackshaw - The Cloud Of Unknowing.wav Пиковый уровень 100.0 % Качество диапазона 100.0 % CRC 1B7D9CF7 Копирование... OK Ошибок не произошло Конец отчёта
Код:
REM GENRE Alternative REM DISCID 3A0A0205 REM COMMENT "ExactAudioCopy v0.95b4" PERFORMER "James Blackshaw" TITLE "The Cloud Of Unknowing" FILE "James Blackshaw - The Cloud Of Unknowing.flac" WAVE TRACK 01 AUDIO TITLE "The Cloud Of Unknowing" PERFORMER "James Blackshaw" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Running To The Ghost" PERFORMER "James Blackshaw" INDEX 01 10:55:25 TRACK 03 AUDIO TITLE "Clouds Collapse" PERFORMER "James Blackshaw" INDEX 01 17:11:30 TRACK 04 AUDIO TITLE "The Mirror Speaks" PERFORMER "James Blackshaw" INDEX 01 21:07:45 TRACK 05 AUDIO TITLE "Stained Glass Windows" PERFORMER "James Blackshaw" INDEX 01 27:38:50
#777Лейбл: Tompkins Square Номер по каталогу: TSQ1783CD Формат: CD, Album Страна: US Дата выхода диска: 23 Jun 2008 Аудио кодек: FLAC Тип рипа: image+.cue Продолжительность: 53:08 Наличие сканов: да Источник: RedRUm1, Decadence.nnm.ru Треклист: 1. Gate of Ivory [5:20] 2. Past Has Not Passed [12:38] 3. Echo And Abyss [12:10] 4. Infinite Circle [5:54] 5. Shroud [11:44] 6. Gate of Horn [5:21]
British acoustic 12-string guitarist James Blackshaw has been celebrated as an innovator on his instrument since he first arrived on the scene with Celeste in 2004 -- it was released in a CD-R edition of 80 copies. Blackshaw knocked out five more releases in the ensuing four years, all of which have been reissued on New York's wonderful Tompkins Square imprint, a label that has devoted itself to classic and outsider music since its inception. Blackshaw, who was deeply influenced by the late Robbie Basho, has found his own path through use of unusual and custom-created tunings based on both Eastern and Western scales, but has also been throwing a few curve balls in the last few years -- most notably the use of electronics, dissonance, and the beautifully stretched harmonics of violinist/violist Fran Bury on the brilliant Cloud of Unknowing release from 2007. Bury returns here but in a very different capacity on the mutant classical repetitions of "Gate of Ivory," playing both violin and viola on the bookend tracks on the album. The strains of the lower instrument are used as a drone against Blackshaw's piano. His hammering, repetitive, and choppy phraseology is accented and droned upon underneath and through by Bury for five and a half minutes in a piece that, while derived from Philip Glass and Steve Reich, goes so much further because of the overtones on viola. On "Gate of Horn," the same phrase is used by Blackshaw's piano -- both cuts are close in length to one another -- and Bury uses the higher instrument this time out, screeching into its high register à la Warren Ellis of the Dirty Three. But that dissonance, covered as it is by the piano's constant pulsing rhythm, never quite turns ugly. In fact, it is transcendentally beautiful. Bury also accompanies Blackshaw (this time on the guitar), more subtly this time, on the viola in the middle of the set on "Infinite Circle." This is a stunning work of field-opening bliss, evoking loneliness, return, and beginning again. In addition to these relatively short pieces, there are three long works as well. Bury is multi-tracked on "Past Has Not Passed," and the duet combination where both violin and violas soar, swoop, and whisper in the backdrop brings out the most emotional tenets in Blackshaw's gift -- wrapping harmony and timbre around itself to slip various threads of nearly hidden melody into the mix and respond to Bury's phrases. "Echo and Abyss" and "Shroud" are two solo guitar works that clock in at just under and just over 12 minutes. This is Blackshaw as we know him, with one large difference: his use of space and the natural echo of the 12-string as a compositional device. He doesn't simply employ harmonics; he employs the wood of the guitar as a natural reflective sonic surface. There is no tape manipulation or overdubbing. The sound you hear is what he plays, but it's as varied -- even more so -- than the pedal effects on a piano. However you choose to hear this, you will not be disappointed. Of his peers -- Jack Rose, Sir Richard Bishop, and Steffen Basho-Junghans -- Blackshaw is the youngest and most exciting to listen to (regardless of who may be more proficient among this quartet; they're all amazing). His complete immersion in the 12-string sets him apart a bit. And for an instrument that can be limited because of its lack of flexibility, he pushes it in new directions constantly.
Код:
Отчёт EAC об извлечении, выполненном 28. января 2009, 1:13 для диска: James Blackshaw / Litany of Echoes Дисковод: ASUS DRW-2014S1 Adapter: 2 ID: 1 Режим чтения: Достоверный (C2: нет, Точный поток: да, Отключение кэша: да) Коррекция смещения при чтении: 6 Способность читать области Lead-in и Lead-out : Нет Выходной формат: Внутренние WAV-операции 44.100 Гц; 16 бит; стерео Другие параметры: Заполнение пропущенных сэмплов тишиной : Да Удаление блоков с тишиной в начале и конце : Нет Встроенный Win32-интерфейс для Win NT/2000 Характеристики диапазона извлечения и сообщения об ошибках Выбранный диапазон Имя файла C:\My Music\James Blackshaw\James Blackshaw - Litany of Echoes\James Blackshaw - Litany of Echoes.wav Пиковый уровень 87.4 % Качество диапазона 100.0 % CRC B97DA781 Копирование... OK Ошибок не произошло Конец отчёта
Код:
REM GENRE Alternative REM DISCID 420C7406 REM COMMENT "ExactAudioCopy v0.95b4" PERFORMER "James Blackshaw" TITLE "Litany of Echoes" FILE "James Blackshaw - Litany of Echoes.flac" WAVE TRACK 01 AUDIO TITLE "Gate of Ivory" PERFORMER "James Blackshaw" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Past Has Not Passed" PERFORMER "James Blackshaw" INDEX 01 05:20:18 TRACK 03 AUDIO TITLE "Echo And Abyss" PERFORMER "James Blackshaw" INDEX 01 17:58:46 TRACK 04 AUDIO TITLE "Infinite Circle" PERFORMER "James Blackshaw" INDEX 01 30:08:49 TRACK 05 AUDIO TITLE "Shroud" PERFORMER "James Blackshaw" INDEX 01 36:02:70 TRACK 06 AUDIO TITLE "Gate of Horn" PERFORMER "James Blackshaw" INDEX 01 47:47:05
#777Лейбл: Young God Records Номер по каталогу: YG40 Формат: CD, Album Страна: US Дата выхода диска: 01 Jun 2009 Аудио кодек: FLAC Тип рипа: image+.cue Продолжительность: 49:34 Наличие сканов: да Источник: RedRUm1, Decadence.nnm.ru Треклист: 1. Cross [8:38] 2. Bled [10:26] 3. Fix [5:39] 4. Key [6:03] 5. Arc [18:49]
In five short years, 12-string guitarist and composer James Blackshaw has not only been prolific, he's created for himself a musical catalog that is dazzling in its range, complexity, and mystery. In addition to releasing his own recordings, he's collaborated with vanguard lute master Jozef Van Wissem in the Brethren of the Free Spirit, and has appeared on Current 93's 2009 album Aleph at Hallucinatory Mountain. In 2008, the venerable Tompkins Square indie re-released his previous catalog in the United States -- some of it was originally privately issued in very limited and/or vinyl-only editions. The label also released a then new effort, the beautiful Litany of Echoes, in the same year. The Glass Bead Game, issued on Michael Gira's Young God, named no doubt for the Hermann Hesse novel of the same name, is another step -- in fact, a leap -- forward. In addition to his own gorgeous 12-string playing, he has employed the talents of vocalist Lavinia Blackwell, and Current 93 members John Contreras on cello and Joolie Wood on violin. Blackshaw also plays harmonium and piano here. The pieces on this set are ambiguously titled with single words. The opener, "Cross," is among the most startlingly beautiful pieces he's written. A reverbed 12-string plays a series of repetitive phrases as the strings play harmonic drones in the backdrop, propelling the sense of motion on until the guitar begins its melodic journey through the foreground, repeating the original phrase often enough to keep the listener grounded even as the lyric nature of the overdubbed guitars drones and pines away at a complex and haunting yet springlike melody. "Bled" is a sparser piece. The guitar, kissed with reverb and in places overdubbed, is accompanied by a harmonium playing a single chord as it begins a slow but methodical journey toward the center of a maelstrom that embodies everything from rags and blues to even Eastern folk styles in its complex, contrapuntal melody. A lilting chamber piece for piano and strings that is full of space and delicate textures and seems to portray stillness as a place, "Fix" is followed by "Key," a guitar journey that seems to answer the former piece by tracing movement from a single place to a wide-open field of possibilities and directions. It is songlike rather than simply atmospheric. The final track -- and also the longest at nearly 20 minutes -- is "Arc," which begins as a solo piano piece. The piano is once again caressed in reverb, playing what seems like the halting beginning of a nearly forgotten melody. As the strings enter, they do so in single-note drones and begin very slowly to emerge in harmony, creating their own melodic frames while holding a series of chromatic changes very closely. The piece begins to evolve from its snail-like tempo into something beautifully pastoral and then pronounced; it's an open space of possibility for engagement between the three instruments and, eventually, Blackwell's beautiful contralto. The control by Contreras and Wood is exceptional here. Blackshaw is working out his melody very purposefully, repetitively, and in controlled bits and pieces. That said, by the time the piece reaches its center, the density of melody, sound, and texture is one of almost unbearable beauty and the release of tension is full to the breaking point of bliss itself. The Glass Bead Game is the most forward-thinking and sublimely executed of James Blackshaw's releases to date. It is a work that will hopefully introduce him to an entirely new audience who can appreciate the depth, sensitivity, and vision he brings to modern acoustic music.
Код:
Отчёт EAC об извлечении, выполненном 24. июня 2009, 2:26 James Blackshaw / The Glass Bead Game Дисковод: ASUS DRW-2014S1 Adapter: 2 ID: 1 Режим чтенияДостоверный (C2: нет, Точный поток: да, Отключение кэша: да) Коррекция смещения при чтении6 Способность читать области Lead-in и Lead-out : Нет Выходной форматВнутренние WAV-операции 44.100 Гц; 16 бит; стерео Другие параметры: Заполнение пропущенных сэмплов тишиной : Да Удаление блоков с тишиной в начале и конце : Нет Встроенный Win32-интерфейс для Win NT/2000 Характеристики диапазона извлечения и сообщения об ошибках Выбранный диапазон Имя файла C:\My Music\James Blackshaw\James Blackshaw - The Glass Bead Game\James Blackshaw - The Glass Bead Game.wav Пиковый уровень 96.2 % Качество диапазона 100.0 % CRC D8F30269 Копирование... OK Ошибок не произошло Конец отчёта
Код:
REM GENRE Folk REM DATE 2009 REM DISCID 390B9E05 REM COMMENT "ExactAudioCopy v0.95b4" PERFORMER "James Blackshaw" TITLE "The Glass Bead Game" FILE "James Blackshaw - The Glass Bead Game.flac" WAVE TRACK 01 AUDIO TITLE "Cross" PERFORMER "James Blackshaw" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Bled" PERFORMER "James Blackshaw" INDEX 01 08:38:07 TRACK 03 AUDIO TITLE "Fix" PERFORMER "James Blackshaw" INDEX 01 19:03:47 TRACK 04 AUDIO TITLE "Key" PERFORMER "James Blackshaw" INDEX 01 24:42:14 TRACK 05 AUDIO TITLE "Arc" PERFORMER "James Blackshaw" INDEX 01 30:45:08
#777Лейбл: Young God Records Номер по каталогу: YG40 Формат: CD, Album Страна: US Дата выхода диска: 01 Jun 2009 Аудио кодек: FLAC Тип рипа: tracks+.cue Продолжительность: 44:45 Наличие сканов: нет Источник: mistr, What.CD Треклист: 1. Part 1 [4:12] 2. Part 2 [5:17] 3. Part 3 [4:44] 4. Part 4 [4:30] 5. Part 5 [3:09] 6. Part 6 [2:43] 7. Part 7 [11:51] 8. Part 8 [8:19]
James Blackshaw isn't even 30 years old yet, but he's built himself, through a combination of otherworldly instrumental skill on the guitar and a highly developed sensibility for modern composition, into a renowned figure in the space between folk, classical music, minimalism, and experimentalism. It's tempting to think of him as a guitarist, mostly because he has such amazing command of that instrument, but he really is more than that. It's not quite as simple as saying he's also a pianist, though, because while he plays that instrument I tend not to think of him as a pianist so much as a composer who plays piano to achieve his goals. It sets up a weird dichotomy in me when I listen to his music. I like it all, but I find I really prefer him when the acoustic guitar is in the lead. I think it boils down to this: When he builds around his guitar, it feels like I'm listening to his thoughts, the little bits of information and images floating around in his brain that he might not be able to set words to or otherwise organize. When the compositions are centered on the piano, I feel like I'm listening to his ideas, which is different. They are, it must be said, good ideas, and Blackshaw is getting better at realizing them-- last year's The Glass Bead Game used the piano to build towering drones that sometimes did little more than drone, but on All Is Falling, Blackshaw seems more in control and more fleet on the keys. This much is very clear from the very first moments of the record, where Blackshaw tumbles in on the piano with a simple, repeated phrase that's joined by others that interlock with and embellish it. It progresses into a churning, dramatic sequence topped by little cascades that move in and out like weather systems-- it's compact and perhaps the sharpest thing he's done on the piano. When we finally hear him on the guitar on "Part 2", it's not his characteristic acoustic 12-string, but rather a clean-toned, six-string electric. For a time, he rather purposefully avoids density and the type of shifting movement he's known for, letting a couple of strings feel their way around what he's doing. It's only on the subsequent piece that he takes off and starts in on those wild runs and slowly morphing progressions. The whole thing flows together and culminates in the 12-minute "Part 7", which opens with a guitar part that could very well be a rock riff until it persists in repeating over and over, almost like a loop. The strings dance over the top of it, and the way they harmonize with it makes it feel as though the static part is changing with them. Eventually, the guitar lets go, percussion comes in, and the piece becomes something far more urgent and even sinister. It's a surprising and powerful change-up, and one that might make for an easy entry point for rock fans looking to explore Blackshaw's work. It's also a moment that marks a transition between the phase where Blackshaw began exploring other timbres as a way of broadening his sound and a new phase where all these other tools he's given himself really seem close to achieving that same kind of stream-of-consciousness effect his guitar playing has.
Код:
X Lossless Decoder version 20100711 (120.5) XLD extraction logfile from 2010-08-24 16:48:12 +0100 James Blackshaw / All Is Falling Used drive : HL-DT-ST DVDRW GS21N (revision SA18) Use cdparanoia mode : YES (CDParanoia III 10.2 engine) Disable audio cache : OK for the drive with cache less than 2750KB Make use of C2 pointers : NO Read offset correction : 667 Max retry count : 100 Gap status : Analyzed, Appended (except HTOA) TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 00:00:00 | 04:12:29 | 0 | 18928 2 | 04:12:29 | 05:17:26 | 18929 | 42729 3 | 09:29:55 | 04:44:14 | 42730 | 64043 4 | 14:13:69 | 04:29:53 | 64044 | 84271 5 | 18:43:47 | 03:08:57 | 84272 | 98428 6 | 21:52:29 | 02:42:63 | 98429 | 110641 7 | 24:35:17 | 11:50:74 | 110642 | 163965 8 | 36:26:16 | 08:18:62 | 163966 | 201377 All Tracks Album gain : -4.29 dB Peak : 0.852386 Track 01 Filename : /Users/steven/Music/01 - Part 1.flac Pre-gap length : 00:02:00 Track gain : -5.37 dB Peak : 0.852386 CRC32 hash (test run) : 8EF8B832 CRC32 hash : 8EF8B832 CRC32 hash (skip zero) : 10F8C371 AccurateRip signature : 35D08964 ->Track not present in AccurateRip database. 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Код:
TITLE "All Is Falling" PERFORMER "James Blackshaw" REM GENRE "Folk/Rock" REM DATE 2010 REM DISCID 640A7D08 FILE "01 - Part 1.wav" WAVE TRACK 01 AUDIO TITLE "Part 1" PERFORMER "James Blackshaw" ISRC USA3T1004201 INDEX 01 00:00:00 FILE "02 - Part 2.wav" WAVE TRACK 02 AUDIO TITLE "Part 2" PERFORMER "James Blackshaw" ISRC USA3T1004202 INDEX 01 00:00:00 FILE "03 - Part 3.wav" WAVE TRACK 03 AUDIO TITLE "Part 3" PERFORMER "James Blackshaw" ISRC USA3T1004203 INDEX 01 00:00:00 FILE "04 - Part 4.wav" WAVE TRACK 04 AUDIO TITLE "Part 4" PERFORMER "James Blackshaw" ISRC USA3T1004204 INDEX 01 00:00:00 FILE "05 - Part 5.wav" WAVE TRACK 05 AUDIO TITLE "Part 5" PERFORMER "James Blackshaw" ISRC USA3T1004205 INDEX 01 00:00:00 FILE "06 - Part 6.wav" WAVE TRACK 06 AUDIO TITLE "Part 6" PERFORMER "James Blackshaw" ISRC USA3T1004206 INDEX 01 00:00:00 FILE "07 - Part 7.wav" WAVE TRACK 07 AUDIO TITLE "Part 7" PERFORMER "James Blackshaw" ISRC USA3T1004207 INDEX 01 00:00:00 FILE "08 - Part 8.wav" WAVE TRACK 08 AUDIO TITLE "Part 8" PERFORMER "James Blackshaw" ISRC USA3T1004208 INDEX 01 00:00:00
#777Лейбл: Important Records Номер по каталогу: IMPREC341 Формат: EP, Digital files Страна: US Дата выхода диска: Oct 2011 Аудио кодек: FLAC Тип рипа: tracks+.cue Продолжительность: 21:11 Наличие сканов: нет Источник: CorticalSystematics, What.CD Треклист: 1. Holly [12:59] 2. Boo, Forever [8:12]
British composer-guitarist James Blackshaw returns with this limited edition 12" EP. The two intimate and introspective pieces collected here were written and recorded during the first three months of 2011, during a break after an intense year of touring and the release of his eighth album "All Is Falling". In many ways, these songs more closely resemble his earlier work, with swirling, cyclical acoustic 12-string and nylon string guitar (a first for Blackshaw) being the focal point of the compositions. Charlotte Glasson also contributes some beautifully restrained clarinet, saxophone, flute and violin playing to the proceedings. There are echoes of French Impressionist composers Satie, Debussy and Ravel in the song "Holly", while "Boo, Forever" even sees a nod to the Takoma guitarists which first enthused and inspired him to start fingerpicking a decade ago, but - more than anything - the sound is unmistakably Blackshaw's own and ranks among some of his finest and most beautiful work yet. All music written by James Blackshaw Recorded & mixed by John Hannon with James Blackshaw at No Recording Studio, March 2011
TITLE "Holly" PERFORMER "James Blackshaw" REM GENRE "Folk" REM DATE "2011" REM DISCID 1204F702 FILE "CDImage.folder" WAVE TRACK 01 AUDIO TITLE "Holly" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Boo, Forever" INDEX 01 12:59:09
#777Лейбл: Important Records Номер по каталогу: IMPREC355CD Формат: CD, Album Страна: US Дата выхода диска: 24 Apr 2012 Аудио кодек: FLAC Тип рипа: tracks+.cue Продолжительность: 38:49 Наличие сканов: нет Источник: azurehum, What.CD Треклист: 1. Love Is the Plan, the Plan Is Death [8:02] 2. Her Smoke Rose Up Forever [7:07] 3. And I Have Come Upon This Place by Lost Ways [5:08] 4. A Momentary Taste of Being [5:25] 5. We Who Stole the Dream [7:18] 6. The Snows Are Melted, the Snows Are Gone [5:49] James Blackshaw: Loriente Clarita nylon-string guitar, Chickering grand piano, Musser vibraphone & Hammond B3 organ Genevieve Beaulieu: Voice and words
Spend time listening to James Blackshaw, and two things should become readily apparent: that he is a phenomenally gifted musician and that his restless ambition drives him to continually redefine his sound. These characteristics have not always proven to be entirely compatible in creating a unified body of work. Few of us do anything quite as well as Blackshaw plays 12-string guitar, but by his own admission in a recent interview conducted by singer Marissa Nadler, after several brilliant albums he began to struggle to find anything new to say with the instrument. So on the recent records All is Falling and The Glass Bead Game he has largely abandoned the 12-string in favor of a more minimalist piano-based style and small ensemble chamber work. Though his albums have been consistently likable, there have been points where he has seemed to be deliberately working against his own strengths, pushing his sound in directions not clearly distinctive as his own. In some respects, then, Blackshaw's latest album Love Is the Plan, the Plan Is Death is both a continuation of his tinkering and a slight return to his past solo work.The first big difference here is that his primary instrument of choice is a nylon 6-string rather than the steel 12-string guitar. This switch gives his new pieces an earthier, more exotic flavor than the celestial overtones of his orchestral 12-string style. And though Blackshaw's previous work has occasionally featured counting or other wordless vocals, Love Is the Plan includes his first recorded lyrical performance with a vocalist, Geneviève Beaulieu of drone/black metal outfit Menace Ruine and the folkier drone project Preterite. These subtle changes seem to have re-energized Blackshaw's expressive powers, and as a result Love Is the Plan is his most immediately satisfying album since 2007's masterful The Cloud of Unknowing. As has been his habit, Blackshaw again draws inspiration from the literary world. The album title and all of the song titles here are borrowed from those of short stories written by Alice B. Sheldon, who published sci-fi and speculative fiction under the pseudonym James Tiptree Jr. For most of her writing career, Sheldon kept her gender a secret, and many of her stories concern issues of identity and alienation. Her style could be poetic and elliptical, and her themes abstract enough for readers to project multiple interpretations onto her stories. In other words, it is not hard to see how Blackshaw, a composer whose pieces are still predominantly instrumental and open to broad emotive interpretation, might be drawn to Sheldon's work and see parallels with his own. At any rate, Sheldon's evocative titles are a perfect fit for Blackshaw's songs. Of the album's solo guitar tracks, the melodic "We Who Stole the Dream" stands as the highlight, and as one of my favorite things Blackshaw has yet done. His playing carries some of the echoes of his ornate 12-string flourishes, but here there is a grittier edge, with bent notes and the audible sound of his fingers sliding on the strings, his winding melodies casting out concentric smoke rings that call to mind Ben Chasny's acoustic work in Six Organs of Admittance. Harder to classify is the vocal and piano track "And I Have Come Upon This Place by Lost Ways", which functions as a true duet between Blackshaw and singer Beaulieu, with each performer given equal weight in the mix. In contrast with his sublime guitar playing, Blackshaw's work on piano is more direct and measured, and on this track his blocky, almost jazzy chords storm behind Beaulieu's agile vocals. It is a mesmerizing performance, yet if listened to in a blind test there is no way it could be immediately identified as a Blackshaw piece. The same goes for the album closing "The Snows Are Melted, the Snows Are Gone", a melodic piano instrumental that seems to owe almost equally to Erik Satie and George Winston, and which seems tailor-made to have had vocals added to it as well. In a 2008 interview with Pitchfork's Grayson Currin, and again in his interview with Marissa Nadler, Blackshaw specifically mentions his fondness for Big Star and the Beatles, and for singer-songwriters like Harry Nilsson and Judee Sill. On Love Is the Plan, the Plan Is Death, for the first time in his career it becomes easy to see him taking a lead from those influences and moving further into more song-based material and/or future collaborations with vocalists. Then again, trying to predict Blackshaw's next musical progression has always been a poor idea, and all that can be reasonably said for certain is that it will be worth some attention.
Код:
Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 27. April 2012, 20:25 James Blackshaw / Love is the Plan, The Plan is Death Used drive : HL-DT-STDVDRAM GP40LB10 Adapter: 1 ID: 0 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No Read offset correction : 6 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 : 768 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 : -6 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMMENT=%comment%" -T "BAND=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" %hascover%--picture="%coverfile%"%hascover% %source% -o %dest% TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 8:02.00 | 0 | 36149 2 | 8:02.00 | 7:06.72 | 36150 | 68171 3 | 15:08.72 | 5:07.74 | 68172 | 91270 4 | 20:16.71 | 5:24.46 | 91271 | 115616 5 | 25:41.42 | 7:18.32 | 115617 | 148498 6 | 32:59.74 | 5:49.18 | 148499 | 174691 Track 1 Filename I:\Music3\James Blackshaw - Love is the Plan The Plan is Death (2012) FLAC\01 - Love is the Plan, The Plan is Death.wav Pre-gap length 0:00:02.00 Peak level 96.8 % Extraction speed 1.3 X Track quality 100.0 % Test CRC 3B6BC692 Copy CRC 3B6BC692 Track not present in AccurateRip database Copy OK Track 2 Filename I:\Music3\James Blackshaw - Love is the Plan The Plan is Death (2012) FLAC\02 - Her Smoke Rose Up Forever.wav Pre-gap length 0:00:02.00 Peak level 95.3 % Extraction speed 1.4 X Track quality 99.9 % Test CRC BE19A64D Copy CRC BE19A64D Track not present in AccurateRip database Copy OK Track 3 Filename I:\Music3\James Blackshaw - Love is the Plan The Plan is Death (2012) FLAC\03 - And I Have Come Upon This Place By Lost Ways.wav Pre-gap length 0:00:02.00 Peak level 69.0 % Extraction speed 1.6 X Track quality 100.0 % Test CRC 47108E24 Copy CRC 47108E24 Track not present in AccurateRip database Copy OK Track 4 Filename I:\Music3\James Blackshaw - Love is the Plan The Plan is Death (2012) FLAC\04 - A Momentary Taste of Being.wav Pre-gap length 0:00:02.00 Peak level 97.1 % Extraction speed 1.7 X Track quality 100.0 % Test CRC 6BF3E480 Copy CRC 6BF3E480 Track not present in AccurateRip database Copy OK Track 5 Filename I:\Music3\James Blackshaw - Love is the Plan The Plan is Death (2012) FLAC\05 - We Who Stole the Dream.wav Pre-gap length 0:00:02.00 Peak level 95.3 % Extraction speed 1.9 X Track quality 100.0 % Test CRC 9F4FFF9C Copy CRC 9F4FFF9C Track not present in AccurateRip database Copy OK Track 6 Filename I:\Music3\James Blackshaw - Love is the Plan The Plan is Death (2012) FLAC\06 - The Snows Are Melted, The Snows Are Gone.wav Pre-gap length 0:00:02.00 Peak level 97.7 % Extraction speed 1.9 X Track quality 99.9 % Test CRC 314C4314 Copy CRC 314C4314 Track not present in AccurateRip database Copy OK None of the tracks are present in the AccurateRip database No errors occurred End of status report ==== Log checksum EC322AF0EB88DEA0ACA7A2829227797FBA87E6B0B6258508C14B264DE0C75F7C ====
Код:
REM DATE 2012 REM DISCID 48091906 REM COMMENT "ExactAudioCopy v1.0b3" PERFORMER "James Blackshaw" TITLE "Love is the Plan, The Plan is Death" FILE "01 - Love is the Plan, The Plan is Death.wav" WAVE TRACK 01 AUDIO TITLE "Love is the Plan, The Plan is Death" PERFORMER "James Blackshaw" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Her Smoke Rose Up Forever" PERFORMER "James Blackshaw" INDEX 00 08:00:00 FILE "02 - Her Smoke Rose Up Forever.wav" WAVE INDEX 01 00:00:00 TRACK 03 AUDIO TITLE "And I Have Come Upon This Place By Lost Ways" PERFORMER "James Blackshaw" INDEX 00 07:04:72 FILE "03 - And I Have Come Upon This Place By Lost Ways.wav" WAVE INDEX 01 00:00:00 TRACK 04 AUDIO TITLE "A Momentary Taste of Being" PERFORMER "James Blackshaw" INDEX 00 05:05:74 FILE "04 - A Momentary Taste of Being.wav" WAVE INDEX 01 00:00:00 TRACK 05 AUDIO TITLE "We Who Stole the Dream" PERFORMER "James Blackshaw" INDEX 00 05:22:46 FILE "05 - We Who Stole the Dream.wav" WAVE INDEX 01 00:00:00 TRACK 06 AUDIO TITLE "The Snows Are Melted, The Snows Are Gone" PERFORMER "James Blackshaw" INDEX 00 07:16:32 FILE "06 - The Snows Are Melted, The Snows Are Gone.wav" WAVE INDEX 01 00:00:00
28.04.2012 - добавлены 'Holly' и 'Love is the Plan, The Plan is Death'
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