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(Folk-Rock, Country Blues) [CD] Mike Cooper - Trout Steel - 2014 (1970), FLAC (tracks+.cue), lossless

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Mike Cooper / Trout Steel
Жанр: Folk-Rock, Country Blues
Носитель: CD
Страна-производитель диска (релиза): USA
Год издания: 2014 (1970)
Издатель (лейбл): Paradise of Bachelors
Номер по каталогу: PoB-13
Страна исполнителя (группы): UK / Spain
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 00:50:10
Источник: собственный рип
Наличие сканов в содержимом раздачи: да

01. That’s How 04:22
02. Sitting Here Watching 03:13
03. Goodtimes 03:29
04. I’ve Got Mine 11:22
05. A Half Sunday Homage to a Whole Leonardo da Vinci [without words by Ric] 01:36
06. Don’t Talk Too Fast 03:24
07. Trout Steel 02:25
08. In the Mourning 05:21
09. Hope You See 04:20
10. Pharaoh’s March 07:16
11. Weeping Rose 03:22
All songs written by Mike Cooper

Код:

Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 17. March 2019, 16:43
Mike Cooper / Trout Steel (2014 remastered reissue)
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
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Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
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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
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Track  3
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Track  4
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Track  5
     Filename E:\Torrents of Autumn\Cooper, Mike [1970] Trout Steel (2014 remastered reissue)\05. A Half Sunday Homage to a Whole Leonardo da Vinci [without words by Ric.wav
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Track  6
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Track  7
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Track  8
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Track  9
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Track 10
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All tracks accurately ripped
No errors occurred
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  4   | (6/6) Accurately ripped
  5   | (6/6) Accurately ripped
  6   | (6/6) Accurately ripped
  7   | (6/6) Accurately ripped
  8   | (6/6) Accurately ripped
  9   | (6/6) Accurately ripped
 10   | (6/6) Accurately ripped
 11   | (6/6) Accurately ripped
==== Log checksum 87D0B496E1AAB4B2AF296BED45BCA6940B0F037B1C068F490766A8C032EB55BE ====

Код:

REM GENRE Pop/Rock
REM DATE 1970
REM DISCID 940BC20B
REM COMMENT "ExactAudioCopy v1.3"
PERFORMER "Mike Cooper"
TITLE "Trout Steel (2014 remastered reissue)"
REM COMPOSER "Mike Cooper"
FILE "01. That's How.wav" WAVE
  TRACK 01 AUDIO
    TITLE "That's How"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "02. Sitting Here Watching.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Sitting Here Watching"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "03. Goodtimes.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Goodtimes"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "04. I've Got Mine.wav" WAVE
  TRACK 04 AUDIO
    TITLE "I've Got Mine"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "05. A Half Sunday Homage to a Whole Leonardo da Vinci [without words by Ric.wav" WAVE
  TRACK 05 AUDIO
    TITLE "A Half Sunday Homage to a Whole Leonardo da Vinci [without words by Ric"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "06. Don't Talk Too Fast.wav" WAVE
  TRACK 06 AUDIO
    TITLE "Don't Talk Too Fast"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "07. Trout Steel.wav" WAVE
  TRACK 07 AUDIO
    TITLE "Trout Steel"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "08. In the Mourning.wav" WAVE
  TRACK 08 AUDIO
    TITLE "In the Mourning"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "09. Hope You See.wav" WAVE
  TRACK 09 AUDIO
    TITLE "Hope You See"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "10. Pharaoh's March.wav" WAVE
  TRACK 10 AUDIO
    TITLE "Pharaoh's March"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00
FILE "11. Weeping Rose.wav" WAVE
  TRACK 11 AUDIO
    TITLE "Weeping Rose"
    PERFORMER "Mike Cooper"
    REM COMPOSER "Mike Cooper"
    INDEX 01 00:00:00

Influential British guitarist Mike Cooper is primarily regarded as a folk-blues guitarist and singer/songwriter, though his wide range of work cannot be so easily defined. He is also a celebrated improviser and electronic musician. In addition, he creates sound installations and radio art; he’s a videographer, journalist, and music historian; and he performs scores for silent films.
Cooper was born in Reading, England in 1942. He began playing guitar at the age of 16. Initially inspired by New Orleans and Dixieland jazz, he played in skiffle groups during the late ’50s. His life changed drastically in 1961 when he saw Sonny Terry & Brownie McGhee at Reading’s town hall and later witnessed James Cotton playing with Chris Barber at a local music festival. Naturally, he began to play harmonica as well as guitar.
Cooper co-founded the band the [bBlues Committee, an R&B group based on the heady example set by Alexis Korner. Simultaneously, he was playing folk-blues as a solo artist in folk clubs. His first formal recording date was an independently released four-track EP with guitarist Derek Hall, Out of the Shades, titled for an important Reading folk club. Other peers who played the venue included John Renbourn, Bert Jansch, Al Stewart, and Davy Graham. Cooper began opening for a host of traveling American bluesmen as well as British stars of the era. He met fellow folk-blues musician Ian A. Anderson in 1967. Between them, the pair recorded three four-track EPs for the SayDisc label. They released a full album of these tracks as well as new pieces entitled [iThe Inverted World. Though assembled in early 1968, it wasn’t released until 1970. His playing had developed exponentially, incorporating a wide variety of Delta and country styles in his technique. He also employed bottleneck slide and lap steel. Cooper traveled England and met many other British musicians, including Michael Chapman, John Martyn, Ralph McTell, and Roy Harper, and wandering American players such as Stefan Grossman, Dave Van Ronk, and “Spider” John Koerner.
With a burgeoning national reputation, he was signed to Pye Records in 1969, and that year recorded Oh Really!?, the first of five influential recordings for the label and its imprints Dawn and Fresh Air. It was released in November. Interestingly, while there were still solid audiences for folk-blues, Cooper and many of his peers had moved on and broadened their own horizons without forsaking the roots music that had nourished them. His 1970 offering, Do I Know You?, appeared on Dawn in 1970, and remains unique for its use of field recordings and the jazz bass playing of South African ex-pat Harry Miller. That experience opened Cooper up to an entire range of ideas about improvisation, which were put to use first on Trout Steel, one of his most enduring and influential recordings. Recorded and released in 1970, the other personnel included Miller, Grossman, and a host of players from Mike Westbrook’s band. Pianist John Taylor also contributed to a track. Cooper’s jazz explorations didn’t mean he gave up blues entirely; he simply moved mercurially between the lines of genres and often combined them.
His third effort for Pye/Dawn was to have been a double album entitled Places I Know. The idea was that one recording would feature his folk side and the other his improv jazz-rock side. Dawn issued it as a single album in 1971 credited to Mike Cooper & the Machine Gun Co. (so-called after Peter Brötzmann’s group) plus Michael Gibbs. The second album, released as The Machine Gun Company with Mike Cooper, didn’t appear until a year and a half later. His final recording for the label group, this time under the Fresh Air imprint, was Life & Death in Paradise, issued in 1974. This date featured another South African expatriate, Louis Moholo, on drums. Other than the live Country Blues Guitar Festival as part of an offering that featured Cooper, Grossman, Son House, and Sam Mitchell, it was his final recording of that decade. Cooper was busy, though, playing live, improvising in bands, collaborating with other artists, and touring Europe. His ’Ave They Started Yet is a live album compiled from a continuous four-and-a-half-hour performance with dancer Joanna Pyne; it was released by Matchless in 1981, and was indicative of the entire period, which found him alternating between country blues records and more vanguard jazz recordings, including the sets Johnny Rondo Duo Plus Mike Cooper, which placed him in the free jazz company of Lol Coxhill and Dave Holland, and The Continuous Preaching Blues with Anderson. The most important recording from the era was the 1987 10" LP Aveklei Uptowns Hawaiians, with French slide guitarist Cyrille Lefebvre. Their sidemen for the session included Coxhill, Steve Beresford, and Max Eastley. It showcased Cooper’s growing obsession with Polynesian music, which would inform his playing for decades to come and be chronicled in his writing, particularly about the many slack key guitar styles.
In the ’90s, Cooper delved deeply into Hawaiian music. Avant Roots, a duo album with Viv Dogan Corringham, was issued in 1993, followed by the large-group effort Island Songs in 1996. The integration of Polynesian sounds, blues, and avant music put Cooper in a league of his own. It culminated in a genre he called ambient electronic exotica—displayed by the acclaimed Rayon Hula released in 2004—which musically translated the patterned flora of aloha shirts (his signature garment) into looped samples of famed Hawaiian vibraphone player Arthur Lyman for a lively avant form of exotica—and on subsequent recordings, like the large-band Beach Crossings / Pacific Footprints in 2006 and Oceanic Feeling-Like in 2008 with Chris Abrahams.
Improvisations and songs (some blues-related) were showcased on 2011’s limited-edition Radio Paradise: Mike Cooper in Beirut and 2013’s CD-R release Right (H)ear Side by Side, which put his electronics and slide guitar work in juxtaposition to Yan-Chiu Leung’s traditional sheng playing. The same year, White Shadows in the South Seas (on Lawrence English’s Room40 label) brought a completely solo take on his ambient electronic exotica, followed by the global and electronic experimentalism of New Globe Notes in 2014 (with liner notes by David Toop). In June, Paradise of Bachelors issued deluxe, remastered—and the only artist-sanctioned—versions of Trout Steel and the recombined Places I Know / The Machine Gun Co. as originally intended. They were followed a week later by Cantos de Lisboa, a duet recording between Cooper and guitarist Steve Gunn cut in Lisbon at Rafael Toral’s studio. It appeared on RVNG Intl. as part of its Frkwys series. In 2015, Italian label Backwards issued Light on a Wall, a limited-LP release of a live session Cooper recorded for Radio Beirut in Lebanon. He returned to Room40 that year with Fratello Mare, another album of experimental exotica, and the following year saw the Discrepant label issue a vinyl LP edition of Kiribati, originally released by Hipshot on CD-R in 1999. Cooper issued a vinyl version of 2010’s limited-edition CD-R release Blue Guitar in 2017, the same year that Discrepant reissued the Hipshot CD-R Reluctant Swimmer / Virtual Surfer on vinyl LP as well. (Thom Jurek, AllMusic)

With his sophomore effort for Dawn, everything came together for guitarist and songwriter Mike Cooper. Trout Steel established him as one of the pre-eminent players on the Brit folk and blues scenes. Given his organic approach to composing; his truly dazzling abilities with acoustic and slide guitars; and his predilection for just the right sidemen and arrangements, Cooper was among the most poised musicians of his generation, and Trout Steel proves the point time and again over its 11 tracks. The disc opens with the heartbreaking “That’s How,” with restrained string arrangements and a solo alto saxophone courtesy of Mike Osborne, who was as versed in Van Morrison’s brand of Celtic R&B as he was in Ornette Coleman’s new melodic ideas. From the lilting vocal and strummed guitars, the tune just breaks itself into pieces continually. The driving, pulsating, countryside blues of “Sitting Here Watching” is followed by guest Stefan Grossman accompanying Cooper’s own droning, open-string blues and Tampa Red-style flatpicking. The 11-and-a-half-minute “I’ve Got Mine” is a soundtrack without a film, and shows the first hints of where Cooper wanted to travel: into the roots of jazz. Half the cats on the record were in Mike Westbrook’s band at the time to garnish his deep British blues and historical sense of troubadour revelry. The title track is a hard country tune—in the old, weird, American sense of the word—with Cooper sliding like a demon to provide his melodic accompaniment. His vocals, wonderfully reedy and open, howl through the longing in the lyric and help to portray the notions of travel and stasis in the story. The record closes with two unanticipated tracks that lend immeasurably to the depth and dimension Cooper displayed at the time, and where he wanted to go as a musician: one was the completely improvisational number “Pharaoh’s March,” dedicated to Pharaoh Sanders, which showcased an entire saxophone section wailing it out with a restrained modal tension held by the guitar for over seven minutes. The other is “Weeping Rose,” a lilting love song rooted firmly in the soil of the British folk tradition of the vanquished rambler heading off to journey once more. After the complete strangeness of “Pharaoh’s March,” it was exactly what was needed to make the disc go out whispering and closed; rather than aching, raw, and uncertain. But even here, this song, with its complex rhythmic guitar pattern, offers in its lyrics the notion of restlessness: “Go ahead, I’ll meet you further / down the road.” Cooper capped off his greatest album with both a hint and a warning that he was not about to do the same thing twice. What a ride Trout Steel is: exhilarating and adventurous each time it is played. (Thom Jurek, AllMusic)

Mike Cooper: vocals, guitar, and slide guitar
Stefan Grossman: guitar
Bill Boazman: guitar
The Heron: vocals
Mike Osborne: alto sax, clarinet
Alan Skidmore: tenor sax, soprano
Geoff Hawkins: tenor sax, flute
John Taylor: piano
Harry Miller: string bass
Jerry Field: violin
Roy Babington: string, electric bass
Alan Jackson: drums, percussion
NIck Pickett: the other violin
Produced by Pete “Ace” Eden

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