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(Art-Pop, Blue-Eyed Soul, Smooth Jazz) [CD] John Martyn - Cooltide (remastered, expanded reissue) - 2007 (1991), FLAC (tracks+.cue), lossless

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John Martyn / Cooltide (remastered, expanded reissue)
Жанр: Art-Pop, Blue-Eyed Soul, Smooth Jazz
Носитель: CD
Страна-производитель диска (релиза): UK
Год издания: 2007 (1991)
Издатель (лейбл): One World
Номер по каталогу: OW129CD
Страна исполнителя (группы): UK
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Продолжительность: 01:11:36
Источник: собственный рип
Наличие сканов в содержимом раздачи: да

01. Hole in the Rain 04:41
02. Annie Says 05:01
03. Jack the Lad 06:42
04. Number Nine 03:44
05. The Cure 04:14
06. Same Difference 04:24
07. Father Time 05:36
08. Call Me 05:41
09. Cooltide 12:29
BONUS TRACKS
10. Jack the Lad (Remix) [bonus track] 04:19
11. Jack Sez [bonus track] 03:49
12. Jack the Lad (live 1991) [bonus track] 05:33
13. Hole in the Rain (live 1991) [bonus track] 05:24
All songs written by John Martyn

Код:

Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 27. June 2019, 20:55
John Martyn / Cooltide (2007 remastered, expanded 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
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
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    ---------------------------------------------------------
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        2  |  4:40.38 |  5:00.65 |     21038    |    43602
        3  |  9:41.28 |  6:42.03 |     43603    |    73755
        4  | 16:23.31 |  3:43.55 |     73756    |    90535
        5  | 20:07.11 |  4:13.52 |     90536    |   109562
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        9  | 40:01.30 | 12:28.62 |    180105    |   236266
       10  | 52:30.17 |  4:19.21 |    236267    |   255712
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Track  1
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     Accurately ripped (confidence 4)  [F9A9E505]  (AR v2)
     Copy OK
Track  2
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     Peak level 97.7 %
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     Track quality 100.0 %
     Test CRC A2D8BF43
     Copy CRC A2D8BF43
     Accurately ripped (confidence 4)  [E00D9B16]  (AR v2)
     Copy OK
Track  3
     Filename E:\Torrents of Autumn\Martyn, John [1991] Cooltide (2007 remastered, expanded reissue)\03. Jack the Lad.wav
     Peak level 97.7 %
     Extraction speed 5.5 X
     Track quality 99.9 %
     Test CRC 5AF37653
     Copy CRC 5AF37653
     Accurately ripped (confidence 4)  [720E0EDE]  (AR v2)
     Copy OK
Track  4
     Filename E:\Torrents of Autumn\Martyn, John [1991] Cooltide (2007 remastered, expanded reissue)\04. Number Nine.wav
     Peak level 88.4 %
     Extraction speed 5.3 X
     Track quality 99.9 %
     Test CRC 256AE2CF
     Copy CRC 256AE2CF
     Accurately ripped (confidence 4)  [0C066027]  (AR v2)
     Copy OK
Track  5
     Filename E:\Torrents of Autumn\Martyn, John [1991] Cooltide (2007 remastered, expanded reissue)\05. The Cure.wav
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     Copy CRC 894543EF
     Accurately ripped (confidence 4)  [DFE1F198]  (AR v2)
     Copy OK
Track  6
     Filename E:\Torrents of Autumn\Martyn, John [1991] Cooltide (2007 remastered, expanded reissue)\06. Same Difference.wav
     Pre-gap length  0:00:00.01
     Peak level 96.0 %
     Extraction speed 6.8 X
     Track quality 100.0 %
     Test CRC BAEB989C
     Copy CRC BAEB989C
     Accurately ripped (confidence 4)  [FB0A5538]  (AR v2)
     Copy OK
Track  7
     Filename E:\Torrents of Autumn\Martyn, John [1991] Cooltide (2007 remastered, expanded reissue)\07. Father Time.wav
     Pre-gap length  0:00:00.01
     Peak level 97.7 %
     Extraction speed 7.2 X
     Track quality 100.0 %
     Test CRC 97CB5B0C
     Copy CRC 97CB5B0C
     Accurately ripped (confidence 4)  [5000B2FD]  (AR v2)
     Copy OK
Track  8
     Filename E:\Torrents of Autumn\Martyn, John [1991] Cooltide (2007 remastered, expanded reissue)\08. Call Me.wav
     Pre-gap length  0:00:00.01
     Peak level 97.7 %
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     Track quality 100.0 %
     Test CRC 073D47A7
     Copy CRC 073D47A7
     Accurately ripped (confidence 4)  [B68EF227]  (AR v2)
     Copy OK
Track  9
     Filename E:\Torrents of Autumn\Martyn, John [1991] Cooltide (2007 remastered, expanded reissue)\09. Cooltide.wav
     Pre-gap length  0:00:02.06
     Peak level 97.7 %
     Extraction speed 8.3 X
     Track quality 100.0 %
     Test CRC 6AE3BDD4
     Copy CRC 6AE3BDD4
     Accurately ripped (confidence 3)  [49897487]  (AR v2)
     Copy OK
Track 10
     Filename E:\Torrents of Autumn\Martyn, John [1991] Cooltide (2007 remastered, expanded reissue)\10. Jack the Lad (Remix) [bonus track].wav
     Pre-gap length  0:00:00.01
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     Track quality 99.9 %
     Test CRC 4AA5221C
     Copy CRC 4AA5221C
     Accurately ripped (confidence 4)  [E68ECE5C]  (AR v2)
     Copy OK
Track 11
     Filename E:\Torrents of Autumn\Martyn, John [1991] Cooltide (2007 remastered, expanded reissue)\11. Jack Sez [bonus track].wav
     Pre-gap length  0:00:00.01
     Peak level 97.7 %
     Extraction speed 8.1 X
     Track quality 100.0 %
     Test CRC 83003406
     Copy CRC 83003406
     Accurately ripped (confidence 4)  [20A492FE]  (AR v2)
     Copy OK
Track 12
     Filename E:\Torrents of Autumn\Martyn, John [1991] Cooltide (2007 remastered, expanded reissue)\12. Jack the Lad (live 1991) [bonus track].wav
     Pre-gap length  0:00:02.12
     Peak level 91.2 %
     Extraction speed 8.6 X
     Track quality 100.0 %
     Test CRC 568031E4
     Copy CRC 568031E4
     Accurately ripped (confidence 4)  [1A97CE8E]  (AR v2)
     Copy OK
Track 13
     Filename E:\Torrents of Autumn\Martyn, John [1991] Cooltide (2007 remastered, expanded reissue)\13. Hole in the Rain (live 1991) [bonus track].wav
     Peak level 94.6 %
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     Track quality 100.0 %
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     Copy CRC F9798959
     Accurately ripped (confidence 4)  [78D3A72D]  (AR v2)
     Copy OK
All tracks accurately ripped
No errors occurred
End of status report
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  3   | (4/4) Accurately ripped
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  5   | (4/4) Accurately ripped
  6   | (4/4) Accurately ripped
  7   | (4/4) Accurately ripped
  8   | (4/4) Accurately ripped
  9   | (3/4) Accurately ripped
 10   | (4/4) Accurately ripped
 11   | (4/4) Accurately ripped
 12   | (4/4) Accurately ripped
 13   | (4/4) Accurately ripped
==== Log checksum 24EEA0364EEDD176368276584D7DE9F8E890BBBBAEC700ABCB03F29CA0D28A5F ====

Код:

REM GENRE Folk
REM DATE 1991
REM DISCID A810C80D
REM COMMENT "ExactAudioCopy v1.3"
PERFORMER "John Martyn"
TITLE "Cooltide (2007 remastered, expanded reissue)"
REM COMPOSER "John Martyn"
FILE "01. Hole in the Rain.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Hole in the Rain"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 01 00:00:00
FILE "02. Annie Says.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Annie Says"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 01 00:00:00
FILE "03. Jack the Lad.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Jack the Lad"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 01 00:00:00
FILE "04. Number Nine.wav" WAVE
  TRACK 04 AUDIO
    TITLE "Number Nine"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 01 00:00:00
FILE "05. The Cure.wav" WAVE
  TRACK 05 AUDIO
    TITLE "The Cure"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "Same Difference"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 00 04:13:51
FILE "06. Same Difference.wav" WAVE
    INDEX 01 00:00:00
  TRACK 07 AUDIO
    TITLE "Father Time"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 00 04:24:08
FILE "07. Father Time.wav" WAVE
    INDEX 01 00:00:00
  TRACK 08 AUDIO
    TITLE "Call Me"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 00 05:35:51
FILE "08. Call Me.wav" WAVE
    INDEX 01 00:00:00
  TRACK 09 AUDIO
    TITLE "Cooltide"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 00 05:38:50
FILE "09. Cooltide.wav" WAVE
    INDEX 01 00:00:00
  TRACK 10 AUDIO
    TITLE "Jack the Lad (Remix) [bonus track]"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 00 12:28:61
FILE "10. Jack the Lad (Remix) [bonus track].wav" WAVE
    INDEX 01 00:00:00
  TRACK 11 AUDIO
    TITLE "Jack Sez [bonus track]"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 00 04:19:20
FILE "11. Jack Sez [bonus track].wav" WAVE
    INDEX 01 00:00:00
  TRACK 12 AUDIO
    TITLE "Jack the Lad (live 1991) [bonus track]"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 00 03:47:15
FILE "12. Jack the Lad (live 1991) [bonus track].wav" WAVE
    INDEX 01 00:00:00
FILE "13. Hole in the Rain (live 1991) [bonus track].wav" WAVE
  TRACK 13 AUDIO
    TITLE "Hole in the Rain (live 1991) [bonus track]"
    PERFORMER "John Martyn"
    REM COMPOSER "John Martyn"
    INDEX 01 00:00:00

Singer/songwriter/guitarist John Martyn was born Iain David McGeachy on September 11, 1948, in New Malden, Surrey, and raised in Glasgow by his grandmother. He began his innovative and expansive career at the age of 17 with a style influenced by American blues artists such as Robert Johnson and Skip James, the traditional music of his homeland, and the eclectic folk of Davey Graham (Graham remained an influence and idol of Martyn’s throughout his career). With the aid of his mentor, traditional singer Hamish Imlach, Martyn began to make a name for himself and eventually moved to London, where he became a fixture at Cousins, the center for the local folk scene that spawned the likes of Bert Jansch, Ralph McTell, and Al Stewart. Soon after, he caught the attention of Island Records founder Chris Blackwell, who made him the first white solo act to join the roster of his reggae-based label. The subsequent album, London Conversation (February 1968*), only hinted at what was to come in Martyn's career. Although it contained touches of blues along with Martyn’s rhythmic playing and distinctive voice, it was for the most part a fairly straightforward British folk record. With his follow-up later that same year, the Al Stewart-produced The Tumbler, Martyn began to slowly test other waters, employing backup musicians such as jazz reedman Harold McNair, to flesh out his sound. His voice also started to take on a jazzier quality as he began to experiment musically.
While on the road, Martyn continued to experiment with his sound, adding various effects to his electrified acoustic. One such effect, the Echoplex, allowed him to play off of the tape loops of his own guitar, enveloping himself in his own playing while continuing to play leads over the swelling sound. This would become an integral part of his recordings and stage performances in the coming years. He also met Beverley Kutner, a singer from Coventry who later became his wife and musical partner. The duo released two records in 1970, Stormbringer and The Road to Ruin, the former recorded in Woodstock, N.Y. with American musicians including members of the Band. For one track on their second album, John and Bev hired Pentangle double bassist Danny Thompson, who remained a constant in John’s career throughout the better part of the ’70s, on-stage and in the studio. John planned his third solo album when Beverley retired to take care of the couple's children, although there was supposedly pressure from Island for him to record on his own.
The next couple of years saw Martyn continuing to expand on his unique blend of folk music, drawing on folk, blues, rock, and jazz as well as music from the Middle East, South America, and Jamaica. His voice continued to transform with each album while his playing became more aggressive, yet without losing its gentler side. Bless the Weather (1971) and Solid Air (1973) which helped form the foundation of Martyn’s fan base, featured some of his most mature and enduring songs: “Solid Air,” written for close friend Nick Drake, “May You Never” (recorded by Eric Clapton), and “Head and Heart” (recorded by America). By the time of 1973’s Inside Out, Martyn’s use of the Echoplex had taken on a life of its own while his vocals became more of an instrument: deeper and bluesier, with words slithering into one another, barely decipherable.
During this period, Martyn’s well-publicized bouts with alcoholism came to the forefront and began to affect his career somewhat. He became an erratic and at times self-destructive performer. He might perform an evening of electronic guitar experiments for a crowd of folkies or a set of traditional, acoustic ballads when playing to a rock audience. His shows would also range from the odd night of falling over drunk to sheer brilliance, as captured on the independently released Live at Leeds (1975).
Following Sunday’s Child (1974), the live record, and a 1977 best-of collection, Martyn, for the most part, abandoned his acoustic guitar on record for a sort of rock, world, and jazz fusion. Although his style was moving away from its folk roots, his songs retained the passion and structure of his best early work. Grace and Danger (1980), his first release since 1977’s One World, painfully and honestly depicted the crumbling of John and Beverley’s marriage in some of his most powerful material in years. It also seemed to garner interest in Martyn’s sagging career. With this new momentum and the help of friend Phil Collins, Martyn signed to WEA, where he recorded two records, Glorious Fool (1981) and Well Kept Secret (1982). Glorious Fool, a superb effort, produced by Collins and featuring Eric Clapton on guitar and Collins on drums, piano, and vocals, looked to be his best shot at mainstream success, but failed to extend his cult status. Martyn released his second independent live record, the magnificent Philentropy, before returning to Island Records for two studio releases, a live album and a 12" single which featured a version of Bob Dylan’s “Tight Connection to My Heart.” He was dropped by the label in 1988.
Continuing to battle his alcoholism, Martyn resumed his career in 1990 with The Apprentice and 1992’s Cooltide. He also released an album of his classic songs re-recorded with an all-star cast featuring Phil Collins, David Gilmour of Pink Floyd, and Levon Helm of the Band, as well as various compilations and live recordings. After a four-year layoff, Martyn issued And, an album with strong jazz, trip-hop, and funk overtones, followed in 1998 by The Church with One Bell, a collection of diverse covers. In 1999 he also released a live double album which documented a classic concert at London’s Shaw Theatre in 1990 entitled Dirty, Down & Live.
Martyn recorded a surprise studio comeback effort called Glasgow Walker at the turn of the century that was very well received, and had his entire Island catalog remastered and reissued—two of his albums, One World, and Grace and Danger, were given the Universal “deluxe” treatment with bonus discs**. In 2003, a cyst burst in Martyn’s leg due to septicemia brought on by diabetes. The end result was an amputation, but he continued to tour the world with the same tireless energy and restlessness, performing with his band from a wheelchair. Martyn, shrugged it all off, typified by this infamous quote: “I’ve been mugged in New York, and luckily I fought my way out of it. I’ve been shot a couple of times as well, but I just lay down and pretended to be dead.”
In 2007 two DVDs appeared, a Live at the BBC set recorded in the 1970s, and Voiceprint’s The Man Upstairs documentary. 2008 saw Martyn’s name surface once more with some real regularity due to a flurry of activity by the man and his touring schedule, but also because of new releases. His One World label issued a pair of catalogued live dates, the best of these being Simmer Dim, and, in December, Universal/Island released a four-disc retrospective box entitled Ain’t No Saint. In January, 2009 Martyn was awarded the OBE (Order of the British Empire)—an irony since he was the most rebellious of Scotsmen. Martyn’s health, however, was in real decline as a result of a lifetime of substance abuse issues; in the early morning hours of January 29, 2009, he passed away at the age of 60 after a third bout with pneumonia.
With his characteristic backslap acoustic guitar playing, his effects-driven experimental journeys, or his catalog of excellent songs, as well as his jazz-inflected singing style, John Martyn will remain an important and influential figure in both British folk and rock. (Brett Hartenbach, AllMusic)
*October 1967 is listed as the release date of the debute LP, according to another source (see the enclosed booklet)
**Two more releases have been issued as “deluxe”: Solid Air (2009) and Live at Leeds (2006)

After releasing the much-delayed The Apprentice, Martyn was once again on a roll, and, while not quite as strong as The Apprentice, Cooltide was a solid outing. His jazziest release yet, it’s marred slightly by a gravelly hoarseness in his voice, which makes him sound like he’s just recovered from laryngitis. “Jack the Lad” was the single released, and, along with “Annie Says” and the aching “Call Me,” they show him entering the 1990s in fine form. The title song had a long gestation, originally recorded for 1979’s Grace and Danger under the title “Running up the Harbour.” While a bit long, it’s a great hypnotic, groove-oriented track that’s smooth and cool, with Martyn venturing a little further afield than he had in quite a while. (Rob Caldwell, AllMusic)

John Martyn: vocals, guitars
Spencer Cozens: keyboards, bass synth
Foster Patterson: keyboards
Andy Sheppard: soprano saxophone
Alan Thomson: bass (6, 8)
Dave Ball: bass (4)
Arran Ahmun: drums (4)
John Henderson: drums
Miles Bould: percussion
Joe Locke: vibes
Jessica King: backing vocals (6)
Produced by Spencer Cozens and John Martyn
Live Recordings, November 1991:
John Martyn: guitar, vocals
Alan Thomson: bass guitar
Spencer Cozens: keyboards
Gerry Conway: drums and percussion
Dave Lewis: saxophone

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