(Avant-Garde, Experimental, Guitar Solo) VA - New York Guitars - 1995, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 28. November 2012, 21:48
Various Artists / New York Guitars
Used drive  : TSSTcorpDVD+-RW TS-H653B   Adapter: 2  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                              : Installed external ASPI interface
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 : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "PERFORMER=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=%comment%" %source% -o %dest%
TOC of the extracted CD
     Track |   Start  |  Length  | Start sector | End sector
    ---------------------------------------------------------
        1  |  0:00.00 |  4:12.30 |         0    |    18929
        2  |  4:12.30 |  7:24.42 |     18930    |    52271
        3  | 11:36.72 |  8:59.28 |     52272    |    92724
        4  | 20:36.25 |  1:52.72 |     92725    |   101196
        5  | 22:29.22 |  8:44.65 |    101197    |   140561
        6  | 31:14.12 |  5:15.60 |    140562    |   164246
        7  | 36:29.72 |  9:00.15 |    164247    |   204761
        8  | 45:30.12 |  2:58.68 |    204762    |   218179
        9  | 48:29.05 |  5:47.30 |    218180    |   244234
       10  | 54:16.35 |  7:34.05 |    244235    |   278289
Track  1
     Filename C:\Various Artists - New York Guitars [1995]\01 - John King - White Buffalo Calf Woman Blues.wav
     Pre-gap length  0:00:02.00
     Peak level 35.7 %
     Extraction speed 4.7 X
     Track quality 100.0 %
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Track  2
     Filename C:\Various Artists - New York Guitars [1995]\02 - Carolyn Master - En Masse.wav
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     Peak level 47.9 %
     Extraction speed 5.0 X
     Track quality 99.9 %
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Track  3
     Filename C:\Various Artists - New York Guitars [1995]\03 - Mark Howell - The Quakening.wav
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     Peak level 80.7 %
     Extraction speed 6.5 X
     Track quality 100.0 %
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Track  4
     Filename C:\Various Artists - New York Guitars [1995]\04 - Nick Didkovsky - Flykiller.wav
     Pre-gap length  0:00:02.97
     Peak level 78.9 %
     Extraction speed 5.6 X
     Track quality 100.0 %
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Track  5
     Filename C:\Various Artists - New York Guitars [1995]\05 - David First - Jade Perches for Silvia.wav
     Pre-gap length  0:00:03.13
     Peak level 72.9 %
     Extraction speed 6.8 X
     Track quality 99.9 %
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Track  6
     Filename C:\Various Artists - New York Guitars [1995]\06 - Brandon Ross - O. People.wav
     Pre-gap length  0:00:02.76
     Peak level 45.0 %
     Extraction speed 7.7 X
     Track quality 100.0 %
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Track  7
     Filename C:\Various Artists - New York Guitars [1995]\07 - Judy Dunaway - Fifty 210.wav
     Pre-gap length  0:00:03.09
     Peak level 56.2 %
     Extraction speed 8.5 X
     Track quality 100.0 %
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Track  8
     Filename C:\Various Artists - New York Guitars [1995]\08 - Loren Mazzacane Connors - Departure.wav
     Pre-gap length  0:00:06.36
     Peak level 32.2 %
     Extraction speed 7.9 X
     Track quality 100.0 %
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Track  9
     Filename C:\Various Artists - New York Guitars [1995]\09 - Ken Valitsky - Meaning - Less.wav
     Pre-gap length  0:00:02.33
     Peak level 54.8 %
     Extraction speed 8.8 X
     Track quality 100.0 %
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Track 10
     Filename C:\Various Artists - New York Guitars [1995]\10 - Phil Kline - A Fantasy on One Note.wav
     Pre-gap length  0:00:03.17
     Peak level 90.2 %
     Extraction speed 9.4 X
     Track quality 100.0 %
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None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
==== Log checksum 50E7966E672C1F5142A56A2032A1E616205931314BE411C0BF0A42E0E4D4F59D ====

REM GENRE Experimental
REM DATE 1995
REM DISCID 8C0E7E0A
REM COMMENT "ExactAudioCopy v1.0b3"
CATALOG 0000000000000
PERFORMER "Various Artists"
TITLE "New York Guitars"
FILE "01 - John King - White Buffalo Calf Woman Blues.wav" WAVE
  TRACK 01 AUDIO
    TITLE "White Buffalo Calf Woman Blues"
    PERFORMER "John King"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "En Masse"
    PERFORMER "Carolyn Master"
    INDEX 00 04:09:67
FILE "02 - Carolyn Master - En Masse.wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "The Quakening"
    PERFORMER "Mark Howell"
    INDEX 00 07:21:60
FILE "03 - Mark Howell - The Quakening.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Flykiller"
    PERFORMER "Nick Didkovsky"
    INDEX 00 08:56:30
FILE "04 - Nick Didkovsky - Flykiller.wav" WAVE
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "Jade Perches for Silvia"
    PERFORMER "David First"
    INDEX 00 01:49:62
FILE "05 - David First - Jade Perches for Silvia.wav" WAVE
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "O. People"
    PERFORMER "Brandon Ross"
    INDEX 00 08:42:08
FILE "06 - Brandon Ross - O. People.wav" WAVE
    INDEX 01 00:00:00
  TRACK 07 AUDIO
    TITLE "Fifty 210"
    PERFORMER "Judy Dunaway"
    INDEX 00 05:12:53
FILE "07 - Judy Dunaway - Fifty 210.wav" WAVE
    INDEX 01 00:00:00
  TRACK 08 AUDIO
    TITLE "Departure"
    PERFORMER "Loren Mazzacane Connors"
    INDEX 00 08:53:63
FILE "08 - Loren Mazzacane Connors - Departure.wav" WAVE
    INDEX 01 00:00:00
  TRACK 09 AUDIO
    TITLE "Meaning - Less"
    PERFORMER "Ken Valitsky"
    INDEX 00 02:56:43
FILE "09 - Ken Valitsky - Meaning - Less.wav" WAVE
    INDEX 01 00:00:00
  TRACK 10 AUDIO
    TITLE "A Fantasy on One Note"
    PERFORMER "Phil Kline"
    INDEX 00 05:44:17
FILE "10 - Phil Kline - A Fantasy on One Note.wav" WAVE
    INDEX 01 00:00:00

The electric guitar was born into a hostile climate... When the first amplified guitars were put on the market in the late 1920s and early 1930s, the first significant public campaigns against ever-increasing city noise were also taking place. Among the anti-cacophony mottos: "The silence of each assures rest for us all.'1 Thus, from its inception, the electric guitar was a symbol of noise, imprecision and rebellion. Its weapon: amplification, the enemy of restful sleep. Though the New York composers and improvisers on this record coax everything from dissonance and drones to blues and jazz out of their guitars, they all have one thing in common: they are by nature defiant, undermining so-called serious music by making it on an electric guitar.
Playing avant-garde music on an electric guitar is nothing new. The tradition in New York goes back at least to minimalist composer La Monte Young writing For Guitar in 1958 (which was later transposed to electric guitar) and Sonny Sharrock making a name for himself as a free-jazz guitarist in the 1960s. What sets the composers here apart is that they grew up in an era of rock and roll. Some of them were even playing in rock bands before finding other outlets for their musical experimentation. With all the baggage of rock history now attached to the electric guitar, separating it from the tradition of rock (or blues or jazz) has become not an act of appropriation but subversion. So when Mark Howell flips through sixty-five years of guitar styles and techniques in nine minutes and Judy Dunaway composes with the noise inherent in the technology of amplification, they are not celebrating the history of guitar music and technology but exploring its limits.
Is there a "New York Guitar" school of style? Some would like to think so. After all. New York became a melting pot of influential experimental guitarists in the late 1970s, with guitar symphonists Glenn Branca and Rhys Chatham, noise makers Thurston Moore and Lee Ranaldo of the acclaimed underground rock band Sonic Youth, mathematically-based composer and improviser Elliot Sharp, and no-wave cacophonists Arto Lindsay and Pat Place, all circulating in the same scene. But here, you'll find no discernible line linking John Kings's blues, David First's microtonal play and Loren MazzaCane Connor's abstractions.
If there is anything these New York composer/guitarists have in common it is the environment they live in, not the musical terrain they're mapping. The noise of the city—which continues unhindered despite the noise-pollution fighters of the 1920s and 1930s—has a significant effect on the psyche of musicians. It raises their threshold for extreme sounds while exacerbating their need to avoid them. The result is that composers either incorporate the cacophony of the city into their pieces or try to escape from it altogether. Examples of the former are Ken Valitsky merging guitar, typewriter, ringing phones, sirens, and other computer-modified sounds in Meaning-Less, Phil Kline evoking the Doppler effect created by passing car horns in A Fantasy on One Note, and Nick Didkovsky building a distorted, pointillist collage in Ffykiller. Examples of the latter are Carolyn Master retreating mto the colors of the inner world that is En Masse and Brandon Ross meditating on the purity of the jazz saxophone in O, People. As the lyrics to one anonymous blues tune go:
Yon can take (he guitar outside,
You can take the guitar inside
Jes don't take it no place, young man,
IVhere there am Y no ear open wide.
—Neil Strauss
newworldrecords.org