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

New York Guitars Жанр: Avant-Garde, Experimental, Guitar Solo Год издания: 1995 Издатель (лейбл): CRI Emergency Music Страна: USA Аудиокодек: FLAC (*.flac) Тип рипа: tracks+.cue Битрейт аудио: lossless Продолжительность: 01:01:50 Источник (релизер): notfake Наличие сканов в содержимом раздачи: нетТреклист: 1. White Buffalo Calf Woman Blues - John King 2. En Masse - Carolyn Master 3. The Quakening - Mark Howell 4. Flykiller - Nick Didkovsky 5. Jade Perches For Silvia - David First 6. O. People - Brandon Ross 7. Fifty 210 - Judy Dunaway 8. Departure - Loren MazzaCane Connors 9. Meaning - Less - Ken Valitsky 10. A Fantasy On One Note - Phil Kline  Лог создания рипа Exact Audio Copy V1.0 beta 3 from 29. August 2011EAC extraction logfile from 28. November 2012, 21:48Various Artists / New York GuitarsUsed drive : TSSTcorpDVD+-RW TS-H653B Adapter: 2 ID: 0Read mode : SecureUtilize accurate stream : YesDefeat audio cache : YesMake use of C2 pointers : NoRead offset correction : 6Overread into Lead-In and Lead-Out : NoFill up missing offset samples with silence : YesDelete leading and trailing silent blocks : NoNull samples used in CRC calculations : YesUsed interface : Installed external ASPI interfaceGap handling : Appended to previous trackUsed output format : User Defined EncoderSelected bitrate : 1024 kBit/sQuality : HighAdd ID3 tag : NoCommand line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exeAdditional 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 | 278289Track 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 % Test CRC A38F3C24 Copy CRC A38F3C24 Track not present in AccurateRip database Copy OKTrack 2 Filename C:\Various Artists - New York Guitars [1995]\02 - Carolyn Master - En Masse.wav Pre-gap length 0:00:02.50 Peak level 47.9 % Extraction speed 5.0 X Track quality 99.9 % Test CRC 4375A250 Copy CRC 4375A250 Track not present in AccurateRip database Copy OKTrack 3 Filename C:\Various Artists - New York Guitars [1995]\03 - Mark Howell - The Quakening.wav Pre-gap length 0:00:02.76 Peak level 80.7 % Extraction speed 6.5 X Track quality 100.0 % Test CRC AA8EACE8 Copy CRC AA8EACE8 Track not present in AccurateRip database Copy OKTrack 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 % Test CRC 5D99C0A7 Copy CRC 5D99C0A7 Track not present in AccurateRip database Copy OKTrack 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 % Test CRC 0AB8871A Copy CRC 0AB8871A Track not present in AccurateRip database Copy OKTrack 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 % Test CRC 64B74776 Copy CRC 64B74776 Track not present in AccurateRip database Copy OKTrack 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 % Test CRC A53342BA Copy CRC A53342BA Track not present in AccurateRip database Copy OKTrack 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 % Test CRC 1A94CB14 Copy CRC 1A94CB14 Track not present in AccurateRip database Copy OKTrack 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 % Test CRC E0975A0B Copy CRC E0975A0B Track not present in AccurateRip database Copy OKTrack 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 % Test CRC 746E4291 Copy CRC 746E4291 Track not present in AccurateRip database Copy OKNone of the tracks are present in the AccurateRip databaseNo errors occurredEnd of status report==== Log checksum 50E7966E672C1F5142A56A2032A1E616205931314BE411C0BF0A42E0E4D4F59D ====  Содержание индексной карты (.CUE) REM GENRE ExperimentalREM DATE 1995REM DISCID 8C0E7E0AREM COMMENT "ExactAudioCopy v1.0b3"CATALOG 0000000000000PERFORMER "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 04:09:67FILE "02 - Carolyn Master - En Masse.wav" WAVE INDEX 01 00:00:00 TRACK 03 AUDIO TITLE "The Quakening" PERFORMER "Mark Howell" INDEX 00 07:21:60FILE "03 - Mark Howell - The Quakening.wav" WAVE INDEX 01 00:00:00 TRACK 04 AUDIO TITLE "Flykiller" PERFORMER "Nick Didkovsky" INDEX 00 08:56:30FILE "04 - Nick Didkovsky - Flykiller.wav" WAVE INDEX 01 00:00:00 TRACK 05 AUDIO TITLE "Jade Perches for Silvia" PERFORMER "David First" INDEX 00 01:49:62FILE "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 08:42:08FILE "06 - Brandon Ross - O. People.wav" WAVE INDEX 01 00:00:00 TRACK 07 AUDIO TITLE "Fifty 210" PERFORMER "Judy Dunaway" INDEX 00 05:12:53FILE "07 - Judy Dunaway - Fifty 210.wav" WAVE INDEX 01 00:00:00 TRACK 08 AUDIO TITLE "Departure" PERFORMER "Loren Mazzacane Connors" INDEX 00 08:53:63FILE "08 - Loren Mazzacane Connors - Departure.wav" WAVE INDEX 01 00:00:00 TRACK 09 AUDIO TITLE "Meaning - Less" PERFORMER "Ken Valitsky" INDEX 00 02:56:43FILE "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 05:44:17FILE "10 - Phil Kline - A Fantasy on One Note.wav" WAVE INDEX 01 00:00:00  Об альбоме (сборнике)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