(Flamenco) Paco de Lucia - El Duende Flamenco - 1972, APE (image+.cue), lossless
Треклист:
Paco de Lucia - El Duende Flamenco
Жанр: Flamenco
Год издания диска: 1972
Издатель (лейбл): Philips
Номер по каталогу: 824417-2
Аудиокодек: APE (*.ape)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 40:32
Источник (релизер): ohadinu (hqshare)
Наличие сканов в содержимом раздачи: нет
Треклист:
01. Percusion Flamenca
02. Barrio la Vina
03. Doblan Campanas
04. Farruca de Lucia
05. Tientos del Mentidero
06. Farolillo de Feria
07. De Madrugada
08. Cuando Canta el Gallo
09. Punta del Faro
10. Canastera
Жанр: Flamenco
Год издания диска: 1972
Издатель (лейбл): Philips
Номер по каталогу: 824417-2
Аудиокодек: APE (*.ape)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 40:32
Источник (релизер): ohadinu (hqshare)
Наличие сканов в содержимом раздачи: нет
Треклист:
01. Percusion Flamenca
02. Barrio la Vina
03. Doblan Campanas
04. Farruca de Lucia
05. Tientos del Mentidero
06. Farolillo de Feria
07. De Madrugada
08. Cuando Canta el Gallo
09. Punta del Faro
10. Canastera
Лог создания рипа
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
EAC extraction logfile from 29. October 2008, 23:05
Paco de Lucia / El Duende Flamenco
Used drive : ASUS DRW-1814BLT Adapter: 3 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
Used output format : Monkey's Audio Lossless Encoder v3.99 DLL
Sample format : Normal Lossless Compression
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.32 | 3:44.23 | 32 | 16854
2 | 3:44.55 | 3:28.02 | 16855 | 32456
3 | 7:12.57 | 5:47.00 | 32457 | 58481
4 | 12:59.57 | 4:38.05 | 58482 | 79336
5 | 17:37.62 | 3:30.00 | 79337 | 95086
6 | 21:07.62 | 4:08.05 | 95087 | 113691
7 | 25:15.67 | 3:13.00 | 113692 | 128166
8 | 28:28.67 | 3:50.73 | 128167 | 145489
9 | 32:19.65 | 4:00.05 | 145490 | 163494
10 | 36:19.70 | 4:12.37 | 163495 | 182431
Range status and errors
Selected range
Filename G:\!!!!!!!!MINE\Paco de Lucia - El Duende Flamenco(824 417-2) - 1972 - Philips\Paco de Lucia - El Duende Flamenco.ape
Peak level 96.6 %
Range quality 100.0 %
Copy CRC C1DF6E7E
Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
Track 4 not present in database
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
Track 8 not present in database
Track 9 not present in database
Track 10 not present in database
None of the tracks are present in the AccurateRip database
End of status report
Содержание индексной карты (.CUE)
REM DISCID 7A09800A
REM COMMENT "ExactAudioCopy v0.99pb4"
PERFORMER "Paco de Lucia"
TITLE "El Duende Flamenco"
FILE "Paco de Lucia - El Duende Flamenco.wav" WAVE
TRACK 01 AUDIO
TITLE "Percusion Flamenca"
PERFORMER "Paco de Lucia"
INDEX 00 00:00:00
INDEX 01 00:00:32
TRACK 02 AUDIO
TITLE "Barrio la Vina"
PERFORMER "Paco de Lucia"
INDEX 00 03:42:45
INDEX 01 03:44:55
TRACK 03 AUDIO
TITLE "Doblan Campanas"
PERFORMER "Paco de Lucia"
INDEX 00 07:10:15
INDEX 01 07:12:57
TRACK 04 AUDIO
TITLE "Farruca de Lucia"
PERFORMER "Paco de Lucia"
INDEX 00 12:57:35
INDEX 01 12:59:57
TRACK 05 AUDIO
TITLE "Tiendos del Mentidero"
PERFORMER "Paco de Lucia"
INDEX 00 17:35:71
INDEX 01 17:37:62
TRACK 06 AUDIO
TITLE "Farolillo de Feria"
PERFORMER "Paco de Lucia"
INDEX 00 21:04:45
INDEX 01 21:07:62
TRACK 07 AUDIO
TITLE "De Madrugada"
PERFORMER "Paco de Lucia"
INDEX 00 25:14:15
INDEX 01 25:15:67
TRACK 08 AUDIO
TITLE "Cuando Canta el Gallo"
PERFORMER "Paco de Lucia"
INDEX 00 28:27:30
INDEX 01 28:28:67
TRACK 09 AUDIO
TITLE "Punta del Faro"
PERFORMER "Paco de Lucia"
INDEX 00 32:18:07
INDEX 01 32:19:65
TRACK 10 AUDIO
TITLE "Canastera"
PERFORMER "Paco de Lucia"
INDEX 00 36:18:47
INDEX 01 36:19:70
Лог проверки качества
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
------------------------------------------------------------
Processing file: [Paco de Lucia - El Duende Flamenco.wav]
Detected average hi-boundary frequency: 2.060694e+004 Hz
Detected average lo-boundary frequency: 1.510604e+004 Hz
Detected average hi-cut frequency: 2.147015e+004 Hz
Detected average lo-cut frequency: 1.581789e+004 Hz
Maximum probablis boundary frequency: 2.141200e+004 Hz
Coefficient of nonlinearity of a phase: 6.159644e-002
First order smothness: 4.978592e-001
Second order smothness: 7.235645e-001
------------------------------------------------------------
This track looks like CDDA with probability 100%
Review by L. K. Coleman
This is what I call Paco's "break away" album. Paco was already recognized as the most technically accomplished Flamenco guitarist ever, the "rising star" of Flamenco, before this album's release. However, until "El Duende Flamenco," Paco had not fully developed his own, distinctive "toque"; i.e., a unique style and, most important, a full set of unique creations.
It is difficult to impart the impact this album had on Flamenco in general and on Flamenco guitarists in particular these more than three decades later. I will never forget the first time I heard it, lying on the floor of a small apartment in Madrid in 1972, the year the album was released. The first cut, a zapateado, was one of four cuts on the album where Paco plays with an orchestra. Arranged by the knowledgeable and very talented Jose Torregrosa, it instantly revealed Paco's musicianship and musicality, which were of such a degree as to place him head and shoulders above any other Flamenco guitarist, past or present.
Two times before an attempt was made to place Flamenco guitar with an orchestra, both of which were musical failures. One was by Sabicas, who was a great guitarist and innovator, the other by Carlos Montoya, a fraud when presented to the public as a virtuoso. In both cases, however, they played what they always played while a composer sought to build an orchestration around them. In contrast, Paco plays here WITH the orchestra, and his compositions (in addition to the zapateado, a farruca, a guajira and a rondeña/canastera) are just that: Complete musical compositions. With a few notable exceptions, until Paco the majority of Flamenco guitarists just strung together a collection of falsetas ("riffs"), but here Paco created themes to which he constantly returned in multiple variations. (His inspiration for this "compositional" style of flamenco were those "few notable exceptions": Sabicas, Mario Escudero and, most notably, Esteban Sanlucar.) Particularly at that time, the overall effect was startling.
The next cut was an alegria uniquely played in a minor mode, and it was a revelation. Again, an entire composition rather than a string of falsetas, major seventh cords which had rarely before been used in Flamenco, and other innovations. To anyone with a depth of knowledge about Flamenco, "genius," in the truest sense of the word, came to mind.
By the third cut, a rondeña, there were tears in my eyes. The rondeña was made into a guitar piece by Ramon Montoya several decades before, who made the innovation of tuning two strings differently (the base E down to D, the G a half-step down). Until this recording, every rondeña played by any guitarist was essentially a variation of Ramon's original creation. Paco's rondeña changed all the rules, and once again added a depth of musicianship that had for the most part been missing from Flamenco.
Every single cut on this album was revolutionary for its time, and with it Paco almost single handedly raised the Flamenco guitar to world-class - and the musicianship necessary to play it.
One other thing should be noted: Paco was only 24 when he made this recording. "Genius" is, indeed, the word.
Having revolutionized the small world of Flamenco artists and aficionados, the next year Paco would catapult beyond those small confines and achieve true national popularity in Spain with "Fuente y Caudal" (pieces of which have been re-released under many different names, such as "Entre Dos Aguas," named for the most famous cut on that album). And it was all due to a caprice: When he finished that album in 1973, there were a few minutes left, and Jose Torregrosa, Paco's regular producer at Phillips, suggested that he play a rumba Paco had been experimenting with, using bongos and an electric base (neither of which had ever been used before in purist Flamenco recordings). Paco obliged, and Torregrosa, always with a nose for what might sell, made it the first cut on the album. That one cut, Entre Dos Aguas, created another revolution beyond the bounds of Flamenco, of which Ottmar Liebert and his minions are a direct result - much to Paco's and all other aficionados' chagrin. But that's another story.
Bottom line: This album is a "must have" for any serious collection of Flamenco recordings. It can arguably be called the first recording of "new" Flamenco.
It is difficult to impart the impact this album had on Flamenco in general and on Flamenco guitarists in particular these more than three decades later. I will never forget the first time I heard it, lying on the floor of a small apartment in Madrid in 1972, the year the album was released. The first cut, a zapateado, was one of four cuts on the album where Paco plays with an orchestra. Arranged by the knowledgeable and very talented Jose Torregrosa, it instantly revealed Paco's musicianship and musicality, which were of such a degree as to place him head and shoulders above any other Flamenco guitarist, past or present.
Two times before an attempt was made to place Flamenco guitar with an orchestra, both of which were musical failures. One was by Sabicas, who was a great guitarist and innovator, the other by Carlos Montoya, a fraud when presented to the public as a virtuoso. In both cases, however, they played what they always played while a composer sought to build an orchestration around them. In contrast, Paco plays here WITH the orchestra, and his compositions (in addition to the zapateado, a farruca, a guajira and a rondeña/canastera) are just that: Complete musical compositions. With a few notable exceptions, until Paco the majority of Flamenco guitarists just strung together a collection of falsetas ("riffs"), but here Paco created themes to which he constantly returned in multiple variations. (His inspiration for this "compositional" style of flamenco were those "few notable exceptions": Sabicas, Mario Escudero and, most notably, Esteban Sanlucar.) Particularly at that time, the overall effect was startling.
The next cut was an alegria uniquely played in a minor mode, and it was a revelation. Again, an entire composition rather than a string of falsetas, major seventh cords which had rarely before been used in Flamenco, and other innovations. To anyone with a depth of knowledge about Flamenco, "genius," in the truest sense of the word, came to mind.
By the third cut, a rondeña, there were tears in my eyes. The rondeña was made into a guitar piece by Ramon Montoya several decades before, who made the innovation of tuning two strings differently (the base E down to D, the G a half-step down). Until this recording, every rondeña played by any guitarist was essentially a variation of Ramon's original creation. Paco's rondeña changed all the rules, and once again added a depth of musicianship that had for the most part been missing from Flamenco.
Every single cut on this album was revolutionary for its time, and with it Paco almost single handedly raised the Flamenco guitar to world-class - and the musicianship necessary to play it.
One other thing should be noted: Paco was only 24 when he made this recording. "Genius" is, indeed, the word.
Having revolutionized the small world of Flamenco artists and aficionados, the next year Paco would catapult beyond those small confines and achieve true national popularity in Spain with "Fuente y Caudal" (pieces of which have been re-released under many different names, such as "Entre Dos Aguas," named for the most famous cut on that album). And it was all due to a caprice: When he finished that album in 1973, there were a few minutes left, and Jose Torregrosa, Paco's regular producer at Phillips, suggested that he play a rumba Paco had been experimenting with, using bongos and an electric base (neither of which had ever been used before in purist Flamenco recordings). Paco obliged, and Torregrosa, always with a nose for what might sell, made it the first cut on the album. That one cut, Entre Dos Aguas, created another revolution beyond the bounds of Flamenco, of which Ottmar Liebert and his minions are a direct result - much to Paco's and all other aficionados' chagrin. But that's another story.
Bottom line: This album is a "must have" for any serious collection of Flamenco recordings. It can arguably be called the first recording of "new" Flamenco.