Musicgate · 14-Ноя-21 20:14(4 года 4 месяца назад, ред. 14-Ноя-21 20:16)
Percy Jones - Cape Catastrophe - 1990Жанр: Jazz-Rock, Art Rock, Fusion Носитель: CD (Studio) Страна-производитель диска (релиза): Germany Год издания оригинала: 1990 Издатель (лейбл): Hot Wire Records Номер по каталогу: HOT9001C Страна исполнителя (группы): UK Дата / место записи: at "Front Room", East Harlem, NYC 1988/89 Аудио кодек: FLAC (*.flac) Тип рипа: (tracks + .cue) Битрейт аудио: lossless Наличие сканов в содержимом раздачи: full scans Продолжительность: 1:03:27 Источник (релизер): Orfeus Трэклист:
01 The Lie
02 Cape Catastrophe
03 Slick
04 Hex
05 Barrio
06 Tunnels
07 Thin Line
08 Symphony in F MajorДля поглощения этой раздачи Вашим собственным рипом с полными сканами - пишите мне
TITLE "Cape Catastrophe" PERFORMER "Percy Jones" REM GENRE "Fusion" REM DATE "1990" REM DISCID 620EDF08 REM REPLAYGAIN_ALBUM_GAIN -0.55 dB REM REPLAYGAIN_ALBUM_PEAK 1.000000 FILE "01 - The Lie.flac" WAVE TRACK 01 AUDIO TITLE "The Lie" REM REPLAYGAIN_TRACK_GAIN 2.41 dB REM REPLAYGAIN_TRACK_PEAK 0.791229 PREGAP 00:00:33 INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Cape Catastrophe" REM REPLAYGAIN_TRACK_GAIN -0.33 dB REM REPLAYGAIN_TRACK_PEAK 0.908478 INDEX 00 02:36:00 FILE "02 - Cape Catastrophe.flac" WAVE INDEX 01 00:00:00 TRACK 03 AUDIO TITLE "Slick" REM REPLAYGAIN_TRACK_GAIN -0.26 dB REM REPLAYGAIN_TRACK_PEAK 0.821075 INDEX 00 10:36:00 FILE "03 - Slick.flac" WAVE INDEX 01 00:00:00 TRACK 04 AUDIO TITLE "Hex" REM REPLAYGAIN_TRACK_GAIN -1.42 dB REM REPLAYGAIN_TRACK_PEAK 0.853333 INDEX 00 06:05:00 FILE "04 - Hex.flac" WAVE INDEX 01 00:00:00 TRACK 05 AUDIO TITLE "Barrio" REM REPLAYGAIN_TRACK_GAIN -0.77 dB REM REPLAYGAIN_TRACK_PEAK 1.000000 INDEX 00 04:37:00 FILE "05 - Barrio.flac" WAVE INDEX 01 00:00:00 TRACK 06 AUDIO TITLE "Tunnels" REM REPLAYGAIN_TRACK_GAIN 1.36 dB REM REPLAYGAIN_TRACK_PEAK 0.778992 INDEX 00 23:03:00 FILE "06 - Tunnels.flac" WAVE INDEX 01 00:00:00 TRACK 07 AUDIO TITLE "Thin Line" REM REPLAYGAIN_TRACK_GAIN -0.40 dB REM REPLAYGAIN_TRACK_PEAK 0.906494 INDEX 00 04:56:00 FILE "07 - Thin Line.flac" WAVE INDEX 01 00:00:00 TRACK 08 AUDIO TITLE "Symphony in F Major" REM REPLAYGAIN_TRACK_GAIN -0.82 dB REM REPLAYGAIN_TRACK_PEAK 0.842743 INDEX 00 06:57:00 FILE "08 - Symphony in F Major.flac" WAVE INDEX 01 00:00:00
foobar2000 1.5.5 / Dynamic Range Meter 1.1.1 log date: 2021-11-13 08:56:26 -------------------------------------------------------------------------------- Analyzed: Percy Jones / Cape Catastrophe -------------------------------------------------------------------------------- DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR15 -2.03 dB -21.03 dB 2:40 01-The Lie DR15 -0.83 dB -18.28 dB 10:39 02-Cape Catastrophe DR14 -1.71 dB -18.41 dB 6:09 03-Slick DR13 -1.38 dB -16.28 dB 4:41 04-Hex DR15 0.00 dB -17.34 dB 23:07 05-Barrio DR15 -2.17 dB -19.67 dB 5:00 06-Tunnels DR13 -0.85 dB -17.68 dB 7:01 07-Thin Line DR13 -1.49 dB -16.36 dB 4:10 08-Symphony in F Major -------------------------------------------------------------------------------- Number of tracks: 8 Official DR value: DR14 Samplerate: 44100 Hz Channels: 2 Bits per sample: 16 Bitrate: 808 kbps Codec: FLAC ================================================================================
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Many progressive fans will remember Percy Jones from his work with Brand X and Brian Eno in the 1970s and early '80s. During these years, Jones made a name for himself with a trademark fretless bass sound, invariably adding flavour to the tracks he appeared on (check out Eno's "Energy Fools The Magician" and "Over Fire Island" for examples of this sound in an austere setting). Some fans might also be aware of Jones's role as leader of the reformed Brand X in the 1990s. I suspect, however, that far fewer people are aware of his solo career. Between XCommunication (1992) and Manifest Destiny (1997), Jones released three separate albums under his own name -- Percy Jones With The Tunnels (1993), Cape Catastrophe (1990) and Propeller Music (also 1990). From someone who had always remained aloof from such projects in previous years, this level of output in such a short time is quite impressive. So why haven't more people paid attention? I'm not completely sure - but if the other two works are anything like Cape Catastrophe, I have a pretty good idea. Cape Catastrophe is, first and foremost, a "bass player's album". This does not simply mean that it's a solo album by a bass player, of course -- it means that it's an album BY a bass player, FOR bass players (and people who like listening to bass guitars). If you (the reader) are a bassist, there's a good chance that you'll enjoy this album. If you're not a bass player, but you still like reading Bass Player magazine for monthly updates on your favourite stars, there's an equally good chance that you'll enjoy this album. But if you enjoy through-composed tracks more than instrumental showcases, you can probably stop reading now; there's not much here that will interest you. Bass Player magazine often gives out two distinct ratings for albums: one for the bass performance, the other for the album as a whole. Cape Catastrophe is one of those albums that this system was made for -- while the bass performances are excellent throughout, the backing tracks are generally a bit shakier. Jones handles the keyboards and drum programming himself, and while he's not terrible at either, he's clearly not a virtuoso arranger. In fact, there's one section of unaccompanied bass solo (in the middle of "Thin Line") that's good enough to make you wish he had left his synths unpacked for more of the recording time. The keyboard lines are half-decent in and of themselves (Jones also plays synths in the new Brand X), but often cheapen the overall sound quality. Since this album is clearly meant for bassists, one might reasonably wonder why he bothered with them at all. Things aren't all bad on this front, though -- there are some tracks with left-field accompaniments to back up equally left-field bass lines; first and foremost in this category is "Barrio", the 23-minute showcase at the centre of the album. The bass line actually meshes well with the synth drums here, and the keyboard bits stand out on their own. As to the bass line: it's excellent, incredibly good at times. (Of note also is a spoken-word radio sample from the cold war era, and muffled vocal effects vaguely akin to "Noddy Goes To Sweden".) "Thin Line" (with an opening note akin to that of "Kurt's Rejoinder") is another highlight, mostly for the accompanied section already mentioned above. The tempo is a bit slower here than elsewhere, though the bass line is equally "busy" -- a nice mix. The arrangement ... strangely, reminds me more of solo Andy Summers than anything else. The two opening numbers aren't quite as good. "The Lie" have a strong bass line (of course), and a "nightmare jazz" feel akin to that of classic Brand X; the cheap synth effects are a real drag, though. "Cape Catastrophe" (with a Radio Australia lead-in), for its part, suffers from the classic curse of the CD age -- having more space to work with means that artists can be tempted to throw in a few "lulls". The good parts are quite good, but there's a lot of repetition here. "Slick", despite the title, is actually a fairly evocative number, and gets a few points for reprising the "Cape Catastrophe" lead melody in an altered form. "Hex", for its part, is nothing at all like the sultry jazz that the name might imply -- instead, it's a quirky number akin to Frank Zappa's late fusion works, and with a really good bass line toward the end. Lest one think that Jones was being completely contrary with his titles however, it should be noted that "Titles" is a deeper, more probing work than many others on the album, with an edgier bass effect. And then there's Jones's take on Thomas Arne's "Symphony In F Major" (composed at a time when the symphony was actually a fairly new thing in the world of professional music). Jones seems to be more focused on keyboards than bass for much of this track (some hot organ licks appear on occasion) -- in general, this counts as a jazz-up pastiche of the original, though not a bad one for that. Prog listeners who've cringed there way through Keith Emerson's ouevre shouldn't be overly offput by this. There's no great mystery as to the intended audience for this work. If you think you fit the bill, step on up.
Состав
Percy Jones - Wal V fivestring fretless bass, Casio CZ101 synthesizer, Roland sequencer, Yamaha RX 11 drum machine, Korg digital delay, FSK custom sync tone encoder/decoder, Tascam 244 four track recorder, Casio DAT machine, All synth and drum programming
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"Symphony" composed by Thomas Arne, arranged by Percy Jones. Digital mastering at Bauer Studios, Ludwigsburg/Germany by Carlos Albrecht
Executive producer: Bert Gerecht for Hot Wire Records Produced by Percy Jones
