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Captain Beefheart & His Magic Band - Safe As Milk [Music On Vinyl 180g DoLP] "DM series" vinyl rip in 24/96 & CD-format
Posted By :
aksman
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Date :
17 Nov 2011 10:08:09
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Comments :
17
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Captain Beefheart & His Magic Band - Safe As Milk
"DM series" vinyl rip (presented in 24/96 & 16/44.1) | FLAC | m3u, cue & Tech Log
Artwork | DR Analysis | 1.48 gb/ 450 mb incl. recovery | FSonic, FF | ProgBlues | 1967
Music On Vinyl 180g 2xLP-Set / Cat.#: MOVLP343
"DM series" vinyl rip (presented in 24/96 & 16/44.1) | FLAC | m3u, cue & Tech Log
Artwork | DR Analysis | 1.48 gb/ 450 mb incl. recovery | FSonic, FF | ProgBlues | 1967
Music On Vinyl 180g 2xLP-Set / Cat.#: MOVLP343
| “ | Beefheart's first proper studio album is a much more accessible, pop-inflected brand of blues-rock than the efforts that followed in the late '60s -- which isn't to say that it's exactly normal and straightforward. - Richie Unterberger/AMG (5/5 Stars) | ” |
Beefheart's debut album, originally released in 1967, was the most accessible and pop inflected of all the releases from his catalogue.
Still Safe As Milk is a very strong and heavily blues-influenced work but it also hints on many of the features that would later become the trademarks of Captain Beefheart.
Nice fact is that not only did a 20-year old Ry Cooder play bass & guitar on 'Abba Zaba' and 'Grown So Ugly,' he also arranged the latter as well as 'Sure 'Nuff 'N Yes I Do.'
Also, Cooder's role in the recording process was "to translate the Captain's wilder nations to the rest of the band and generally acts as musical director".
With him as a supervisor the sessions proceeded more or less smoothly and Safe As Milk was recorded within a month.
| “ | Review by Richie Unterberger Beefheart's first proper studio album is a much more accessible, pop-inflected brand of blues-rock than the efforts that followed in the late '60s -- which isn't to say that it's exactly normal and straightforward. Featuring Ry Cooder on guitar, this is blues-rock gone slightly askew, with jagged, fractured rhythms, soulful, twisting vocals from Van Vliet, and more doo wop, soul, straight blues, and folk-rock influences than he would employ on his more avant-garde outings. "Zig Zag Wanderer," "Call on Me," and "Yellow Brick Road" are some of his most enduring and riff-driven songs, although there's plenty of weirdness on tracks like "Electricity" and "Abba Zaba." | ” |
Track listing
- A1 Sure 'Nuff 'N Yes I Do
A2 Zig Zag Wanderer
A3 Call On Me
A4 Dropout Boogie
A5 I'm Glad
A6 Electricity
B1 Yellow Brick Road
B2 Abba Zaba
B3 Plastic Factory
B4 Where There's Woman
B5 Grown So Ugly
B7 Autumn's Child
Bonus Tracks: Disc 2
C1 Safe As Milk (Take 5)
C2 On Tomorrow
C3 Big Black Baby Shoes
C4 Flower Pot
D1 Dirty Blue Gene
D2 Trust Us (Take 9)
D3 Korn Ring Finger
Personnel
- Musicians
Don Van Vliet – vocals, harmonica, bass marimba, arrangements
The Magic Band
Alex St. Clair Snouffer – guitar, bass, background vocals
Jerry Handley – bass, background vocals
John French – drums, background vocals
Ry Cooder – guitar, slide guitar, bass, arrangements of "Sure 'Nuff 'N Yes I Do" and "Grown So Ugly"
Additional musicians
Samuel Hoffman - theremin on "Electricity" and "Autumn's Child"
Milt Holland – log drum, tambourine
Taj Mahal – tambourine
Production
Richard Perry – producer (at RCA Studio), harpsichord
Bob Krasnow – producer
Hank Cicalo – engineer (at RCA Studio)
Gary Marker – engineer (demos at Original Sound & Sunset Sound)
All files are inside the folders.
High resoulution files are marked as "hr", CD-compatible files as "rb".
The files are interchangeable!!!
Hope you enjoy!!!
Check my blog for more audiophile stuff.
High resoulution files are marked as "hr", CD-compatible files as "rb".
The files are interchangeable!!!
Hope you enjoy!!!
Check my blog for more audiophile stuff.
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Thanks for fine music.
What's happened with HiResMusic?
Somewhere there will be a new HiResMusic?
- From the first cymbal hit on "Shine on you crazy diamond" until the moment the effect is heard when the machine shuts down on "welcome to the machine" the time on:
1) 2011 WYWH CD remaster is: 20:25.178
2)[CBS-Sony Japan 1st Pressing 35DP 4, 1982] 20:24.992
3) on your recent WYWH rip it's 20:39.226.
Now, there is very little difference between the 2011 remaster and the Japanese issue. Maybe my measurement is not perfect and granted I can't hear the pitch difference between the two. BUT I can hear that the pitch is lower on yours. And by the way, where do 14 extra seconds come from, I wonder? any ideas? I didn't check "Safe as milk", but I bet there's time difference there as well, as I can hear it.
The whole side A on CD is 21:08, my rip is 21:15 minus 3 seconds for fade in and out is 21:12... This means there is a difference of 4 seconds.
okay - I compared aksman's wish you were here with PBTHAL's using audacity and importing each rip's track 5 as a single track in an audacity project. I figured that for comparing, best would be to identify a place where a decent dynamic "explosion" would allow for exactely positioning both tracks. so I identified 9.30.558 in aksman's and matched it to ~9.27:375 in PBT's, giving an as close as possible match. Listening from that point gave the impression of one piece of music. But: when going i.e. to 2:02 there is a gap of about a quarter of a second between the peaks of a drum beat - clearly visible and listenable - with the version of aksman having the later punch. Additionally, if going to about 11:24:50, tendency is that things start again drifting away.
BUT: no definitive difference in pitch, which leads to tow possible conclusions.
a) the master is not only differently mastered (different tonal impression and dynamics) but also mixed - somewhere PBTHAL's version lacks a few parts of a second
b) there must be broken musical source, a glitch no one so far identified during listening.
Even more, if the difference had to be explained related to the speed of the turntable, aksman's pitches should have been higher, not lower, as floydian_wgwm hints...
I tend to a)...
Oohh - could of course be an error in audacity, but I tried this trick of shifting and comparing with same versions (but cut at the beginning) of aksman's wish you were here and they were definitively identical :-)
Aksman's rip lags as the time progresses. Try playing "Have a cigar" for example from wywh rips simultaneously. Play aksman's rip 1 second before the other, you will notice that by the time the guitar solo begins, they will match and then at that point you will get the 'detune' effect (people who use electric guitar effects will know what I mean). Then the other rip overtakes the new rip and you get the delay effect.
Moreover, the whole slow down thing has nothing to do with this specific record, Cap. Beefheart, but also with WYWH and the new Zappa Hot rats rip; I listened to it today. BTW, I actually still have aksman's old rip of the same Zappa Hot Rats 200gr pressing, absolutely my favourite, it blew my mind the first I heard it. Anyway this is the info that came with it:
"Technical Informations
Music Hall MMF 5.1 Turntable
Goldring 1042GX reference Cartridge
Belari VP-129 Tube Phono PreAmp with Sylvania 12AX7WA
Tascam US-144 external USB 2.0 Audiointerface
Interconnections by "Goldkabel"
Wavelab 5 recording software
TT > Belari > Laptop > Wavelab 5.01 (24/96) > manual click removal
analyze (no clipping, no DC Bias offset) > split into individual Tracks > FLAC encoded (Vers. 1.21)
No silence been removed, please burn gapless to match original tracklayout."
I am not 100% sure this is aksman's rip but it sure looks like his info file, people can correct me if I'm wrong.
Anyhow, the latest Zappa rip has the same problem. I compared the old track: "Son of Mr Green Genes" with the new one. Same thing, slowed down, with lower pitch. Accordingly, the old track time: 8:57, new track time: 9:10. It's the same pressing and there's additional 13 seconds on this one track. Even if there are fade ins/outs there is still a couple of more seconds left. Old track length is near identical with PBTHAL's rip of this record. I can't tell what the case is with the other tracks as I already deleted them; I decided to hang on to the old rip, my favorite :-).
I hope none of you guys will take any offence with me being this argumentative about this. That is not my intention here. I have a ton of aksman's rips and I love them and am very thankful for them. I just hope that you would consider these discrepancies, and hopefully make the best possible rips.
You may be right, there are differences in track lenght on the newest "Hot Rats" rips. The strange is, that most tracks are longer and some are shorter. Normally this isn't possible unless you have trouble with the drive.
The Music Hall 5.1 and the 9.1 were a wonderful TT and great values but haven't any opportunity to make any speed adjust. For that reason I never checked the speed of both previous turntables.
The Bergmann have this opportunity for 33 & 45 rpm. There are only 2 ways how to control and do the adjustment...
The first and most easy is the use of a stroboscope disc. those disc shows very nice if your TT runs to fast to slow or correct. A 2nd way is to use the use of a test tone (e.g. 1kHz )played from a testrecord and to record... A frequency analysing should show the identical frequency if the speed is adjusted correctly.
I did both with the Bergmann TT and the results were perfect.
You have to understand that you can't do anything else on TT's...
Now we should relax and come back to the main thing, enjoing the music and the improved quality.
(Just a question - not a big deal - but I think the artwork comes from another edition, isn't it ?)
"Safe As Milk" runs at just over 1/2 hour in length and there is a full 75 seconds of difference between Aksman's and PBTHAL's rips. I don't have a CD version of it handy so I can't tell which one is correct and which one is way off the mark. PBTHAL's runs much faster that Aksman's. Both cannot be correct.
I can't see any ripper of their caliber being so far off in pitch by accident so I can only assume that the two LPs are mastered at completely different pitches. ???