(Rock) Harry Nilsson - Greatest Hits - 2002, FLAC (image+.cue), lossless

Exact Audio Copy V0.99 prebeta 3 from 28. July 2007

Отчёт EAC об извлечении, выполненном 13. декабря 2008, 10:00

Harry Nilsson / Greatest Hits

Дисковод: TOSHIBA CD/DVDW SD-R5372 Adapter: 0 ID: 1

Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет

Коррекция смещения при чтении : 704
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Установленный внешний ASPI-интерфейс

Выходной формат : Внутренние WAV-операции
Формат сэмплов : 44.100 Гц; 16 бит; стерео

TOC извлечённого CD

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Характеристики диапазона извлечения и сообщения об ошибках

Выбранный диапазон

Имя файла Y:\_Lossless\Harry Nilsson\2002. Greatest Hits\Harry Nilsson - Greatest Hits.wav

Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC копии 747A5984
Копирование... OK

Ошибок не произошло

AccurateRip: сводка

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Конец отчёта

REM GENRE Rock
REM DATE 2002
REM DISCID 410EB915
REM COMMENT "ExactAudioCopy v0.99pb3"
PERFORMER "Harry Nilsson"
TITLE "Greatest Hits"
FILE "Harry Nilsson - Greatest Hits.flac" WAVE
TRACK 01 AUDIO
TITLE "1941"
PERFORMER "Harry Nilsson"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Cuddly Toy"
PERFORMER "Harry Nilsson"
INDEX 00 02:40:10
INDEX 01 02:41:65
TRACK 03 AUDIO
TITLE "Without Her"
PERFORMER "Harry Nilsson"
INDEX 00 05:31:12
INDEX 01 05:33:35
TRACK 04 AUDIO
TITLE "One"
PERFORMER "Harry Nilsson"
INDEX 00 07:51:15
INDEX 01 07:53:45
TRACK 05 AUDIO
TITLE "Everybody's Talkin'"
PERFORMER "Harry Nilsson"
INDEX 00 10:42:07
INDEX 01 10:44:35
TRACK 06 AUDIO
TITLE "Girlfriend"
PERFORMER "Harry Nilsson"
INDEX 00 13:33:62
INDEX 01 13:36:07
TRACK 07 AUDIO
TITLE "Good Old Desk"
PERFORMER "Harry Nilsson"
INDEX 00 15:24:12
INDEX 01 15:26:55
TRACK 08 AUDIO
TITLE "I Guess the Lord Must Be in New York City"
PERFORMER "Harry Nilsson"
INDEX 00 17:48:57
INDEX 01 17:51:15
TRACK 09 AUDIO
TITLE "The Puppy Song"
PERFORMER "Harry Nilsson"
INDEX 00 20:33:12
INDEX 01 20:35:52
TRACK 10 AUDIO
TITLE "Living Without You"
PERFORMER "Harry Nilsson"
INDEX 00 23:15:57
INDEX 01 23:18:35
TRACK 11 AUDIO
TITLE "Me And My Arrow"
PERFORMER "Harry Nilsson"
INDEX 00 25:53:72
INDEX 01 25:56:27
TRACK 12 AUDIO
TITLE "Without You"
PERFORMER "Harry Nilsson"
INDEX 00 28:01:45
INDEX 01 28:04:12
TRACK 13 AUDIO
TITLE "Coconut"
PERFORMER "Harry Nilsson"
INDEX 00 31:23:67
INDEX 01 31:25:52
TRACK 14 AUDIO
TITLE "Jump Into The Fire"
PERFORMER "Harry Nilsson"
INDEX 00 35:11:67
INDEX 01 35:13:70
TRACK 15 AUDIO
TITLE "The Moonbeam Song"
PERFORMER "Harry Nilsson"
INDEX 00 38:45:52
INDEX 01 38:47:57
TRACK 16 AUDIO
TITLE "Remember (Christmas)"
PERFORMER "Harry Nilsson"
INDEX 00 42:08:22
INDEX 01 42:10:17
TRACK 17 AUDIO
TITLE "Spaceman"
PERFORMER "Harry Nilsson"
INDEX 00 46:16:27
INDEX 01 46:19:05
TRACK 18 AUDIO
TITLE "You're Breakin' My Heart"
PERFORMER "Harry Nilsson"
INDEX 00 49:51:17
INDEX 01 49:53:35
TRACK 19 AUDIO
TITLE "Daybreak"
PERFORMER "Harry Nilsson"
INDEX 00 53:00:30
INDEX 01 53:02:00
TRACK 20 AUDIO
TITLE "Don't Forget Me"
PERFORMER "Harry Nilsson"
INDEX 00 55:44:37
INDEX 01 55:46:60
TRACK 21 AUDIO
TITLE "As Time Goes By"
PERFORMER "Harry Nilsson"
INDEX 00 59:24:22
INDEX 01 59:26:45

Although he synthesized disparate elements of both rock and pop traditions, singer/songwriter Harry Nilsson was at heart a maverick whose allegiance belonged to neither. His initial series of albums in the late '60s made him a personal favorite of the Beatles, who found a natural affinity with his knack for catchy melodies, witty lyrics, and extraordinary vocal range. Thought of as a songwriter first and a performer second, he became a pop star himself in the late '60s and early '70s with "Everybody's Talking" and "Without You." He lost some of his original audience, however, with subsequent detours into pre-rock styles of pop, and did little recording over the last 15 years of his life.

Nilsson had been struggling to make inroads into the music business for over five years before his critically acclaimed 1967 album, Pandemonium Shadow Show. He made demos, sang commercial jingles, and shopped songs, all the while keeping his job at a Los Angeles-area bank. In the mid-'60s, he wrote a few songs with Phil Spector that were recorded by the Ronettes and the Modern Folk Quartet; occasionally he released records of his own. The Monkees recorded his "Cuddly Toy," and the Yardbirds did "Ten Little Indians" on a single in their waning days. But Nilsson didn't quit his bank job until after the release of Pandemonium Shadow Show, which gave him creative rein in the studio for the first time, and showcased his three-and-a-half-octave voice to full advantage.

The album caught the attention of the Beatles (helped, no doubt, by its ingenious medley of classic Beatle tunes, "You Can't Do That"). John Lennon and Paul McCartney named him as their favorite American singer at a press conference, an extraordinary accolade for an unknown. (Nilsson was sometimes even rumored to be joining the group.) Three Dog Night took his "One" into the Top Ten in 1969, and Nilsson's second LP, Aerial Ballet, continued the ambitious pop/rock direction of his debut, marrying his slightly eccentric, bouncy (if sometimes precious) tunes to baroque orchestral production. When one of its songs, "Everybody's Talkin'," was used as the theme for the Midnight Cowboy film, Nilsson had his first Top Ten hit. The irony was that, although Nilsson was primarily identified as a singer/songwriter, the song was actually a cover of a composition by folk-rocker Fred Neil.

But Nilsson would never be content to be pigeonholed into definite categories, as demonstrated by his two 1970 albums. One was devoted entirely to covers of songs by Randy Newman (then just emerging as a performer); another was his soundtrack to an animated children's special, The Point (including the hit "Me and My Arrow"). And it was another cover (of a Badfinger album track) that gave him his biggest single, the number one smash "Without You." Yet Nilsson didn't cash in on his stardom in a conventional manner; he never performed in concert (there were occasional television appearances), preferring to craft his artistry in the studio.

"Without You" appeared on 1971's Nilsson Schmilsson, which included a couple of other hits, the faux-tropical "Coconut" and the surprisingly gritty "Jump Into the Fire," which rates as his hardest-rocking cut. During the first half of the 1970s, he continued to broaden his range from the well-crafted, peppy, sensitive tunes that had dotted his early releases, cutting some tougher, more sour work. He lost some of his constituency, however, with 1973's A Little Touch of Schmilsson in the Night, a collection of pre-rock pop standards with an orchestra conducted by arranger Gordon Jenkins (most noted for his work with Frank Sinatra). His affection for the music wasn't entirely surprising, as there had always been a strong Tin Pan Alley flavor to much of his writing, but it wasn't exactly in step with the times.

Much of Nilsson's notoriety stems from a period in the mid-'70s when he was a drinking buddy of John Lennon in Los Angeles (where Lennon was living during a separation from Yoko Ono). The drunken pair were thrown out of L.A.'s Troubadour club in a well-publicized incident, following which Lennon offered to produce Nilsson's next album. The timing was not opportune; Nilsson lost his voice during the sessions, rupturing one of his vocal cords, keeping it a secret out of fear that Lennon would abandon the project. Released as Pussy Cats, it was his last album to make the Top 100. During the same period, he also embarked on a project with another L.A.-based ex-Beatle, Ringo Starr, acting and writing music for the little-seen Son of Dracula film.

The upper register of Nilsson's voice, which was ultimately his greatest asset, had been permanently (though not irredeemably) damaged. After a few rather unsuccessful late-'70s album, Nilsson withdrew from the studio into family life and other business ventures, spending much of his energies campaigning for gun control after Lennon was shot in 1980. In failing health in the 1990s, diagnosed with diabetes and suffering a massive heart attack, he died in early 1994, just after finishing the vocal tracks for a new album.

Harry Nilsson was always a maverick artist, following his own sense of style down the byways of pop, turning out carefully crafted -- even baffling -- songs that shared no direct affinity with any other artist of his day. He drew heavily on American Tin Pan Alley traditions, using them to craft his own cracked and ironic view of the human condition, making him, in some ways, a singer stuck out of time. That he had hit records really seems more accidental and circumstantial than by any personal design, and maybe because of that, Nilsson never ended up being simply a musical commodity. This 21-song set has most of his key tracks, including the unique "1941," the deceptively wry "Cuddly Toy," his brilliant cover of Badfinger's "Without You," "One" (a massive hit for Three Dog Night), his wonderfully realized and slightly speeded up rendition of Fred Neil's "Everybody's Talkin'," the infectious "Coconut," and the screaming "Jump into the Fire," making this a perfect single-disc introduction to Nilsson's delicately fractured world.