Cowboy Junkies / The Trinity Session
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1988/2016
Жанр: Alternative country, country rock, folk rock
Издатель(лейбл): RCA / Analogue Productions
Продолжительность: 00:53:06
Наличие сканов в содержимом раздачи: Да (сканы)Треклист:
1. Mining for Gold 01:30
2. Misguided Angel 04:56
3. Blue Moon Revisited (Song for Elvis) 04:31
4. I Don’t Get It 04:34
5. I’m So Lonesome I Could Cry 05:28
6. To Love is to Bury 05:16
7. 200 More Miles 05:29
8. Dreaming My Dreams with You 04:30
9. Working on a Building 03:46
10. Sweet Jane 03:39
11. Postcard Blues 03:23
12. Walkin’ After Midnight 06:03Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0Доп. информация: Released 15 November 1988
Recorded 27 November 1987
Producer Peter Moore
Studio Church of the Holy Trinity, Toronto, Ontario, Canada
Analogue Productions CAPP 072 SAИсточник (релизер): pssacd (PS³SACD) http://www.elusivedisc.com/The-Cowboy-Junkies-The-Trinity-Session-Hybrid-Stereo-S...uctinfo/APSA072/
Лог DR
foobar2000 1.3.13 / Замер динамического диапазона (DR) 1.1.1
Дата отчёта: 2017-02-24 13:46:48
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Анализ: Cowboy Junkies / The Trinity Session
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DR Пики RMS Продолжительность трека
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DR11 -3.53 дБ -18.47 дБ 1:30 01-Mining for Gold
DR11 -1.96 дБ -15.53 дБ 4:56 02-Misguided Angel
DR10 -2.50 дБ -14.95 дБ 4:31 03-Blue Moon Revisited (Song for Elvis)
DR10 -1.32 дБ -13.87 дБ 4:34 04-I Don't Get It
DR10 -2.21 дБ -14.96 дБ 5:28 05-I'm So Lonesome I Could Cry
DR10 -1.40 дБ -14.00 дБ 5:16 06-To Love is to Bury
DR11 -1.69 дБ -16.39 дБ 5:29 07-200 More Miles
DR11 -2.71 дБ -15.48 дБ 4:30 08-Dreaming My Dreams with You
DR11 -1.90 дБ -15.87 дБ 3:46 09-Working on a Building
DR10 -2.32 дБ -15.08 дБ 3:39 10-Sweet Jane
DR12 -2.14 дБ -18.12 дБ 3:23 11-Postcard Blues
DR10 -1.91 дБ -15.04 дБ 6:03 12-Walkin' After Midnight
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Количество треков: 12
Реальные значения DR: DR11
Частота: 2822400 Гц / Частота PCM: 88200 Гц
Каналов: 2
Разрядность: 24
Битрейт: 5645 кбит/с
Кодек: DSD64
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Об альбоме (сборнике)
The Trinity Session is a 1988 album by Cowboy Junkies, their second album.
The music was recorded inside Toronto’s Church of the Holy Trinity on 27 November 1987, with the band circled around a single microphone. The album includes a mixture of original material by the band and covers of classic folk, rock, and country songs. Notable amongst the covers is the band’s most famous single, a cover of The Velvet Underground’s “Sweet Jane”, based on the version found on 1969: The Velvet Underground Live, rather than the later studio version from Loaded. Also included is “Blue Moon Revisited (Song for Elvis)”, which is both a cover and an original, combining a new song by the band with the pop standard “Blue Moon”.
The album was released in early 1988 on Latent Records in Canada, and re-released worldwide later in the year on RCA Records. “Working on a Building” and “Blue Moon Revisited (Song for Elvis)” did not appear on the Latent Records release. “Blue Moon Revisited” was originally released on It Came from Canada, Vol. 4, a compilation of Canadian independent bands.
In 2007, the album was performed live in its entirety as part of the All Tomorrow’s Parties’ Don’t Look Back series. Also that year, the band returned to The Church of the Holy Trinity to record a new version of the Trinity Session with guest musicians Natalie Merchant, Vic Chesnutt, and Ryan Adams. This new set of recordings was released as Trinity Revisited, to commemorate the 20th anniversary of The Trinity Session.
According to website Acclaimed Music, the album is the 946th most acclaimed album ever released. It was named the 42nd best album of the 1980s by Pitchfork Media in 2002 and the 36th best Canadian album by Chart in 2000. It was also ranked 62nd in Bob Mersereau’s book The Top 100 Canadian Albums in 2007. In 2015, the album was named the winner in the 1980s category of the inaugural Slaight Family Polaris Heritage Prize, an annual Canadian music award for classic albums released prior to the creation of the Polaris Music Prize.
All Music Review
Who says you can’t make a great record in one day — or night, as the case may be? The Trinity Session was recorded in one night using one microphone, a DAT recorder, and the wonderful acoustics of the Holy Trinity in Toronto. Interestingly, it’s the album that broke the Cowboy Junkies in the United States for their version of “Sweet Jane,” which included the lost verse. It’s far from the best cut here, though. There are other covers, such as Margo Timmins’ a cappella read of the traditional “Mining for Gold,” a heroin-slow version of Hank Williams’ classic “I’m So Lonesome I Could Cry,” “Dreaming My Dreams With You” (canonized by Waylon Jennings), and a radical take of the Patsy Cline classic “Walkin’ After Midnight” that closes the disc. Those few who had heard the band’s previous album, Whites Off Earth Now!!, were aware that, along with Low, the Cowboy Junkies were the only band at the time capable of playing slower than Neil Young and Crazy Horse — and without the ear-threatening volume. The Timmins family — Margo, guitarist and songwriter Michael, drummer Peter, and backing vocalist and guitarist John — along with bassist Alan Anton and a few pals playing pedal steel, accordion, and harmonica, paced everything to crawl.
That said, it works in that every song has its own texture, slowly and deliberately unfolding from blues and country and drones. An example is the Michael and Margo song “I Don’t Get It,” ushered in with a few drawling guitar lines, a spooky harmonica, and brushed drums. Margo Timmins doesn’t have a large range and doesn’t need it as she scratches each song’s surface like an itch until it bleeds its truth. This is also true on “Misguided Angel,” another original where the verses become nearly a round alternating between her voice and Michael’s snaky spare guitar lines to fill an almost unimaginable space. The Williams tune becomes a dirge in the Cowboys’ hands. It’s a funeral song, or an elegy for one who has dragged herself so far into the oblivion of isolation that there is no place left to go but home. Michael’s guitar moves around the changes as bassist Anton plays them; he colors the space allowing for Margo to fill the melodic space spot-on, yet stretching each syllable out to the breaking point. For most, this was the Cowboy Junkies’ debut — Whites Off Earth Now!! was re-released in the States a few years later — and it established them firmly in the forefront of the “alternative” scene with radio and MTV. As an album, it’s still remarkable at how timeless it sounds, and its beauty is — in stark contrast to its presentation — voluminous and rich, perhaps even eternal.
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发表于 2020-12-8 16:04:26
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