Popa Chubby - Hit The High Hard One: Live (1996)
EAC Rip | FLAC (Img) + Cue + Log ~ 516 Mb | MP3 CBR320 ~ 210 Mb
Full Scans | 01:06:38 | RAR 5% Recovery
Blues, Blues Rock | Laughing Bear Records / Dixiefrog #DFGCD 8459
EAC Rip | FLAC (Img) + Cue + Log ~ 516 Mb | MP3 CBR320 ~ 210 Mb
Full Scans | 01:06:38 | RAR 5% Recovery
Blues, Blues Rock | Laughing Bear Records / Dixiefrog #DFGCD 8459
Popa Chubby, born Ted Horowitz, has been hard rocking the blues in his fierce and soulful way for more than 25 years. Over the course of a career that dates back to 1994, he has been a force of to be reckoned with on the guitar, and his tempestuous, soulful playing has never been more powerful. An imposing figure with a shaven head, tattooed arms, a goatee and a performance style he describes as “the Stooges meets Buddy Guy, Motörhead meets Muddy Waters, and Jimi Hendrix meets Robert Johnson," Popa Chubby is an endearing character who is one of the genre’s most popular figures.
His career has always been about moving forward and carving a place for himself in the imposing terrain of the music business, overcoming odds to continue growing and maturing as a creative force. He has built a constantly increasing base of fans across the world, where in many territories he is a star. A native New Yorker, Horowitz's first gigs were in the NYC punk scene as a guitarist for what he reflects was a "crazy Japanese special effects performance artist in a kimono called Screaming Mad George who had a horror-movie inspired show." Right from the start he was immersed in rock ‘n’ roll as theater, and learned from George and others playing CBGB’s at the time that included the Ramones, the Cramps, Richard Hell, whose band, the Voidoids he joined that rock ‘n’ roll should be dangerous. He reflects, "Musicians like the Ramones and the Sex Pistols weren’t just bands. They were a threat to society."
The Blues however was the foundation of his playing style. He recalls, "Since I’d grown up on Hendrix, Cream and Led Zeppelin, when I started playing blues in New York clubs I understood that the blues should be dangerous, too. It wasn’t just from playing in punk bands. Howlin’ Wolf and Muddy Waters were dangerous men. They’d cut or shoot you if they thought it was necessary, and Little Walter packed a gun and wouldn’t hesitate to use it. That danger is a real part of the Blues and I keep it alive in my music.”
Popa Chubby is his own man for better or worse. He reflects, "I’m living in a wild time, and that is where the inspiration is drawn from. There are my issues, but the picture is much bigger than me and my situation. Everything is breaking down in the world. The lines are being redefined. We all need something.”
Born Ted Horowitz, Popa Chubby is a true native son of the Big Apple. He was born in 1960 in the Bronx and grew up in a neighborhood made famous by Robert DeNiro in the movie A Bronx Tale. His parents owned a candy store on the corner of 181st Street and Arthur Avenue. His early memories of hearing the juke box playing the hits of early sixties soul and R&B – and the neighborhood teens flocking around it – made a lasting impression on him. To this day the musical influence of Otis Redding, Wilson Pickett, Aretha Franklin and Marvin Gaye are ever present in Popa’s music.
At the tender age of six, he picked up the drums and became consumed in playing "Wipeout" (much to the dismay of his mother and neighbors). His parents were huge fans of jazz and R&B and had a vast collection of 78’s and LP’s. Popa would spend hours scratching them up by playing the sections he liked over and over again. When he was seven, his father took him to see an oldies show at Madison Square Garden. Up close to the stage he watched the headliner duck walk across the stage playing his Gibson 335 like a ringin’ a bell!! Chuck Berry became Popa’s idol. The untimely death of his father when he was nine left Ted living with his old-school Italian grandparents. His love affair with the drums was put on indefinite hold.
The 70’s came and Popa began to hear the blues rock that was everywhere. Johnny Winter, Foghat, Led Zepplin and the Rolling Stones were on the radio and in the record stores and Popa, being a loner, found solace in listening to these records over and over on a beat up record player bought at a yard sale for a dollar.
At age sixteen he picked up his first guitar and never put it down. His fingers bled from trying to pick out the blues licks he heard second hand from the rockers who played them. In the late 70’s Punk Rock hit the scene, and Popa answered a classified ad in the Village Voice for a guitarist. He was hired by Japanese performance/special effects artist, Screaming Mad George, and played a fortuitous gig at CBGB in New York City’s Bowery. There he met Punk Rock godfather, Richard Hell, who was putting together a new version of his band the Voidoids. Popa was hired for a world tour. All the while Popa was honing his licks via the records of Albert, B.B. and especially Freddie King.
"When I first heard Freddie King my world was turned upside down. I was 19 and this older cat in the neighborhood played me the Just Pickin’ record and I was knocked out cold. I thought, ‘Man, that’s what I wanna be when I grow up.’"
With the 1980’s upon him, Popa played any and all styles of music he could, the education helping him to survive as a working musician. In 1984, while busking in New York’s Central Park, he met singer-songwriter Pierce Turner who had just signed with RCA Records. Pierce and Chubby shared a love for Otis Redding and Jimi Hendrix. Chubby was hired for a world tour and asked to contribute his blues-inflected guitar playing to Pierce’s album The Sky and The Ground. Popa worked with Pierce throughout the late 80’s, all the while itching to play the blues he loved.
In 1990 the Popa Chubby Band was born. The name was taken from an impromptu jam with Bernie Worell, one of the founding members of ‘70s psychedelic rock and R&B group Parliament-Funkadelic. "He was singing a song called ‘Popa Chubby’ and he pointed at me." The name captured the essence of what his music has come to represent. "Popa Chubby basically means to get excited. The core of my music is about excitement. I think music should make people feel alive."
Before long he was playing every club in New York. Popa landed the coveted spot as house band at the now defunct Manny’s Car Wash. There he got to back up and open for many of the great musicians who came through town. The combined experiences of backing a variety of artists helped shape his vision of what he now calls "New York City Blues."
In 1991, he entered the National Blues Talent Search sponsored by Long Beach Radio station KLON. He beat out a score of bands to bring the title to New York City and was rewarded with an opening spot at the 1991 Long Beach Blues Festival. Popa soon started touring regionally and released two independent records on his own label.
In 1994 Popa signed a recording deal with the recently resurrected O-Keh label (Sony Music). At first reluctant to sign on with such a corporate outfit, it was the prospect of working with Tom Dowd, longtime Atlantic Records engineer/producer, whose recordings by Aretha Franklin, Ray Charles, Wilson Pickett and others are legendary, that convinced him. Booty and The Beast was released in 1994, and the single, "Sweet Goddess Of Love and Beer," soon was sweeping the country and became a summer radio hit coast to coast in 1995.
Creative differences left Popa a free agent in 1996, so he began releasing albums on his own label. On the advice of Dowd he went to Europe, where his first two CD’s were released as a collection by the French Dixiefrog label. The record was an instant success and left Popa touring nonstop. The energy and showmanship of his sets earned him critical and commercial acclaim overseas, and in fact, he’s become a huge star in Europe, where he appears on the covers of guitar magazines and routinely sells out major venues.
The innovative performer and producer went on to do a number of other projects for Dixiefrog, his own albums and others by Big Apple artists recorded under the aegis of Popa Chubby Productions. In the process, he spearheaded a New York City sub-genre of blues. The New York sound is as complex as the city itself, melding a variety of street sounds from hip hop, punk, straight-up rock, R&B, into an unadulterated blues format. "New York is a melting pot of social and musical cultures, and New York City Blues is an amalgam of all those styles," explains Chubby.
Popa Chubby’s music, forged in the toughness that is New York City, takes blues to the cutting edge, where it highfives its contemporary cousins rock, rap, and hip hop. With his razor sharp, biting guitar, vocals from the gut, and top-notch skill as a songwriter, Popa Chubby artfully combines the rootsiness of blues with the more modern urban elements of today’s popular music.
In May 2000, Dixiefrog released How’d a White Boy Get the Blues? in Europe, where it has sold over 60,000 records and is still climbing. Looking for a domestic label that would understand his unique approach to the blues, Popa brought the album to Blind Pig Records, which released this seminal blues-rock concept record in August of 2001. It uses electric and acoustic guitar blends, drum loops and electronics to show how close the blues, hip-hop and R&B really are. The New York Post said, "The guitar ace is fantastic on this CD - the quintessence of what New York City blues is all about. There isn’t a bad song on it."
In march 2002 it’s The Good, The Bad, and The Chubby, which features thirteen brand new compositions reflecting, in his words, "Love, Life, Betrayal, Diesel, Jet Fuel, Marriage, Murder, Stress and Passion!" Popa, whose recording studio is about a half a mile away from the World Trade Center, wrote the opening track, "Somebody Let The Devil Out," in reaction to the tragedy of last September. He says of the new album, "This is my strongest effort to date, half of which was recorded after the dreadful attacks of 9/11. Needless to say, the result was an unbridled emotion and smoldering anger that are strongly reflected in the songs, vocals, and, musicianship. This is as real as it ever has gotten for me and if that ain’t what the blues is all about, well slap my ass and call me Shirley!"
On march 2004 it’s time for « Peace, love & respect, a new studio album, quite critical for the present american government , and which mixes, as usually, the favorite Popa Chubby styles (rock, blues, jazz, funk and rap).
Here is, now, « The years with Popa Chubby », including the best of its past ten years from the first recordings (The First Cuts) to the latest limited live series (Wild). A vitamin packed collection of 14 re-mastered recordings that have pleased fans since the day they’ve discovered the King of the New York City Blues.
This double Best of (Best of Studio + Best of Live) brings together his classic songs (Daddy Played the Guitar and Mama was a Disco Queen, Somebody let the Devil Out, Caffeine and Nicotine, Top Ten Reasons, New York City Blues…) as well as some rare treasures from his early days (Angel on my Shoulder, Teal Thing, Sweet Goddess of Love and Beer, Stoop Down Baby) and a bonus/previously unreleased track.
~ Dixiefrog - Bluesweb.com
At the tender age of six, he picked up the drums and became consumed in playing "Wipeout" (much to the dismay of his mother and neighbors). His parents were huge fans of jazz and R&B and had a vast collection of 78’s and LP’s. Popa would spend hours scratching them up by playing the sections he liked over and over again. When he was seven, his father took him to see an oldies show at Madison Square Garden. Up close to the stage he watched the headliner duck walk across the stage playing his Gibson 335 like a ringin’ a bell!! Chuck Berry became Popa’s idol. The untimely death of his father when he was nine left Ted living with his old-school Italian grandparents. His love affair with the drums was put on indefinite hold.
The 70’s came and Popa began to hear the blues rock that was everywhere. Johnny Winter, Foghat, Led Zepplin and the Rolling Stones were on the radio and in the record stores and Popa, being a loner, found solace in listening to these records over and over on a beat up record player bought at a yard sale for a dollar.
At age sixteen he picked up his first guitar and never put it down. His fingers bled from trying to pick out the blues licks he heard second hand from the rockers who played them. In the late 70’s Punk Rock hit the scene, and Popa answered a classified ad in the Village Voice for a guitarist. He was hired by Japanese performance/special effects artist, Screaming Mad George, and played a fortuitous gig at CBGB in New York City’s Bowery. There he met Punk Rock godfather, Richard Hell, who was putting together a new version of his band the Voidoids. Popa was hired for a world tour. All the while Popa was honing his licks via the records of Albert, B.B. and especially Freddie King.
"When I first heard Freddie King my world was turned upside down. I was 19 and this older cat in the neighborhood played me the Just Pickin’ record and I was knocked out cold. I thought, ‘Man, that’s what I wanna be when I grow up.’"
With the 1980’s upon him, Popa played any and all styles of music he could, the education helping him to survive as a working musician. In 1984, while busking in New York’s Central Park, he met singer-songwriter Pierce Turner who had just signed with RCA Records. Pierce and Chubby shared a love for Otis Redding and Jimi Hendrix. Chubby was hired for a world tour and asked to contribute his blues-inflected guitar playing to Pierce’s album The Sky and The Ground. Popa worked with Pierce throughout the late 80’s, all the while itching to play the blues he loved.
In 1990 the Popa Chubby Band was born. The name was taken from an impromptu jam with Bernie Worell, one of the founding members of ‘70s psychedelic rock and R&B group Parliament-Funkadelic. "He was singing a song called ‘Popa Chubby’ and he pointed at me." The name captured the essence of what his music has come to represent. "Popa Chubby basically means to get excited. The core of my music is about excitement. I think music should make people feel alive."
Before long he was playing every club in New York. Popa landed the coveted spot as house band at the now defunct Manny’s Car Wash. There he got to back up and open for many of the great musicians who came through town. The combined experiences of backing a variety of artists helped shape his vision of what he now calls "New York City Blues."
In 1991, he entered the National Blues Talent Search sponsored by Long Beach Radio station KLON. He beat out a score of bands to bring the title to New York City and was rewarded with an opening spot at the 1991 Long Beach Blues Festival. Popa soon started touring regionally and released two independent records on his own label.
In 1994 Popa signed a recording deal with the recently resurrected O-Keh label (Sony Music). At first reluctant to sign on with such a corporate outfit, it was the prospect of working with Tom Dowd, longtime Atlantic Records engineer/producer, whose recordings by Aretha Franklin, Ray Charles, Wilson Pickett and others are legendary, that convinced him. Booty and The Beast was released in 1994, and the single, "Sweet Goddess Of Love and Beer," soon was sweeping the country and became a summer radio hit coast to coast in 1995.
Creative differences left Popa a free agent in 1996, so he began releasing albums on his own label. On the advice of Dowd he went to Europe, where his first two CD’s were released as a collection by the French Dixiefrog label. The record was an instant success and left Popa touring nonstop. The energy and showmanship of his sets earned him critical and commercial acclaim overseas, and in fact, he’s become a huge star in Europe, where he appears on the covers of guitar magazines and routinely sells out major venues.
The innovative performer and producer went on to do a number of other projects for Dixiefrog, his own albums and others by Big Apple artists recorded under the aegis of Popa Chubby Productions. In the process, he spearheaded a New York City sub-genre of blues. The New York sound is as complex as the city itself, melding a variety of street sounds from hip hop, punk, straight-up rock, R&B, into an unadulterated blues format. "New York is a melting pot of social and musical cultures, and New York City Blues is an amalgam of all those styles," explains Chubby.
Popa Chubby’s music, forged in the toughness that is New York City, takes blues to the cutting edge, where it highfives its contemporary cousins rock, rap, and hip hop. With his razor sharp, biting guitar, vocals from the gut, and top-notch skill as a songwriter, Popa Chubby artfully combines the rootsiness of blues with the more modern urban elements of today’s popular music.
In May 2000, Dixiefrog released How’d a White Boy Get the Blues? in Europe, where it has sold over 60,000 records and is still climbing. Looking for a domestic label that would understand his unique approach to the blues, Popa brought the album to Blind Pig Records, which released this seminal blues-rock concept record in August of 2001. It uses electric and acoustic guitar blends, drum loops and electronics to show how close the blues, hip-hop and R&B really are. The New York Post said, "The guitar ace is fantastic on this CD - the quintessence of what New York City blues is all about. There isn’t a bad song on it."
In march 2002 it’s The Good, The Bad, and The Chubby, which features thirteen brand new compositions reflecting, in his words, "Love, Life, Betrayal, Diesel, Jet Fuel, Marriage, Murder, Stress and Passion!" Popa, whose recording studio is about a half a mile away from the World Trade Center, wrote the opening track, "Somebody Let The Devil Out," in reaction to the tragedy of last September. He says of the new album, "This is my strongest effort to date, half of which was recorded after the dreadful attacks of 9/11. Needless to say, the result was an unbridled emotion and smoldering anger that are strongly reflected in the songs, vocals, and, musicianship. This is as real as it ever has gotten for me and if that ain’t what the blues is all about, well slap my ass and call me Shirley!"
On march 2004 it’s time for « Peace, love & respect, a new studio album, quite critical for the present american government , and which mixes, as usually, the favorite Popa Chubby styles (rock, blues, jazz, funk and rap).
Here is, now, « The years with Popa Chubby », including the best of its past ten years from the first recordings (The First Cuts) to the latest limited live series (Wild). A vitamin packed collection of 14 re-mastered recordings that have pleased fans since the day they’ve discovered the King of the New York City Blues.
This double Best of (Best of Studio + Best of Live) brings together his classic songs (Daddy Played the Guitar and Mama was a Disco Queen, Somebody let the Devil Out, Caffeine and Nicotine, Top Ten Reasons, New York City Blues…) as well as some rare treasures from his early days (Angel on my Shoulder, Teal Thing, Sweet Goddess of Love and Beer, Stoop Down Baby) and a bonus/previously unreleased track.
~ Dixiefrog - Bluesweb.com
***************
Track List:
01. Heart Attack And Vine [4:42]
02. Caffeine And Nicotine [3:59]
03. Long Distance Pain [11:08]
04. Size 13 [0:16]
05. What's So Great About Rock And Roll [3:59]
06. Stoop Down Baby [5:36]
07. Trail Of Tears [7:29]
08. Isis [7:07]
09. Sweet Goddess Of Love And Beer [8:51]
10. San Catri [10:16]
11. Wild Thing [3:15]
Personnel:
Bass - Dean Zucchero, Twisty Benson
Drums - Rich Monica Junior
Guitar, Vocals - Popa Chubby
Exact Audio Copy V1.1 from 23. June 2015
EAC extraction logfile from 13. January 2018, 9:52
Popa Chubby / Hit The High Hard One (Live)
Used drive : Optiarc DVD RW AD-7283S Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 48
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 : User Defined Encoder
Selected bitrate : 128 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "Genre=%genre%" -T "Artist=%artist%" -T "Title=%title%" -T "Album=%albumtitle%" -T "Date=%year%" -T "Tracknumber=%tracknr%" -T "Comment=%comment%" %source%
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Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
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2 | 4:42.30 | 3:59.27 | 21180 | 39131
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7 | 29:40.30 | 7:28.45 | 133530 | 167174
8 | 37:09.00 | 7:07.10 | 167175 | 199209
9 | 44:16.10 | 8:51.20 | 199210 | 239054
10 | 53:07.30 | 10:15.50 | 239055 | 285229
11 | 63:23.05 | 3:15.12 | 285230 | 299866
Range status and errors
Selected range
Filename F:\alexbras\1996 Popa Chubby - Hit The High Hard One - Live (DFGCD 8459)\Popa Chubby - Hit The High Hard One (Live).wav
Peak level 100.0 %
Extraction speed 8.3 X
Range quality 100.0 %
Test CRC 96FB71D3
Copy CRC 96FB71D3
Copy OK
No errors occurred
AccurateRip summary
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You may have a different pressing from the one(s) in the database
End of status report
==== Log checksum 95ABD5D1B07CB3D5F57E9940AFE991B926CD1C7747572A45147834610F49A8F1 ====
EAC extraction logfile from 13. January 2018, 9:52
Popa Chubby / Hit The High Hard One (Live)
Used drive : Optiarc DVD RW AD-7283S Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 48
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 : User Defined Encoder
Selected bitrate : 128 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "Genre=%genre%" -T "Artist=%artist%" -T "Title=%title%" -T "Album=%albumtitle%" -T "Date=%year%" -T "Tracknumber=%tracknr%" -T "Comment=%comment%" %source%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:42.30 | 0 | 21179
2 | 4:42.30 | 3:59.27 | 21180 | 39131
3 | 8:41.57 | 11:07.38 | 39132 | 89194
4 | 19:49.20 | 0:16.15 | 89195 | 90409
5 | 20:05.35 | 3:58.40 | 90410 | 108299
6 | 24:04.00 | 5:36.30 | 108300 | 133529
7 | 29:40.30 | 7:28.45 | 133530 | 167174
8 | 37:09.00 | 7:07.10 | 167175 | 199209
9 | 44:16.10 | 8:51.20 | 199210 | 239054
10 | 53:07.30 | 10:15.50 | 239055 | 285229
11 | 63:23.05 | 3:15.12 | 285230 | 299866
Range status and errors
Selected range
Filename F:\alexbras\1996 Popa Chubby - Hit The High Hard One - Live (DFGCD 8459)\Popa Chubby - Hit The High Hard One (Live).wav
Peak level 100.0 %
Extraction speed 8.3 X
Range quality 100.0 %
Test CRC 96FB71D3
Copy CRC 96FB71D3
Copy OK
No errors occurred
AccurateRip summary
Track 1 cannot be verified as accurate (confidence 13) [C62722C6], AccurateRip returned [A5AEB9FA] (AR v2)
Track 2 cannot be verified as accurate (confidence 13) [8D75E297], AccurateRip returned [CD8EB504] (AR v2)
Track 3 cannot be verified as accurate (confidence 13) [1835FD6D], AccurateRip returned [B4D8DF4C] (AR v2)
Track 4 cannot be verified as accurate (confidence 13) [2E6CC284], AccurateRip returned [F90C88D7] (AR v2)
Track 5 cannot be verified as accurate (confidence 13) [ADE156AC], AccurateRip returned [E9166503] (AR v2)
Track 6 cannot be verified as accurate (confidence 13) [BE799344], AccurateRip returned [3C055EC8] (AR v2)
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Track 11 cannot be verified as accurate (confidence 11) [DE1D55E7], AccurateRip returned [50AF5D2A] (AR v2)
No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database
End of status report
==== Log checksum 95ABD5D1B07CB3D5F57E9940AFE991B926CD1C7747572A45147834610F49A8F1 ====
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09 [78d7d6a7] (13/37) Accurately ripped
10 [512a1a49] (11/35) Accurately ripped
11 [50af5d2a] (11/36) Accurately ripped
Offsetted by 664:
01 [6a0271cb] (02/37) Accurately ripped
02 [d1cbc9bd] (02/37) Accurately ripped
03 [bf31696f] (02/37) Accurately ripped
04 [2ddfa687] (02/37) Accurately ripped
05 [d3904a38] (02/37) Accurately ripped
06 [7e981fb1] (02/37) Accurately ripped
07 [74b3d799] (02/37) Accurately ripped
08 [0bb887bd] (02/37) Accurately ripped
09 [2272abb8] (02/37) Accurately ripped
10 [1534abe7] (02/35) Accurately ripped
11 [3b694829] (02/36) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 100,0 [96FB71D3] [9D97F9B7] CRC32
01 100,0 [42A0C856] [C7E92985]
02 100,0 [5157AE6D] [1782F1CB]
03 100,0 [37ADD837] [FA0A95D7]
04 78,5 [6DFA9FF1] [1517674C]
05 100,0 [4AC9A8D0] [FF965149]
06 100,0 [38165136] [AE3B0F4B]
07 100,0 [415E1F92] [89828C12]
08 100,0 [881248E8] [2AFA8ABE]
09 100,0 [A82C241A] [317429A0]
10 100,0 [1F44EDBD] [D63FB74F]
11 100,0 [23D7B322] [A49EE66F]
[CTDB TOCID: ziF.AAtr8cidULJDKXsc29pva44-] found.
Track | CTDB Status
1 | (36/36) Accurately ripped
2 | (36/36) Accurately ripped
3 | (36/36) Accurately ripped
4 | (36/36) Accurately ripped
5 | (36/36) Accurately ripped
6 | (35/36) Accurately ripped
7 | (35/36) Accurately ripped
8 | (36/36) Accurately ripped
9 | (36/36) Accurately ripped
10 | (36/36) Accurately ripped
11 | (36/36) Accurately ripped
[AccurateRip ID: 0019845c-00e1fb0f-930f9e0b] found.
Track [ CRC | V2 ] Status
01 [5284cb83|c62722c6] (00+00/37) No match
02 [c9355f22|8d75e297] (00+00/37) No match
03 [2c4aba9a|1835fd6d] (00+00/37) No match
04 [45798b73|2e6cc284] (00+00/37) No match
05 [a59c8217|ade156ac] (00+00/37) No match
06 [b0f7d1ae|be799344] (00+00/37) No match
07 [f7edc825|f33c016f] (00+00/37) No match
08 [ca798cb7|a671136f] (00+00/37) No match
09 [8f679a15|a4e6e0f1] (00+00/37) No match
10 [2af7e005|33213e31] (00+00/35) No match
11 [0ea36bd8|de1d55e7] (00+00/36) No match
Offsetted by 36:
01 [b207575d] (05/37) Accurately ripped
02 [d19b9ff8] (05/37) Accurately ripped
03 [5c6a6f12] (05/37) Accurately ripped
04 [cf6dd531] (05/37) Accurately ripped
05 [e45dc098] (05/37) Accurately ripped
06 [a9749dcc] (05/37) Accurately ripped
07 [928587d9] (05/37) Accurately ripped
08 [3d6dda5a] (05/37) Accurately ripped
09 [874be190] (05/37) Accurately ripped
10 [7985e0bf] (05/35) Accurately ripped
11 [ae1e38ef] (05/36) Accurately ripped
Offsetted by 391:
01 [a5aeb9fa] (13/37) Accurately ripped
02 [cd8eb504] (13/37) Accurately ripped
03 [b4d8df4c] (13/37) Accurately ripped
04 [f90c88d7] (13/37) Accurately ripped
05 [e9166503] (13/37) Accurately ripped
06 [3c055ec8] (13/37) Accurately ripped
07 [898aefb2] (13/37) Accurately ripped
08 [3fa633b0] (13/37) Accurately ripped
09 [78d7d6a7] (13/37) Accurately ripped
10 [512a1a49] (11/35) Accurately ripped
11 [50af5d2a] (11/36) Accurately ripped
Offsetted by 664:
01 [6a0271cb] (02/37) Accurately ripped
02 [d1cbc9bd] (02/37) Accurately ripped
03 [bf31696f] (02/37) Accurately ripped
04 [2ddfa687] (02/37) Accurately ripped
05 [d3904a38] (02/37) Accurately ripped
06 [7e981fb1] (02/37) Accurately ripped
07 [74b3d799] (02/37) Accurately ripped
08 [0bb887bd] (02/37) Accurately ripped
09 [2272abb8] (02/37) Accurately ripped
10 [1534abe7] (02/35) Accurately ripped
11 [3b694829] (02/36) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 100,0 [96FB71D3] [9D97F9B7] CRC32
01 100,0 [42A0C856] [C7E92985]
02 100,0 [5157AE6D] [1782F1CB]
03 100,0 [37ADD837] [FA0A95D7]
04 78,5 [6DFA9FF1] [1517674C]
05 100,0 [4AC9A8D0] [FF965149]
06 100,0 [38165136] [AE3B0F4B]
07 100,0 [415E1F92] [89828C12]
08 100,0 [881248E8] [2AFA8ABE]
09 100,0 [A82C241A] [317429A0]
10 100,0 [1F44EDBD] [D63FB74F]
11 100,0 [23D7B322] [A49EE66F]