Артист: Rush Альбом: Moving Pictures 1981, 1992 Жанр: Progressive rock Формат файла: EAC_APE(tracks-->cdimage)_CUE_LOG_COVERS Ссылка: CD Нахождение: eDonkey/Kademlia Примечание: рип из педры, спасибо Сергею Ивановичу за советы!

CODE

EAC extraction logfile from 21. July 2005, 4:59 for CD Rush / Moving Pictures (1981) [FLAC] (MFSL UltraDisc 2) Used drive : ASUS DVD-E616P2 Adapter: 2 ID: 0 Read mode : Secure with NO C2, accurate stream, disable cache Read offset correction : 738 Overread into Lead-In and Lead-Out : No Used output format : Internal WAV Routines 44.100 Hz; 16 Bit; Stereo Other options : Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Installed external ASPI interface No errors occured End of status report

thnx to my friends :)

Rush - 1981 Moving Pictures
1992 MFSL UDCD 576

by server_alliance



Album Review
Wikipedia
From Wikipedia, the free encyclopedia.

Moving Pictures is the eighth studio album by Canadian rock band Rush, released in 1981 (see 1981 in music). The album was recorded and mixed at Le Studio, Morin Heights, Quebec.

A classic rock album, Moving Pictures represents Rush's best-selling and thus most popular studio recording to date (certified quadruple-platinum on January 27, 1995).

Following the formula of their previous album, Permanent Waves, Moving Pictures follows a more radio-friendly format and includes the hit single Tom Sawyer, as well other radio standards such as Red Barchetta and Limelight.

With a title reference to Mark Twain's fictional character, Tom Sawyer is an abstract commentary on a free-thinking "modern day warrior". Likely Rush's best-selling single, lyrics for this track were written in collaboration with Max Webster lyricist Pye Dubois.

The second song on Moving Pictures is Red Barchetta. Displaying Neil Peart's literary style of lyric writing, Red Barchetta is a futuristic tale of a youth who "borrows" his uncle's disused, classic roadster for a Sunday drive. Lyrics were inspired by the short story A Nice Morning Drive [1] by Richard S. Foster. Peart, however, has reported that the car that inspired the song's title is a Ferrari 166 MM Barchetta.

Also included on the record is the Grammy-nominated instrumental YYZ. The song's title is the IATA Airport Code for Toronto Pearson International Airport. It is played repeatedly in Morse code (-.-- -.-- --..) at the beginning of the song. A staple within their live-performance repertoire, YYZ is widely seen as a signature Rush song, and one of the band's most popular instrumentals.

Limelight is another perennial radio favorite. Lyrics are autobiographical, based on Peart's own dissatisfactions with fame and its intrusions into daily life. The song contains two self-references-one, the line "All the world's indeed a stage", references their live album All The World's a Stage (as well as the famous line by William Shakespeare) while the line "caught in the camera eye" references the next track, The Camera Eye which would become Rush's last song to clock at over ten minutes.

The sixth song, Witch Hunt initially features voices and sound effects before jumping into the rock section of the song. The song would become a part of the Fear series of songs, which includes "The Weapon" from Signals, The Enemy Within from Grace Under Pressure, and Freeze from Vapor Trails.

Rounding out the album, Vital Signs shows distinct reggae flavor, the experimentation with which was likely inspired by The Police. Reggae influences would later creep into tracks found on the band's next studio release, Signals.



Personnel

* Geddy Lee - Bass guitar; Mini Moog; Oberheim polyphonic; OB-X, Taurus pedal synthesizer, vocals
* Alex Lifeson - Electric and Acoustic Guitars, Taurus pedals
* Neil Peart - Drums, glockenspiel, wind chimes, cowbells
* Paul Northfield - Sound Engineer
* Hugh Syme - guest appearance playing synthesizers on "Witch Hunt".




"This is, without question, THE definitive version of this classic recording!"

так вроде, следуя его указаниям, у меня все правильно получилось..
да и кое-кто тут не любит потрековые релизы :diablo: :wall:

потрековые релизы чушь какая-то... есои уж делать - то образ. Вот второй раз буду качать этот альбом (до этого потреково качал), т.к. я нифига не понял как сделать образ из треков )))

OlCh
Так потому и советовал, что бывают всяческие заморочки... :)

OlCh ты украл мои вопрос ..... :confused2:

OlCh
Ну разумеется, если цель - поджарить диск и слушать его - то тут и вопросов нет. Но если кому-то нужен именно имидж, просто чтоб был именно он - его из треков, пусть даже и с наличествующим CUE получить совсем не так просто. Да и, в общем, треки с CUE - это всё равно масса потенциальных проблем даже если хочется просто прожечь и слушать. Тут и исчезающий бонус, если он был в прегапе первого трека, тут и съезжающая разбивка диска, если релизер от особого ума сделал граб в одном режиме, а CUE для другого... А всё это выясняется не вот так сразу, а обычно уже после прожига... :zlo:

Впрочем, в связи с тем, что музыка меня стала интересовать теперь гораздо меньше, меня все эти проблемы интересуют мало. Интересуют, но... мало... :p

Про осознанную необходимость - это кто-то из атеистической шайки говорил, кажись. А так как я отнюдь не атеист, для меня эти их "мудрые" высказвания - пустой звук! :p