Subcategories
Tags
Language
Tags

Perez Prado - Best Selection (2009) Japanese SHM-CD

Posted By: Designol
Perez Prado - Best Selection (2009) Japanese SHM-CD

Pérez Prado - Best Selection (2009) Japanese SHM-CD
EAC | FLAC | Image (Cue&Log) ~ 490 Mb | Mp3 (CBR320) ~ 217 Mb | Scans included
Mambo, Salsa, Latin Big Band, Latin Jazz | Label: UMC | # UICY-80035 | 01:12:01

Universally known as the King of the Mambo, Pérez Prado was the single most important musician involved in the hugely popular Latin dance craze. Whether he actually created the rhythm is somewhat disputed, but it's abundantly clear that Prado developed it into a bright, swinging style with massive appeal for dancers of all backgrounds and classes. Prado's mambo was filled with piercing high-register trumpets, undulating saxophone counterpoint, atmospheric organ (later on), and harmonic ideas borrowed from jazz. While his tight percussion arrangements allowed for little improvisation, they were dense and sharply focused, keeping the underlying syncopations easy for dancers to follow. Prado played the piano, but was often more in his element as the focal point of the audience's excitement; he leaped, kicked, danced, shouted, grunted, and exhorted his musicians with a dynamic stage presence that put many more sedate conductors and bandleaders to shame. With this blueprint, Prado brought mambo all the way into the pop mainstream, inspiring countless imitators and scoring two number one singles on the pop charts (albeit in a smoother vein than the fare that first made his name) as the fad snowballed. He was a star throughout most of the Western Hemisphere during the '50s, and even after his popularity waned in the United States, he remained a widely respected figure in many Latin countries, especially his adopted home of Mexico. Prado is often best remembered for his softer, more commercial work, which has an undeniable kitschiness that plays well with modern-day lounge-revival hipsters. Unfortunately, that has served to obscure his very real credentials in the realm of authentic, unadulterated Latin dance music, and to this day he remains somewhat underappreciated.

Damaso Pérez Prado was born in the heavily Afro-Cuban area of Matanzas, Cuba, on December 11, 1916 (though he habitually gave his birthdate as five years later). According to custom, he carried both his father's and mother's last name; his earliest recordings were issued under the name D. Pérez Prado, but the "D." was dropped on his American releases, and in 1955 he had his full name legally shortened to Pérez Prado. Starting in childhood, Prado studied classical piano, and by the time he finished school, he was good enough to play piano and organ professionally in local clubs and movie theaters. He moved to Havana around 1942 and freelanced for a number of smaller orchestras over the next year or so. Chiefly a pianist at this point, he also landed an arranging job with Gapar Roca de la Peer, which sometimes supplied material to the highly popular Orquesta Casino de la Playa. The orchestra's lead vocalist, Cascarita, liked Prado's work, and soon they hired him as arranger and pianist. This was the early platform Prado needed to develop his own arranging style, and after-hours jam sessions around Havana were already influencing his rhythmic concepts. Seeking to bring more excitement into the well-established rumba rhythm, Prado began to experiment with the hard swing of American jazz, influenced especially by the harmonically sophisticated big-band music of Stan Kenton. He also sought to build new Afro-Cuban-derived rhythms, including a pattern that was dubbed the mambo, whose early forms were traced back to Arsenio Rodriguez and Orestes Lopez.

Prado's innovations were greeted with outright hostility from Cuba's conservative musical establishment, which resisted the incursion of jazz on their native music. No longer able to find arranging work, he left Cuba in 1947 to try his luck in Puerto Rico. He eventually joined a touring group that swung through Argentina, Venezuela, Panama, and Mexico, and emerged as their star attraction. In 1948, he relocated to Mexico City and set about putting together his own orchestra, which featured a core membership of Cuban expatriates. One of those was singer Beny Moré, who performed and recorded with Prado (among several other bandleaders) through 1950; the association helped make Prado's orchestra a top draw in Mexico City, and set Moré on a path to becoming one of Cuba's best-loved singers. RCA's Mexican division signed Prado as an artist in his own right in 1949, and his first 78 rpm record, "Que Rico el Mambo" b/w "Mambo No. 5," was a hit across much of Latin America. In 1950, RCA reissued it in the U.S., with the A-side's title changed to "Mambo Jambo"; it had moderate success there too. Over 1950, Prado released numerous singles in Mexico; most of them were titled in tribute to a broad range of social classes and occupations, which helped make them wildly popular. Additionally, Prado appeared in several Mexican films, generally playing himself and spotlighting his stage act.

The early '50s were a busy time for Prado, who mounted a number of international tours as the mambo sound spread like wildfire. In Peru, Catholic authorities threatened to deny absolution for anyone who participated in mambo dancing, to little discernible effect. Prado's first U.S. tour came in 1951, with Beny Moré accompanying him; because of musicians' union rules, he was often forced to hire local musicians in place of his Mexican personnel, and train them rigorously in a very short period of time with little knowledge of English. The tour was a smashing success, however, especially on the West Coast, and RCA started releasing his records on their main RCA Victor imprint, rather than consigning them to a specialty subsidiary. In late 1953, Prado caused a stir when he was abruptly deported by Mexican officials to Havana; his sudden disappearance (he was arrested in a backstage dressing room) sparked rumors of kidnapping before he finally resurfaced to explain that he had forgotten to renew his visa.

Prado returned to the U.S. in 1954, embarking on another hugely successful tour of the West Coast. He then made his way to New York, where his orchestra played several upscale venues that helped make mambo all the rage among upper as well as lower classes. Spurred by mambo nights in clubs across the city, mambo was pushing its way into the pop mainstream, as traditional pop crooners and R&B/blues artists alike recorded Latin-flavored novelty items paying tribute to the emerging fad. Seeing that his music could cross over to the lucrative white market, Prado began to tailor it for mainstream consumption, scoring minor hits with covers of the theme from the Italian film Anna and the South African tune "Skokiaan," which signaled the beginning of a more polished studio sound. He finally scored a breakout pop hit in early 1955 with "Cherry Pink and Apple Blossom White," which was used as the theme to the Jane Russell film Underwater!. Ironically for the Cuban-born El Rey del Mambo, his first major hit was an adaptation of a French song ("Cerisier Rose et Pommier Blanc"), and its underlying rhythm was a cha-cha. Powered by a dramatic, swooping trumpet lead by Billy Regis, "Cherry Pink and Apple Blossom White" spent an astounding ten weeks at number one on the pop charts, making it one of the biggest instrumental hits of all time. The accompanying album, Mambo Mania, was Prado's first full-length 12" LP, and mostly featured material he'd recorded during his time in Mexico.

Prado took advantage of his success to attempt more ambitious compositions during this period. His first effort in this vein was 1954's The Voodoo Suite, an impressionistic tone poem for Afro-Cuban big band that incorporated elements of jazz and exotica. West Coast trumpeter Shorty Rogers helped out on the arrangements, and the results often recalled Stan Kenton's progressive big-band mood music, albeit with a Latin sound. The 1956 album Havana 3 A.M. was a wilder excursion that ranked as probably the purest, most authentically Latin record of Prado's commercial period. Of course, there were many commercial projects too; the biggest was 1958's Prez, which fell just short of the Top 20 on the pop LP charts. That same year, Prado scored his second number one single with the self-composed "Patricia," a slinky if subdued instrumental spotlighting his organ playing. The tune was later used in a steamy, controversial sequence in director Federico Fellini's classic La Dolce Vita. The follow-up single, "Guaglione," just missed the Top 50.

Determined not to become a one-trick pony, Prado had begun to experiment with new rhythms and dance forms as early as 1954. A rhythm he called "La Culeta" was his answer to the cha-cha, adding violins to the required instrumentation. Several others – the suby and the pau-pau (both mid-'50s), La Chunga and El Dengue (both early '60s) – failed to catch fire with the public as mambo had. In the early '60s, Prado began to flirt with rock & roll dances, adding Twist-type rhythms and tempos to albums like 1961's Rockambo and 1962's The Twist Goes Latin (the latter featured Twist reworkings of his two chart-topping singles). However, he wasn't simply chasing trends during this period; 1962 brought another compositionally ambitious tone poem, The Exotic Suite of the Americas, which added strings and a movie-soundtrack feel to an Afro-Cuban big band. Unfortunately, Prado was running out of commercial steam, his early thunder largely stolen by rock & roll. His last American album for RCA, Dance Latino, was released in 1965, and by the early '70s, he had returned to Mexico City permanently.

Despite his declining fortunes in the U.S., Prado remained an icon in much of Latin America, and he continued to tour successfully in Mexico, South America, and Japan during the '70s. He also released records in those markets, and appeared frequently on Mexican television. In 1981, he appeared in a musical revue, Sun, that enjoyed a lengthy run in Mexico City. A false report surfaced in 1983 that Prado had died in Milan, Italy, but it was actually his younger brother, Pantaleón Pérez Prado, who had passed away; Prado had been forced to sue Pantaleón in 1956 for impersonating him and using the performing name Pérez Prado to draw audiences in Europe. Prado himself started grooming his son, Pérez Prado, Jr., to take over the reins of his orchestra in the mid-'80s. Prado returned to America for a final concert at the Hollywood Palladium in 1987; although age and ill health had taken its toll on his stage demeanor, the appearance was a sold-out success. He passed away in Mexico City on September 14, 1989, after suffering a stroke. Prado's music has lived on in popular culture in the years since his death: "Guaglione" was a near-number one hit in England in 1995 after being featured in a Guinness beer commercial; "Patricia" was adopted as the theme for the HBO documentary series Real Sex; and "Mambo No. 5" was adapted into the unnervingly catchy novelty hit "Mambo No. 5 (A Little Bit Of…)" by Lou Bega in 1999. Prado Jr. continues to direct his father's orchestra in Mexico City.

Steve Huey, Allmusic.com

Perez Prado - Best Selection (2009) Japanese SHM-CD



Tracklist:

01. Mambo No.5 (2:20)
02. Historia de un amor (1:48)
03. La Macarena (3:28)
04. Quizas, Quizas, Quizas (2:43)
05. Mambo No.8 (1:30)
06. Besame Mucho (2:29)
07. La bamba (2:48)
08. Copacabana (3:21)
09. La reine de Saba (2:33)
10. Corazon de melon (2:38)
11. Jungle (3:48)
12. Cerezo roza (1:58)
13. El condor pasa (2:24)
14. El humahuaqueno (1:53)
15. Aquellhos ojos grises (1:46)
16. Tombe la neige (2:41)
17. El bimbo (3:19)
18. Tabu (2:59)
19. J'ai pleure de joie (2:37)
20. Cachito (2:08)
21. Moliendo cafe (3:29)
22. Cha cha cha flamenco (2:43)
23. Jungle Drums (2:34)
24. Guaglioni (2:25)
25. Mama yo quiero (2:06)
26. Quiereme mucho (2:34)
27. Chivirico (2:03)
28. Babalu (2:54)


Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 21. September 2013, 23:57

Perez Prado / Best Selection

Used drive : ASUS DRW-24B1LT Adapter: 5 ID: 1

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
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 : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "TOTALTRACKS=%numtracks%" -T "GENRE=%genre%" -T "ALBUMARTIST=%albumartist%" -T "ALBUM ARTIST=%albumartist%" -T "COMMENT=EAC Secure Mode, Test & Copy, AccurateRip, FLAC -8" %source%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 2:20.21 | 0 | 10520
2 | 2:20.21 | 1:48.18 | 10521 | 18638
3 | 4:08.39 | 3:27.69 | 18639 | 34232
4 | 7:36.33 | 2:42.45 | 34233 | 46427
5 | 10:19.03 | 1:29.43 | 46428 | 53145
6 | 11:48.46 | 2:29.32 | 53146 | 64352
7 | 14:18.03 | 2:48.06 | 64353 | 76958
8 | 17:06.09 | 3:21.34 | 76959 | 92067
9 | 20:27.43 | 2:33.15 | 92068 | 103557
10 | 23:00.58 | 2:38.18 | 103558 | 115425
11 | 25:39.01 | 3:48.05 | 115426 | 132530
12 | 29:27.06 | 1:58.10 | 132531 | 141390
13 | 31:25.16 | 2:23.66 | 141391 | 152181
14 | 33:49.07 | 1:52.73 | 152182 | 160654
15 | 35:42.05 | 1:46.30 | 160655 | 168634
16 | 37:28.35 | 2:40.48 | 168635 | 180682
17 | 40:09.08 | 3:19.18 | 180683 | 195625
18 | 43:28.26 | 2:58.50 | 195626 | 209025
19 | 46:27.01 | 2:36.67 | 209026 | 220792
20 | 49:03.68 | 2:07.60 | 220793 | 230377
21 | 51:11.53 | 3:29.03 | 230378 | 246055
22 | 54:40.56 | 2:43.19 | 246056 | 258299
23 | 57:24.00 | 2:33.73 | 258300 | 269847
24 | 59:57.73 | 2:25.26 | 269848 | 280748
25 | 62:23.24 | 2:05.68 | 280749 | 290191
26 | 64:29.17 | 2:34.17 | 290192 | 301758
27 | 67:03.34 | 2:02.50 | 301759 | 310958
28 | 69:06.09 | 2:54.33 | 310959 | 324041


Range status and errors

Selected range

Filename F:\audio\Perez Prado - Best Selection.wav

Peak level 100.0 %
Extraction speed 6.5 X
Range quality 100.0 %
Test CRC 0A407705
Copy CRC 0A407705
Copy OK

No errors occurred


AccurateRip summary

Track 1 cannot be verified as accurate (confidence 1) [34851C08], AccurateRip returned [BBED06DA] (AR v2)
Track 2 cannot be verified as accurate (confidence 1) [385243E6], AccurateRip returned [AB05736C] (AR v2)
Track 3 cannot be verified as accurate (confidence 1) [C076B1CB], AccurateRip returned [DC9C1C72] (AR v2)
Track 4 cannot be verified as accurate (confidence 1) [2C8A8016], AccurateRip returned [F34A5C7F] (AR v2)
Track 5 cannot be verified as accurate (confidence 1) [02DC8C7A], AccurateRip returned [1E1106FD] (AR v2)
Track 6 cannot be verified as accurate (confidence 1) [3E8D5A5F], AccurateRip returned [70BD7879] (AR v2)
Track 7 cannot be verified as accurate (confidence 1) [98C5ED73], AccurateRip returned [62C7E117] (AR v2)
Track 8 cannot be verified as accurate (confidence 1) [6D5FCF73], AccurateRip returned [56F55C14] (AR v2)
Track 9 cannot be verified as accurate (confidence 1) [BE64A7AC], AccurateRip returned [E5C8C66B] (AR v2)
Track 10 cannot be verified as accurate (confidence 1) [F3336F16], AccurateRip returned [E84E1C2A] (AR v2)
Track 11 cannot be verified as accurate (confidence 1) [5C62C89E], AccurateRip returned [0E6381A8] (AR v2)
Track 12 cannot be verified as accurate (confidence 1) [584C6918], AccurateRip returned [D0CE9037] (AR v2)
Track 13 cannot be verified as accurate (confidence 1) [7168A2AC], AccurateRip returned [B3A04192] (AR v2)
Track 14 cannot be verified as accurate (confidence 1) [A9CF18B3], AccurateRip returned [EFC23F79] (AR v2)
Track 15 cannot be verified as accurate (confidence 1) [40EDAE27], AccurateRip returned [68A3085E] (AR v2)
Track 16 cannot be verified as accurate (confidence 1) [FC34FA55], AccurateRip returned [67BF0DC0] (AR v2)
Track 17 cannot be verified as accurate (confidence 1) [C2A7C193], AccurateRip returned [0E93902A] (AR v2)
Track 18 cannot be verified as accurate (confidence 1) [8370BD49], AccurateRip returned [15363680] (AR v2)
Track 19 cannot be verified as accurate (confidence 1) [66F7785A], AccurateRip returned [657225BC] (AR v2)
Track 20 cannot be verified as accurate (confidence 1) [3D863DCB], AccurateRip returned [88DBAB9A] (AR v2)
Track 21 not present in database
Track 22 cannot be verified as accurate (confidence 1) [C6F6EAAF], AccurateRip returned [9AC696E2] (AR v2)
Track 23 cannot be verified as accurate (confidence 1) [E98A1B6A], AccurateRip returned [138F2BD2] (AR v2)
Track 24 cannot be verified as accurate (confidence 1) [D46756C7], AccurateRip returned [F2956DA6] (AR v2)
Track 25 cannot be verified as accurate (confidence 1) [593FA93F], AccurateRip returned [5EC7C220] (AR v2)
Track 26 cannot be verified as accurate (confidence 1) [FE6484FE], AccurateRip returned [EBAE9208] (AR v2)
Track 27 cannot be verified as accurate (confidence 1) [9668964E], AccurateRip returned [E14624F2] (AR v2)
Track 28 cannot be verified as accurate (confidence 1) [21688549], AccurateRip returned [909CE608] (AR v2)

27 track(s) could not be verified as accurate
1 track(s) not present in the AccurateRip database

No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database

End of status report

–– CUETools DB Plugin V2.1.3

[CTDB TOCID: K3gaKyFLR6pfgquNJist_UUOjGc-] disk not present in database, Submit result: K3gaKyFLR6pfgquNJist_UUOjGc- has been uploaded


==== Log checksum 5F5358F4439B389C4BCBDA8690A395E2D0BA5159A3BE390C519F19B999D06599 ====

[CUETools log; Date: 27.08.2018 2:48:28; Version: 2.1.4]
[CTDB TOCID: K3gaKyFLR6pfgquNJist_UUOjGc-] found.
Track | CTDB Status
1 | (2/2) Accurately ripped
2 | (2/2) Accurately ripped
3 | (2/2) Accurately ripped
4 | (2/2) Accurately ripped
5 | (2/2) Accurately ripped
6 | (2/2) Accurately ripped
7 | (2/2) Accurately ripped
8 | (2/2) Accurately ripped
9 | (2/2) Accurately ripped
10 | (2/2) Accurately ripped
11 | (2/2) Accurately ripped
12 | (2/2) Accurately ripped
13 | (2/2) Accurately ripped
14 | (2/2) Accurately ripped
15 | (2/2) Accurately ripped
16 | (2/2) Accurately ripped
17 | (2/2) Accurately ripped
18 | (2/2) Accurately ripped
19 | (2/2) Accurately ripped
20 | (2/2) Accurately ripped
21 | (2/2) Accurately ripped
22 | (2/2) Accurately ripped
23 | (2/2) Accurately ripped
24 | (2/2) Accurately ripped
25 | (2/2) Accurately ripped
26 | (2/2) Accurately ripped
27 | (2/2) Accurately ripped
28 | (2/2) Accurately ripped
[AccurateRip ID: 00478cf0-059bc9ec-8410e01c] found.
Track [ CRC | V2 ] Status
01 [480b594a|34851c08] (0+1/5) Accurately ripped
02 [d9a17f13|385243e6] (0+1/5) Accurately ripped
03 [91856564|c076b1cb] (0+1/5) Accurately ripped
04 [bae49de9|2c8a8016] (0+1/5) Accurately ripped
05 [562ba48b|02dc8c7a] (0+1/5) Accurately ripped
06 [dbbf0266|3e8d5a5f] (0+1/5) Accurately ripped
07 [8a85faf6|98c5ed73] (0+1/5) Accurately ripped
08 [52075238|6d5fcf73] (0+1/5) Accurately ripped
09 [13742966|be64a7ac] (0+1/5) Accurately ripped
10 [e51616c0|f3336f16] (0+1/5) Accurately ripped
11 [975f4edb|5c62c89e] (0+1/5) Accurately ripped
12 [c7da4441|584c6918] (0+1/5) Accurately ripped
13 [ab0abada|7168a2ac] (0+1/5) Accurately ripped
14 [cd7ffa30|a9cf18b3] (0+1/5) Accurately ripped
15 [626aeee6|40edae27] (0+1/5) Accurately ripped
16 [88069792|fc34fa55] (0+1/5) Accurately ripped
17 [7087bd34|c2a7c193] (0+1/5) Accurately ripped
18 [e47c4d25|8370bd49] (0+1/5) Accurately ripped
19 [3590deb0|66f7785a] (0+1/5) Accurately ripped
20 [c1f6ee72|3d863dcb] (0+1/5) Accurately ripped
21 [4e97d576|3bf4a3a3] (0+1/5) Accurately ripped
22 [be6d337c|c6f6eaaf] (0+1/5) Accurately ripped
23 [66aa08d6|e98a1b6a] (0+1/5) Accurately ripped
24 [03ea00e5|d46756c7] (0+1/5) Accurately ripped
25 [226cd263|593fa93f] (0+1/5) Accurately ripped
26 [a707565e|fe6484fe] (0+1/5) Accurately ripped
27 [44c8be18|9668964e] (0+1/5) Accurately ripped
28 [3895dc06|21688549] (0+1/5) Accurately ripped
Offsetted by 25:
01 [bbed06da] (1/5) Accurately ripped
02 [ab05736c] (1/5) Accurately ripped
03 [dc9c1c72] (1/5) Accurately ripped
04 [f34a5c7f] (1/5) Accurately ripped
05 [1e1106fd] (1/5) Accurately ripped
06 [70bd7879] (1/5) Accurately ripped
07 [62c7e117] (1/5) Accurately ripped
08 [56f55c14] (1/5) Accurately ripped
09 [e5c8c66b] (1/5) Accurately ripped
10 [e84e1c2a] (1/5) Accurately ripped
11 [0e6381a8] (1/5) Accurately ripped
12 [d0ce9037] (1/5) Accurately ripped
13 [b3a04192] (1/5) Accurately ripped
14 [efc23f79] (1/5) Accurately ripped
15 [68a3085e] (1/5) Accurately ripped
16 [67bf0dc0] (1/5) Accurately ripped
17 [0e93902a] (1/5) Accurately ripped
18 [15363680] (1/5) Accurately ripped
19 [657225bc] (1/5) Accurately ripped
20 [88dbab9a] (1/5) Accurately ripped
21 [77659ada] (1/5) Accurately ripped
22 [9ac696e2] (1/5) Accurately ripped
23 [138f2bd2] (1/5) Accurately ripped
24 [f2956da6] (1/5) Accurately ripped
25 [5ec7c220] (1/5) Accurately ripped
26 [ebae9208] (1/5) Accurately ripped
27 [e14624f2] (1/5) Accurately ripped
28 [909ce608] (1/5) Accurately ripped

Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 100,0 [0A407705] [A12DAB2B] CRC32
01 97,7 [F0E4FB7B] [E8F71E13]
02 85,3 [3EC23A3D] [1634370A]
03 89,1 [A749FD34] [250448A9]
04 95,3 [7F3F7874] [EAC6CF84]
05 100,0 [57D0FB97] [264031E5]
06 97,7 [5D082699] [1B1D2DEE]
07 100,0 [965461E9] [55170280]
08 95,5 [2E848B7A] [4A37BFCC]
09 91,2 [E0AE35E2] [34F426FC]
10 85,8 [1D74455E] [6DFC6B81]
11 91,2 [CCA308FC] [1D659681]
12 95,3 [EF41AA56] [09A3E6D1]
13 91,1 [99E6C8D6] [381F0279]
14 93,3 [886F05FF] [8BE0C3B8]
15 91,1 [29C8185D] [6A75FB5E]
16 87,0 [CE747E21] [4E1073F7]
17 99,2 [2FC32708] [9F6308F2]
18 93,3 [94918CAD] [2F8FE16B]
19 100,0 [8DF166EE] [842C4021]
20 89,1 [C27BD223] [46A5DEC2]
21 85,2 [79C16839] [B926BE04]
22 83,9 [F1EF15DE] [A2A4ABC1]
23 94,1 [A3D44973] [9E5612AE]
24 76,0 [FCA73D18] [F2EAE767]
25 80,2 [D2F3F803] [A189CFF8]
26 99,1 [CCC0F48A] [5B6E2015]
27 89,0 [1413156E] [D6B689A9]
28 97,7 [CC7FFF09] [2F32ABCB]

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2018-08-27 02:51:31

––––––––––––––––––––––––––––––––––––––––
Analyzed: Perez Prado / Best Selection
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -0.20 dB -15.96 dB 2:20 01-Mambo No.5
DR12 -1.38 dB -16.02 dB 1:48 02-Historia de un amor
DR14 -1.00 dB -17.56 dB 3:28 03-La Macarena
DR13 -0.41 dB -15.93 dB 2:43 04-Quizas, Quizas, Quizas
DR13 0.00 dB -15.73 dB 1:30 05-Mambo No.8
DR13 -0.20 dB -16.21 dB 2:29 06-Besame Mucho
DR13 0.00 dB -14.53 dB 2:48 07-La bamba
DR13 -0.40 dB -16.46 dB 3:21 08-Copacabana
DR11 -0.80 dB -13.81 dB 2:33 09-La reine de Saba
DR11 -1.33 dB -16.25 dB 2:38 10-Corazon de melon
DR13 -0.80 dB -16.27 dB 3:48 11-Jungle
DR14 -0.41 dB -19.48 dB 1:58 12-Cerezo roza
DR11 -0.80 dB -14.42 dB 2:24 13-El condor pasa
DR13 -0.60 dB -16.45 dB 1:53 14-El humahuaqueno
DR12 -0.80 dB -16.85 dB 1:46 15-Aquellhos ojos grises
DR11 -1.20 dB -14.48 dB 2:41 16-Tombe la neige
DR14 -0.07 dB -17.43 dB 3:19 17-El bimbo
DR13 -0.60 dB -16.15 dB 2:59 18-Tabu
DR12 0.00 dB -14.40 dB 2:37 19-J'ai pleure de joie
DR14 -1.00 dB -17.17 dB 2:08 20-Cachito
DR13 -1.39 dB -16.86 dB 3:29 21-Moliendo cafe
DR12 -1.52 dB -17.31 dB 2:43 22-Cha cha cha flamenco
DR14 -0.52 dB -17.99 dB 2:34 23-Jungle Drums
DR11 -2.37 dB -15.80 dB 2:25 24-Guaglioni
DR11 -1.91 dB -15.20 dB 2:06 25-Mama yo quiero
DR14 -0.07 dB -18.78 dB 2:34 26-Quiereme mucho
DR15 -1.01 dB -18.72 dB 2:03 27-Chivirico
DR13 -0.20 dB -16.26 dB 2:54 28-Babalu
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 28
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 849 kbps
Codec: FLAC
================================================================================

Perez Prado - Best Selection (2009) Japanese SHM-CD

Perez Prado - Best Selection (2009) Japanese SHM-CD

All thanks to original releaser - fiks22

More interesting music in My Blog