Peter Mulvey - The Knuckleball Suite - 2006

Peter Mulvey / The Knuckleball Suite

Жанр: Folk-Rock, Contemporary Singer-Songwriter
Носитель: CD
Страна-производитель диска (релиза): USA
Год издания: 2006
Издатель (лейбл): Signature Sounds Recording
Номер по каталогу: SIG 1297
Страна исполнителя (группы): USA
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Продолжительность: 00:42:53
Источник: собственный рип
Наличие сканов в содержимом раздачи: да

Треклист

01. Old Simon Stimson 02:52

02. Abilene (The Eisenhower Waltz) 03:24

03. The Fly (Bono / U2) 03:59

04. Girl in the Hi-Tops 02:46

05. You and Me and the Ten Thousand Things 03:48

06. Horses 03:12

07. Thorn 03:45

08. Lila Blue (Peter Mulvey / David Goodrich / Tim Gearan) 03:13

09. Marty and Lou 02:16

10. Brady Street Stroll (Peter Mulvey / Paul Cebar) 03:35

11. The Knuckleball Suite 03:42

12. The Fix Is On (Peter Mulvey / David Goodrich) 04:52

13. Coda- Ballymore 01:31
All songs written by Peter Mulvey unless indicated otherwise.

Замер динамического диапазона (DR)

foobar2000 1.4.4 / Замер динамического диапазона (DR) 1.1.1
Дата отчёта: 2019-11-28 22:26:49

Анализ: Peter Mulvey / The Knuckleball Suite

DR Пики RMS Продолжительность трека

DR8 -0.01 дБ -8.87 дБ 2:52 01-Old Simon Stimson
DR9 0.00 дБ -11.75 дБ 3:24 02-Abilene (The Eisenhower Waltz)
DR9 -0.03 дБ -10.80 дБ 3:59 03-The Fly
DR7 -0.06 дБ -8.14 дБ 2:46 04-Girl in the Hi-Tops
DR9 -0.08 дБ -10.97 дБ 3:48 05-You and Me and the Ten Thousand Things
DR10 -0.09 дБ -12.85 дБ 3:12 06-Horses
DR12 -0.09 дБ -15.88 дБ 3:45 07-Thorn
DR7 -0.08 дБ -8.17 дБ 3:13 08-Lila Blue
DR12 -0.08 дБ -13.82 дБ 2:16 09-Marty and Lou
DR9 -0.08 дБ -11.44 дБ 3:35 10-Brady Street Stroll
DR8 0.00 дБ -9.70 дБ 3:42 11-The Knuckleball Suite
DR7 -0.02 дБ -9.22 дБ 4:52 12-The Fix Is On
DR12 -0.09 дБ -15.19 дБ 1:31 13-Coda- Ballymore

Количество треков: 13
Реальные значения DR: DR9
Частота: 44100 Гц
Каналов: 2
Разрядность: 16
Битрейт: 622 кбит/с
Кодек: FLAC

Об исполнителе
A contemporary singer/songwriter who draws broadly from folk, rock, and jazz with a propensity for contemporary folk, Peter Mulvey has lived an artist’s life since adolescence-he was a college theater major, spent time busking in Dublin, Ireland, and founded the Milwaukee band Big Sky, all before his early twenties. But his professional music career didn’t really begin until 1991, when he was fired from a job at a Kinko’s copy shop in Boston. Flat broke and in need of immediate cash to entertain his visiting brother, Mulvey starting playing his guitar in the subway. He supported himself that way for a couple of years, working ten-hour days in the smog-drenched underground. In the meantime, he released two CDs on his own, 1992’s Brother Rabbit Speaks and 1993’s Rain.
Mulvey’s rising star hit the accelerator in 1994 when he won the Boston Acoustic Underground competition. In 1995, he signed with Eastern Front Records and recorded the Boston Award-nominated Rapture, which won consistent raves for his dazzlingly funky acoustic fretwork. He tossed off the acoustic EP Goodbye Bob before releasing the much more aggressive acoustic modern rock album Deep Blue (also on Eastern Front) in 1997. As a side project, the prolific guitarist also rejoined his old colleagues from Big Sky in 1997 to record a CD entitled Lately under the band name Little Sky. After Black Walnut Records issued the live solo album Glencree in 1999, he signed with Signature Sounds Recordings, where he stayed for over a decade beginning with The Trouble with Poets in the spring of 2000.
In 2002, Mulvey released the covers album Ten Thousand Mornings, which included works by Paul Simon, Bob Dylan, and Elvis Costello, among others. He returned with originals on 2004’s Kitchen Radio, and 2006’s The Knuckleball Suite included one cover song, U2’s “The Fly.” The next year’s Notes from Elsewhere collected select songs from across his career to that point, with Mulvey re-recording them for just voice and acoustic guitar. Written while in transit to visit his nieces and nephews, 2009’s Letters from a Flying Machine combined songs and readings of letters, and he partnered with composer/guitarist David Goodrich for a record of instrumentals called Nine Days Wonder in 2011. The solo album The Good Stuff followed a year later, and 2014’s Silver Ladder featured drums by frequent Bob Dylan drummer David Kemper.
On June 17, 2015, while Mulvey was on tour opening for Ani DiFranco, he wrote “Take Down Your Flag,” a response to the mass shooting at a church in Charleston, South Carolina (later officially designated a federal hate crime). DiFranco covered the song in her own set in the days that followed, and it was soon reinterpreted by dozens of other singers, including Peter Yarrow and Keb’ Mo’. DiFranco also produced Mulvey’s next album, Are You Listening?, which saw release in 2017 by Righteous Babe Records. (Darryl Cater, AllMusic)

Об альбоме
Boston singer-songwriter Peter Mulvey’s solo effort conjures shades of Van Morrison’s early freewheeling musical attitude; his eclectic musical approach is immediately apparent on this ambitious collection of songs, which is presented in a loosely improvisational style by a talented pool of musicians whose performances rely on empathy as much as on musical charts (AllMusic)
Peter Mulvey’s The Knuckleball Suite Not Your Typical Folk MusicSinger-songwriters come in many different types. Some are always political. Others write mainly love songs. Some are serious. Others witty or plainspoken. And some, like Peter Mulvey, are a mixture of all of those.
The Knuckleball Suite, Peter Mulvey’s ninth solo album, opens with “Old Simon Stimson,” a song that drew varied and immediate responses when it was first played on VOA’s Roots and Branches program.
In short order VOA received two emails: One from someone saying, “I love that song. It makes me very happy.” And somebody else saying, “Is that man very sad?”
“That is exactly what I was going for,” Mulvey said. “I establish the guy. Right away, the guy speaking in the song establishes himself as an unreliable narrator. He starts saying these things that make no sense. He says, “but that was then, now ?” And he proceeds to say a bunch of things that again make no sense. So, that’s [the reaction] good. That’s exactly perfect.”
Peter Mulvey grew up in Wisconsin, and spent his college years playing in bands and studying theater. After graduation, he went to Ireland, and spent some time working as a street musician, or busker. After a few years, he returned to the U.S. and settled in Boston, a town known for producing successful musicians. He now lives back in Wisconsin, and spends most of his time touring all over the country and in Europe.
“I do about 150 shows in a year, and that takes me about 180 days,” Mulvey said. “So, about half of any given year I am gone. I believe that I’ve driven something like 600,000 miles [960,000 kilometers] in the last 10 or 15 years. That’s to the moon and back. It’s a long way. It’s many times to the center of the earth, if you were doing either of those things.”
How can he write when he’s traveling like that?
“When I write, I can write anywhere,” he said. “When an idea pops into my head, I carry a notebook with me, and a tiny little tape recorder. But it really comes in waves. I just put a record out. So, I’m not really feeling the pull to write songs right now. I mean, I’m always writing down ideas, and I’m always writing and cataloging stuff. But as long as you’re aware of them, they kind of grow on their own. At least it seems like that.”
“The Knuckleball Suite” is the title track to Peter Mulvey’s latest album. If you like what you hear, Peter suggests a few other contemporary writers for you to investigate.
“Chris Smither a huge influence on me. And Jeffrey Foucault,” he says. “It would astonish you how many great writers there are in the world. It’s a bustling, bustling scene down here, under the rock at the roots of the tree