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Maurice John Vaughn - In The Shadow Of The City (1993) [Re-Up]

Date: 17 May 2010 08:06:02

The Chicago guitarist/saxist spreads his stylistic wings considerably further than he did on his debut, embracing funk more fully than his first time around but offering enough tasty contemporary blues to keep everyone happy. The prolific triple threat (he's also an engaging singer) wrote all but three tracks himself (one of the covers is the shuffling "Small Town Baby"; its composer, veteran pianist Jimmy Walker, plays on the cut).–by Bill Dahl

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Tracklist
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1. Can't Nobody 4:38
2. I Want To Be Your Spy 5:35
3. (Everything I Do) Got To Be Funky 5:20
4. Blood Red Sky 6:36
5. Game Over 4:57
6. Love Bone 3:58
7. Treat Me So Bad 2:33
8. Watching Your Watch 4:53
9. Eager Beaver 3:16
10. Are You Satisfied? 5:40
11. Suicide Is Not the Way 3:56
12. Small Town Baby 4:43

Personnel:
Maurice John Vaughn - Guitar,Vocals,Sax
Allen Battes - Piano,Organ
Kenny Barker,Jimmy Walker - Piano
Nathaniel "B.J." Emory - Trombone,Background Vocals
Freddie Dixon - Bass
Michael McGee,Bill Leathers,Robert Covington - Drums

EAC LOG

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

EAC extraction logfile from 13. February 2012, 11:37

Maurice John Vaughn / In the Shadow of the City

Used drive : ASUS DRW-24B1LT Adapter: 3 ID: 0

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 : 1024 kBit/s
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -6 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMMENT=%comment%" %hascover%–picture="%coverfile%"%hascover% %source% -o %dest%

TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:38.25 | 0 | 20874
2 | 4:38.25 | 5:35.00 | 20875 | 45999
3 | 10:13.25 | 5:20.25 | 46000 | 70024
4 | 15:33.50 | 6:36.00 | 70025 | 99724
5 | 22:09.50 | 4:57.25 | 99725 | 122024
6 | 27:07.00 | 3:58.37 | 122025 | 139911
7 | 31:05.37 | 2:33.58 | 139912 | 151444
8 | 33:39.20 | 4:53.70 | 151445 | 173489
9 | 38:33.15 | 3:16.25 | 173490 | 188214
10 | 41:49.40 | 5:40.55 | 188215 | 213769
11 | 47:30.20 | 3:56.42 | 213770 | 231511
12 | 51:26.62 | 4:42.73 | 231512 | 252734

Range status and errors

Selected range

Filename D:\MUSIK\BLUES\MAURICE JOHN VAUGHN\Maurice John Vaughn - In the Shadow of the City[FLAC] (1993)\Maurice John Vaughn - In the Shadow of the City.wav

Peak level 100.0 %
Extraction speed 7.3 X
Range quality 99.9 %
Copy CRC 48F59B37
Copy OK

No errors occurred

AccurateRip summary

Track 1 cannot be verified as accurate (confidence 3) [4AD9EAF6], AccurateRip returned [6D59952F] (AR v2)
Track 2 cannot be verified as accurate (confidence 3) [9FB5F4EE], AccurateRip returned [4A272A72] (AR v2)
Track 3 cannot be verified as accurate (confidence 3) [41A1B6B2], AccurateRip returned [BDB3782D] (AR v2)
Track 4 cannot be verified as accurate (confidence 3) [742A9F5E], AccurateRip returned [A691938E] (AR v2)
Track 5 cannot be verified as accurate (confidence 3) [B28E9321], AccurateRip returned [E1393A97] (AR v2)
Track 6 cannot be verified as accurate (confidence 3) [A419D29B], AccurateRip returned [7C31A9DB] (AR v2)
Track 7 cannot be verified as accurate (confidence 3) [39069DB8], AccurateRip returned [7F641047] (AR v2)
Track 8 cannot be verified as accurate (confidence 3) [D84C09E2], AccurateRip returned [F68F3B84] (AR v2)
Track 9 cannot be verified as accurate (confidence 3) [746C0F68], AccurateRip returned [BCB94FA6] (AR v2)
Track 10 cannot be verified as accurate (confidence 3) [786423E3], AccurateRip returned [9C71C1B7] (AR v2)
Track 11 cannot be verified as accurate (confidence 3) [2AA0A194], AccurateRip returned [D6DED234] (AR v2)
Track 12 cannot be verified as accurate (confidence 3) [5076A3EE], AccurateRip returned [FC5890E1] (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 E9B811FCF1B571FA6DF873FC79B381B0741EE1EBF2F968A789693D5732C8617F ====

AllMusic
Official Website

BIO: Maurice John Vaughn's 1984 debut set, Generic Blues Album, came packaged in a plain white jacket, its title unceremoniously stamped on its front like a package of no-brand rice on a grocer's shelf. It looked like the cleverest of publicity ploys, but in reality, it was a simple economic necessity – Vaughn's own Reecy label was operating on a shoestring.
Vaughn is no longer a blues unknown. With a challenging 1993 album on Alligator (In the Shadow of the City) melding blues, soul, funk, and other contemporary influences, he's grown into one of Chicago's most interesting and versatile younger blues artists. Fluent on both guitar and sax, Vaughn played both in sideman roles prior to stepping out on his own. Sax came first. Vaughn grew up on Chicago's South side, blowing his horn with various R&B groups and recording with the Chosen Few for Chi-Sound Records in 1976. When sax gigs grew scarce, Vaughn began to emphasize his guitar skills. Blues guitarist Phil Guy recruited him and his band for a 1979 Canadian tour, and the genre appealed to him. Vaughn later held down sideman spots with Luther Allison, Son Seals, Valerie Wellington, and A.C. Reed.
Alligator Records retained the no-frills packaging when it reissued Generic Blues Album after Vaughn sang "Nothing Left to Believe In" on the label's 1987 anthology The New Bluebloods. In the Shadow of the City came in 1993. Vaughn toured sporadically following the release, sometimes playing in schools for kids who had never heard the blues before. He left the road to work as an A&R man for Appaloosa Records, producing records by the likes of Maxine Carr and Shirley Johnson. He also did some session work playing on two albums by Detroit Junior. In 2001, he finally released his next album, Dangerous Road. Despite the cover art on his first LP, there's nothing generic at all about Maurice Vaughn's brand of soulful blues.–by Bill Dahl

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