Peggy Lee - Latin ala Lee! / Ole ala Lee! (1997)
Peggy Lee - Latin ala Lee! / Ole ala Lee! (1997)
Jazz (Vocal/Latin) | EAC Rip | FLAC (tracks)+CUE+LOG | 274 MB.
400dpi. Complete Scans (JPG) - 26 MB. | WinRar, 3% recovery
Audio CD (1997) | Label: Capitol Records | Catalog# 7243-8-56056-2-8 | 55:15 min.
Jazz (Vocal/Latin) | EAC Rip | FLAC (tracks)+CUE+LOG | 274 MB.
400dpi. Complete Scans (JPG) - 26 MB. | WinRar, 3% recovery
Audio CD (1997) | Label: Capitol Records | Catalog# 7243-8-56056-2-8 | 55:15 min.
~cduniverseTracklist:
These two 1960 releases offer an ingenious mixture–swinging Latin rhythms popular in the late '50s and early '60s, and the rhythmical perfection of Peggy Lee. When these songs were recorded, Lee was already the toast of the world. Having proved herself early on in the Benny Goodman orchestra she then started writing her own songs, raked in hit after hit, and became a celebrated actress. It seems appropriate that the selection of songs from "Ole Ala Lee!" should be favorites from the musical theater.
Songs like "On the Street Where You Live" & "I Could Have Danced All Night" from "My Fair Lady" are romantic concoctions of tempo and vocal artistry. "Come Dance With Me" is an invitation that can't be refused; like all the songs on this package, it'll sweep you off your feet.
Digitally remastered two-fer from the acclaimed sultry vocalist featuring two of her 1960 albums on one CD. Peggy Lee's distinctive voice and excellent songwriting skills ensured that her musical legacy will live on for years to come. Each of the albums feature one bonus track (Latin Ala Lee adds 'Till There Was You' while Ole Ala Lee includes 'Together Wherever We Go'). 24 tracks total including 'Heart', 'I Am In Love', 'I Could Have Danced All Night', 'You Stepped Out Of A Dream' and 'Love & Marriage'.
01. Heart (2:00)
02. On the Street Where You Live (2:13)
03. I Am in Love (2:11)
04. Hey There (2:10)
05. I Could Have Danced All Night (2:10)
06. The Surrey With the Fringe on Top (2:00)
07. The Party's Over (3:19)
08. Dance Only With Me (2:30)
09. Wish You Were Here (2:48)
10. C'est Magnifique (2:06)
11. I Enjoy Being a Girl (2:15)
12. 'Till There Was You (bonus track) (2:32)
13. Come Dance With Me (2:28)
14. By Myself (3:20)
15. You're So Right for Me (1:47)
16. Just Squeeze Me (1:55)
17. Fantastico (2:06)
18. Love & Marriage (2:07)
19. Non Dimenticar (2:26)
20. From Now On (1:55)
21. You Stepped Out of a Dream (2:30)
22. Ole (2:26)
23. I Can't Resist You (2:14)
24. Together Wherever We Go (bonus track) (1:47)
Peggy Lee - Latin ala Lee! / Ole ala Lee! (1997)
Personnel:
Peggy Lee - vocals on all tracks, with:
Jack Marshall and his Orchestra (#1-12)
Joe Harnell and his Orchestra (#13-24)
Jack Marshall - arranger & conductor (Orchestra personnel unknown) (#1-12)
Joe Harnell - arranger & conductor (Orchestra personnel unknown) (#13-24)
~allAbutJazz
Born: May 26, 1920 | Died: January 21, 2002 | Instrument: Vocal
More than two decades have passed since Peggy Lee sang with Benny Goodman’s swing band and made her first hit recording. Yet so inexhaustible is her talent and so intense her application to her work that, almost a generation later, she stands at the peak of her career. A product of the big-band era, she derived from that apprenticeship her ability to sing anything from jazz to blues, to sing it with a beat, and with enough volume to be heard above the band. Few vocalists have had her staying power. Peggy Lee is also a successful composer, lyricist, arranger, actress, and businesswoman. To all her careers she brings a perfectionism that leaves the stamp of professionalism on everything she touches.
Of Norwegian and Swedish ancestry, Peggy Lee was born Norma Deloris Egstrom in Jamestown, North Dakota, a farm town on the Great Plains, on May 26, 1920. She was the seventh of eight children born to Marvin Egstrom, a station agent for the Midland Continental Railroad, and Mrs. Egstrom, who died when the child was four years old. Encouraged by the recognition she had received for her singing with the high school glee club, the church choir, and semi-professional college bands, Norma headed for Hollywood after she graduated from high school in 1938. With her she took $18 in cash and a railroad pass she had borrowed from her father. Although she got a brief singing engagement at the Jade Room, a supper club on Hollywood Boulevard, she made little impression on the film capital, and she was reduced to working as a waitress and as a carnival spieler at a Balboa midway.
Deciding to try her luck nearer home, she found work as a singer over radio station WDAY in Fargo, North Dakota, whose manager, Ken Kennedy, christened her Peggy Lee. (To supplement her income she worked for a time as a bread slicer in a Fargo bakery.) Her prospects for a career brightened when she moved to Minneapolis, where she sang in the dining room of the Radisson Hotel, appeared on a Standard Oil radio show, and sang with Sev Olsen’s band. Miss Lee broke into the big time when she became a vocalist with Will Osborne’s band, but three months after she joined the group it broke up in St. Louis, and she got a ride to California with the manager.
It was at the Doll House in Palm Springs, California that Peggy Lee first developed the soft and “cool” style that has become her trademark. Unable to shout above the clamor of the Doll House audience, Miss Lee tried to snare its attention by lowering her voice. The softer she sang the quieter the audience became. She has never forgotten the secret, and it has given her style its distinctive combination of the delicate and the driving, the husky and the purringly seductive. One of the members of the Doll House audience was Frank Bering, the owner of Chicago’s Ambassador West Hotel, who invited her to sing in his establishment’s Buttery Room.
Benny Goodman discovered Peggy Lee’s vocalizing in the Buttery Room at a time when he was looking for a replacement for Helen Forrest. Miss Lee joined Goodman’s band in July, 1941, when the band was at the height of its popularity, and for over two years she toured the United States with the most famous swing outfit of the day, playing hotel engagements, college proms, theater dates, and radio programs.
Much of her present success Miss Lee credits to her apprenticeship with the big bands. “I learned more about music from the men I worked with in bands than I’ve learned anywhere else,” she has said. “They taught me discipline and the value of rehearsing and even how to train…. Band singing taught us the importance of interplay with musicians. And we had to work close to the arrangement.” In July, 1942, Peggy Lee recorded her first smash hit, “Why Don’t You Do Right?” It sold over 1,000,000 copies and made her famous.
In March, 1943, Peggy Lee married Dave Barbour, the guitarist in Goodman’s band; shortly thereafter she left the band. After her daughter, Nicki, was born in 1944, Peggy Lee and her husband worked successfully on the West Coast. In 1944 she began to record for Capitol Records, for whom she has produced a long string of hits “ many of them with lyrics and music by Miss Lee and Dave Barbour. Among them are “Golden Earrings,” which sold over 1,000,000 copies [sic; song not written by Lee and Barbour]; “You Was Right, Baby;” “It’s a Good Day;” “Mañana” (which sold over 2,000,000 records); “What More Can a Woman Do?;” and “I Don’t Know Enough About You.” Today Peggy Lee has a top rating as a songwriter with the American Society of Composers, Authors and Publishers.
In 1950 Peggy Lee made a first, brief screen appearance [sic; she had previously appeared in “Stage Door Canteen,” “The Powers Girl” and several shorts] in Paramount’s “Mr. Music,” starring Bing Crosby. In 1953 she played a featured role opposite Danny Thomas in Warner Brothers’ remake of the early Al Jolson talking picture, “The Jazz Singer,” and won praise from a critic of the “New York Wolrd-Telegram and Sun” for “a very promising start on a movie career” as “a poised and ingratiating ingenue.” Her performance as a despondent and alcoholic blues singer in “Pete Kelly’s Blues” (Warner Brothers, 1955) won her a nomination from the Academy of Motion Picture Arts and Sciences. In the 1955 balloting conducted by the Council of Motion Picture Organizations, moviegoers voted her the “Audie” statuette.
Peggy Lee has not only appeared in motion pictures but she has also written music and lyrics for them. She wrote the theme music for “Johnny Guitar” (Republic, 1954) and for “About Mrs. Leslie” (Paramount, 1954). She contributed the musical score to two George Pal cartoon features, “Tom Thumb” (MGM, 1958) and “The Time Machine” (MGM, 1960), and wrote the lyrics and supplied several voices for the Walt Disney full-length animated cartoon “Lady and the Tramp” (Buena Vista, 1955). For “Anatomy of a Murder” (Columbia, 1959) she wrote the lyrics for “I’m Gonna Go Fishin’” to music by Duke Ellington.
In the respect she commands from the critics both as a popular vocalist and as a jazz artist, Peggy Lee is a rarity among singers. Critic George Hoefer of “Downbeat” magazine has called her “the greatest white female jazz singer since Mildred Bailey,” and Leonard Feather in “The Encyclopedia of Jazz” (Horizon, 1960) has described her as “one of the most sensitive and jazz-oriented singers in the pop field.” Miss Lee won the 1946 polls as best female vocalist of both “Metronome” and “Downbeat” magazines, wisely read by jazz buffs, and the 1950 citation as “the nation’s most popular female vocalist” from “Billboard,” a trade magazine of show business. A frequent performer on television, she sang on the Thursday night “Revlon Revues” over CBS-TV in 1960, and has appeared on televised musical variety shows starring Perry Como, George Gobel, Steve Allen and Bing Crosby. In March, 1960 she undertook a straight dramatic role in “So Deadly, So Evil” on the “General Electric Theater” over CBS-TV.
In September, 1962 Miss Lee reached what she has called the “high spot” in her career when she was selected to appear in Philharmonic Hall of New York’s Lincoln Center for the Performing Arts, an auditorium usually available to those whom the management considers as serious artists. Miss Lee conducted research for, and wrote a program called “The Jazz Tree,” tracing the origins and development of jazz as a native American art form. Originally scheduled for December, 1962, the booking was postponed until March, 1963 to give Miss Lee enough time to perfect her presentation.
This perfectionist approach to her programs is typical of Miss Lee. She polishes and perfects every aspect of her performances “ her special coiffures, her costly wardrobe, her lighting, her entrances and exits, and her musical arrangements. Her perfectionism may derive from her association with Benny Goodman, who always demanded the best from his performers. Rejecting the improvisatory approach of most jazz singers, Peggy Lee plans every detail of her delivery in advance, including even the movement of her hands. This perfectionism has taken its toll of her health on several occasions; she was hospitalized with virus pneumonia in July, 1958 and in November, 1961. As a result, Miss Lee has reduced her schedule, confining her public appearances to six weeks each year in New York and Las Vegas, a few television shows, and one or two charity benefits.
Although Miss Lee continued to collaborate with Dave Barbour on words and music, their marriage ended in divorce in 1951. On January 4, 1955, Miss Lee married Brad Dexter, a movie actor. Ten months later they were divorced. Miss Lee’s third marriage, to actor Dewey Martin on April 25, 1956, also ended in divorce in 1959. [A fourth marriage, 1964-1965, was to percussionist and bandleader Jack Del Rio.] She is 5’7” in height, with hazel eyes and champagne-blonde hair. With her daughter, Nicki, she lived in Coldwater Canyon, near Hollywood, California. It contains not only a soundproof studio with tape units, microphones, grand piano, and other equipment for writing and recording music, but also an artist’s studio in which she paints and sculpts the hands of musicians and the heads of great men like Albert Schweitzer whom she admires. A book of her verse, “Softly, With Feeling,” was published in 1953. In 1958 Miss Lee consolidated her various activities, which include music publishing firms and a production unit for television and films, into a company called Peggy Lee enterprises. Noted for her generosity, she has been active in such philanthropies as CARE and WAIF, and in November, 1962 was appointed national chairman of the Tom Dooley Foundation.
Born: May 26, 1920 | Died: January 21, 2002 | Instrument: Vocal
More than two decades have passed since Peggy Lee sang with Benny Goodman’s swing band and made her first hit recording. Yet so inexhaustible is her talent and so intense her application to her work that, almost a generation later, she stands at the peak of her career. A product of the big-band era, she derived from that apprenticeship her ability to sing anything from jazz to blues, to sing it with a beat, and with enough volume to be heard above the band. Few vocalists have had her staying power. Peggy Lee is also a successful composer, lyricist, arranger, actress, and businesswoman. To all her careers she brings a perfectionism that leaves the stamp of professionalism on everything she touches.
Of Norwegian and Swedish ancestry, Peggy Lee was born Norma Deloris Egstrom in Jamestown, North Dakota, a farm town on the Great Plains, on May 26, 1920. She was the seventh of eight children born to Marvin Egstrom, a station agent for the Midland Continental Railroad, and Mrs. Egstrom, who died when the child was four years old. Encouraged by the recognition she had received for her singing with the high school glee club, the church choir, and semi-professional college bands, Norma headed for Hollywood after she graduated from high school in 1938. With her she took $18 in cash and a railroad pass she had borrowed from her father. Although she got a brief singing engagement at the Jade Room, a supper club on Hollywood Boulevard, she made little impression on the film capital, and she was reduced to working as a waitress and as a carnival spieler at a Balboa midway.
Deciding to try her luck nearer home, she found work as a singer over radio station WDAY in Fargo, North Dakota, whose manager, Ken Kennedy, christened her Peggy Lee. (To supplement her income she worked for a time as a bread slicer in a Fargo bakery.) Her prospects for a career brightened when she moved to Minneapolis, where she sang in the dining room of the Radisson Hotel, appeared on a Standard Oil radio show, and sang with Sev Olsen’s band. Miss Lee broke into the big time when she became a vocalist with Will Osborne’s band, but three months after she joined the group it broke up in St. Louis, and she got a ride to California with the manager.
It was at the Doll House in Palm Springs, California that Peggy Lee first developed the soft and “cool” style that has become her trademark. Unable to shout above the clamor of the Doll House audience, Miss Lee tried to snare its attention by lowering her voice. The softer she sang the quieter the audience became. She has never forgotten the secret, and it has given her style its distinctive combination of the delicate and the driving, the husky and the purringly seductive. One of the members of the Doll House audience was Frank Bering, the owner of Chicago’s Ambassador West Hotel, who invited her to sing in his establishment’s Buttery Room.
Benny Goodman discovered Peggy Lee’s vocalizing in the Buttery Room at a time when he was looking for a replacement for Helen Forrest. Miss Lee joined Goodman’s band in July, 1941, when the band was at the height of its popularity, and for over two years she toured the United States with the most famous swing outfit of the day, playing hotel engagements, college proms, theater dates, and radio programs.
Much of her present success Miss Lee credits to her apprenticeship with the big bands. “I learned more about music from the men I worked with in bands than I’ve learned anywhere else,” she has said. “They taught me discipline and the value of rehearsing and even how to train…. Band singing taught us the importance of interplay with musicians. And we had to work close to the arrangement.” In July, 1942, Peggy Lee recorded her first smash hit, “Why Don’t You Do Right?” It sold over 1,000,000 copies and made her famous.
In March, 1943, Peggy Lee married Dave Barbour, the guitarist in Goodman’s band; shortly thereafter she left the band. After her daughter, Nicki, was born in 1944, Peggy Lee and her husband worked successfully on the West Coast. In 1944 she began to record for Capitol Records, for whom she has produced a long string of hits “ many of them with lyrics and music by Miss Lee and Dave Barbour. Among them are “Golden Earrings,” which sold over 1,000,000 copies [sic; song not written by Lee and Barbour]; “You Was Right, Baby;” “It’s a Good Day;” “Mañana” (which sold over 2,000,000 records); “What More Can a Woman Do?;” and “I Don’t Know Enough About You.” Today Peggy Lee has a top rating as a songwriter with the American Society of Composers, Authors and Publishers.
In 1950 Peggy Lee made a first, brief screen appearance [sic; she had previously appeared in “Stage Door Canteen,” “The Powers Girl” and several shorts] in Paramount’s “Mr. Music,” starring Bing Crosby. In 1953 she played a featured role opposite Danny Thomas in Warner Brothers’ remake of the early Al Jolson talking picture, “The Jazz Singer,” and won praise from a critic of the “New York Wolrd-Telegram and Sun” for “a very promising start on a movie career” as “a poised and ingratiating ingenue.” Her performance as a despondent and alcoholic blues singer in “Pete Kelly’s Blues” (Warner Brothers, 1955) won her a nomination from the Academy of Motion Picture Arts and Sciences. In the 1955 balloting conducted by the Council of Motion Picture Organizations, moviegoers voted her the “Audie” statuette.
Peggy Lee has not only appeared in motion pictures but she has also written music and lyrics for them. She wrote the theme music for “Johnny Guitar” (Republic, 1954) and for “About Mrs. Leslie” (Paramount, 1954). She contributed the musical score to two George Pal cartoon features, “Tom Thumb” (MGM, 1958) and “The Time Machine” (MGM, 1960), and wrote the lyrics and supplied several voices for the Walt Disney full-length animated cartoon “Lady and the Tramp” (Buena Vista, 1955). For “Anatomy of a Murder” (Columbia, 1959) she wrote the lyrics for “I’m Gonna Go Fishin’” to music by Duke Ellington.
In the respect she commands from the critics both as a popular vocalist and as a jazz artist, Peggy Lee is a rarity among singers. Critic George Hoefer of “Downbeat” magazine has called her “the greatest white female jazz singer since Mildred Bailey,” and Leonard Feather in “The Encyclopedia of Jazz” (Horizon, 1960) has described her as “one of the most sensitive and jazz-oriented singers in the pop field.” Miss Lee won the 1946 polls as best female vocalist of both “Metronome” and “Downbeat” magazines, wisely read by jazz buffs, and the 1950 citation as “the nation’s most popular female vocalist” from “Billboard,” a trade magazine of show business. A frequent performer on television, she sang on the Thursday night “Revlon Revues” over CBS-TV in 1960, and has appeared on televised musical variety shows starring Perry Como, George Gobel, Steve Allen and Bing Crosby. In March, 1960 she undertook a straight dramatic role in “So Deadly, So Evil” on the “General Electric Theater” over CBS-TV.
In September, 1962 Miss Lee reached what she has called the “high spot” in her career when she was selected to appear in Philharmonic Hall of New York’s Lincoln Center for the Performing Arts, an auditorium usually available to those whom the management considers as serious artists. Miss Lee conducted research for, and wrote a program called “The Jazz Tree,” tracing the origins and development of jazz as a native American art form. Originally scheduled for December, 1962, the booking was postponed until March, 1963 to give Miss Lee enough time to perfect her presentation.
This perfectionist approach to her programs is typical of Miss Lee. She polishes and perfects every aspect of her performances “ her special coiffures, her costly wardrobe, her lighting, her entrances and exits, and her musical arrangements. Her perfectionism may derive from her association with Benny Goodman, who always demanded the best from his performers. Rejecting the improvisatory approach of most jazz singers, Peggy Lee plans every detail of her delivery in advance, including even the movement of her hands. This perfectionism has taken its toll of her health on several occasions; she was hospitalized with virus pneumonia in July, 1958 and in November, 1961. As a result, Miss Lee has reduced her schedule, confining her public appearances to six weeks each year in New York and Las Vegas, a few television shows, and one or two charity benefits.
Although Miss Lee continued to collaborate with Dave Barbour on words and music, their marriage ended in divorce in 1951. On January 4, 1955, Miss Lee married Brad Dexter, a movie actor. Ten months later they were divorced. Miss Lee’s third marriage, to actor Dewey Martin on April 25, 1956, also ended in divorce in 1959. [A fourth marriage, 1964-1965, was to percussionist and bandleader Jack Del Rio.] She is 5’7” in height, with hazel eyes and champagne-blonde hair. With her daughter, Nicki, she lived in Coldwater Canyon, near Hollywood, California. It contains not only a soundproof studio with tape units, microphones, grand piano, and other equipment for writing and recording music, but also an artist’s studio in which she paints and sculpts the hands of musicians and the heads of great men like Albert Schweitzer whom she admires. A book of her verse, “Softly, With Feeling,” was published in 1953. In 1958 Miss Lee consolidated her various activities, which include music publishing firms and a production unit for television and films, into a company called Peggy Lee enterprises. Noted for her generosity, she has been active in such philanthropies as CARE and WAIF, and in November, 1962 was appointed national chairman of the Tom Dooley Foundation.
Peggy Lee - Latin ala Lee! / Ole ala Lee! (1997)
Peggy Lee (1920 - 2002)
Original recordings, 1960
Project co-ordinator: Mike McNally
Project assistant: Jo Brooks
Design: Peacock Marketing & Design
Remastered by Brian Fifield at Abbey Road Studios
Exact Audio Copy V1.0 beta 1 from 15. November 2010
EAC extraction logfile from 12. May 2011, 22:30
Peggy Lee / Latin Ala Lee! + Ole Ala Lee!
Used drive : HL-DT-STDVD-RAM GH22NP20 Adapter: 1 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 102
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
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 896 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 1:59.65 | 0 | 8989
2 | 1:59.65 | 2:13.17 | 8990 | 18981
3 | 4:13.07 | 2:10.53 | 18982 | 28784
4 | 6:23.60 | 2:10.27 | 28785 | 38561
5 | 8:34.12 | 2:09.65 | 38562 | 48301
6 | 10:44.02 | 1:59.65 | 48302 | 57291
7 | 12:43.67 | 3:18.45 | 57292 | 72186
8 | 16:02.37 | 2:29.38 | 72187 | 83399
9 | 18:32.00 | 2:47.50 | 83400 | 95974
10 | 21:19.50 | 2:06.32 | 95975 | 105456
11 | 23:26.07 | 2:14.65 | 105457 | 115571
12 | 25:40.72 | 2:31.73 | 115572 | 126969
13 | 28:12.70 | 2:28.30 | 126970 | 138099
14 | 30:41.25 | 3:20.30 | 138100 | 153129
15 | 34:01.55 | 1:47.32 | 153130 | 161186
16 | 35:49.12 | 1:54.48 | 161187 | 169784
17 | 37:43.60 | 2:05.62 | 169785 | 179221
18 | 39:49.47 | 2:07.05 | 179222 | 188751
19 | 41:56.52 | 2:26.30 | 188752 | 199731
20 | 44:23.07 | 1:55.10 | 199732 | 208366
21 | 46:18.17 | 2:30.25 | 208367 | 219641
22 | 48:48.42 | 2:26.03 | 219642 | 230594
23 | 51:14.45 | 2:14.05 | 230595 | 240649
24 | 53:28.50 | 1:46.50 | 240650 | 248649
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Track quality 100.0 %
Test CRC 222FEF25
Copy CRC 222FEF25
Accurately ripped (confidence 3) [6B9994A4]
Copy OK
Track 19
Filename C:\New Folder\19. Non Dimenticar.wav
Pre-gap length 0:00:02.32
Peak level 61.9 %
Extraction speed 1.8 X
Track quality 100.0 %
Test CRC 3133F7D4
Copy CRC 3133F7D4
Accurately ripped (confidence 3) [6B3DCC40]
Copy OK
Track 20
Filename C:\New Folder\20. From Now On.wav
Pre-gap length 0:00:02.30
Peak level 94.4 %
Extraction speed 2.3 X
Track quality 100.0 %
Test CRC D6872E55
Copy CRC D6872E55
Accurately ripped (confidence 3) [BDC78B0A]
Copy OK
Track 21
Filename C:\New Folder\21. You Stepped Out Of A Dream.wav
Pre-gap length 0:00:02.27
Peak level 62.0 %
Extraction speed 2.5 X
Track quality 100.0 %
Test CRC 940EA43E
Copy CRC 940EA43E
Accurately ripped (confidence 3) [D273A5C4]
Copy OK
Track 22
Filename C:\New Folder\22. Ole.wav
Pre-gap length 0:00:02.50
Peak level 59.9 %
Extraction speed 2.4 X
Track quality 100.0 %
Test CRC 6040F883
Copy CRC 6040F883
Accurately ripped (confidence 3) [4F5B257A]
Copy OK
Track 23
Filename C:\New Folder\23. I Can't Resist You.wav
Pre-gap length 0:00:02.30
Peak level 76.1 %
Extraction speed 2.6 X
Track quality 100.0 %
Test CRC A3D6752E
Copy CRC A3D6752E
Accurately ripped (confidence 4) [7CDC20EA]
Copy OK
Track 24
Filename C:\New Folder\24. Together Wherever We Go.wav
Pre-gap length 0:00:02.55
Peak level 82.1 %
Extraction speed 2.5 X
Track quality 100.0 %
Test CRC A5773342
Copy CRC A5773342
Accurately ripped (confidence 3) [7147B267]
Copy OK
All tracks accurately ripped
No errors occurred
End of status report
==== Log checksum 5CFE0EED7A34586A1E72DC175F56F4FF290E3B65BF9DE4F6AB70B39452D299A8 ====
EAC extraction logfile from 12. May 2011, 22:30
Peggy Lee / Latin Ala Lee! + Ole Ala Lee!
Used drive : HL-DT-STDVD-RAM GH22NP20 Adapter: 1 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 102
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
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 896 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -5 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 1:59.65 | 0 | 8989
2 | 1:59.65 | 2:13.17 | 8990 | 18981
3 | 4:13.07 | 2:10.53 | 18982 | 28784
4 | 6:23.60 | 2:10.27 | 28785 | 38561
5 | 8:34.12 | 2:09.65 | 38562 | 48301
6 | 10:44.02 | 1:59.65 | 48302 | 57291
7 | 12:43.67 | 3:18.45 | 57292 | 72186
8 | 16:02.37 | 2:29.38 | 72187 | 83399
9 | 18:32.00 | 2:47.50 | 83400 | 95974
10 | 21:19.50 | 2:06.32 | 95975 | 105456
11 | 23:26.07 | 2:14.65 | 105457 | 115571
12 | 25:40.72 | 2:31.73 | 115572 | 126969
13 | 28:12.70 | 2:28.30 | 126970 | 138099
14 | 30:41.25 | 3:20.30 | 138100 | 153129
15 | 34:01.55 | 1:47.32 | 153130 | 161186
16 | 35:49.12 | 1:54.48 | 161187 | 169784
17 | 37:43.60 | 2:05.62 | 169785 | 179221
18 | 39:49.47 | 2:07.05 | 179222 | 188751
19 | 41:56.52 | 2:26.30 | 188752 | 199731
20 | 44:23.07 | 1:55.10 | 199732 | 208366
21 | 46:18.17 | 2:30.25 | 208367 | 219641
22 | 48:48.42 | 2:26.03 | 219642 | 230594
23 | 51:14.45 | 2:14.05 | 230595 | 240649
24 | 53:28.50 | 1:46.50 | 240650 | 248649
Track 1
Filename C:\New Folder\01. Heart.wav
Pre-gap length 0:00:02.00
Peak level 89.6 %
Extraction speed 0.0 X
Track quality 99.9 %
Test CRC AB50A7D3
Copy CRC AB50A7D3
Accurately ripped (confidence 4) [E9BE813C]
Copy OK
Track 2
Filename C:\New Folder\02. On The Street Where You Live.wav
Pre-gap length 0:00:02.33
Peak level 85.0 %
Extraction speed 1.0 X
Track quality 100.0 %
Test CRC 1B0A26F7
Copy CRC 1B0A26F7
Accurately ripped (confidence 4) [01C5E720]
Copy OK
Track 3
Filename C:\New Folder\03. I Am In Love.wav
Pre-gap length 0:00:02.30
Peak level 84.0 %
Extraction speed 1.1 X
Track quality 100.0 %
Test CRC 36D7FFCF
Copy CRC 36D7FFCF
Accurately ripped (confidence 4) [A241922E]
Copy OK
Track 4
Filename C:\New Folder\04. Hey There.wav
Pre-gap length 0:00:02.28
Peak level 70.9 %
Extraction speed 0.9 X
Track quality 100.0 %
Test CRC E0CEE265
Copy CRC E0CEE265
Accurately ripped (confidence 4) [7F305A9A]
Copy OK
Track 5
Filename C:\New Folder\05. I Could Have Danced All Night.wav
Pre-gap length 0:00:02.30
Peak level 90.6 %
Extraction speed 1.1 X
Track quality 100.0 %
Test CRC 77D590D3
Copy CRC 77D590D3
Accurately ripped (confidence 4) [79559CA6]
Copy OK
Track 6
Filename C:\New Folder\06. The Surrey With The Fringe On Top.wav
Pre-gap length 0:00:02.27
Peak level 87.1 %
Extraction speed 0.8 X
Track quality 99.9 %
Test CRC E68055D4
Copy CRC E68055D4
Accurately ripped (confidence 4) [65B45E28]
Copy OK
Track 7
Filename C:\New Folder\07. The Party's Over.wav
Pre-gap length 0:00:02.37
Peak level 53.8 %
Extraction speed 1.4 X
Track quality 100.0 %
Test CRC 5FB85E61
Copy CRC 5FB85E61
Accurately ripped (confidence 4) [9FFCD862]
Copy OK
Track 8
Filename C:\New Folder\08. Dance Only With Me.wav
Pre-gap length 0:00:02.32
Peak level 63.3 %
Extraction speed 1.6 X
Track quality 100.0 %
Test CRC AFFEDF56
Copy CRC AFFEDF56
Accurately ripped (confidence 4) [1DD5E8A4]
Copy OK
Track 9
Filename C:\New Folder\09. Wish You Were Here.wav
Pre-gap length 0:00:02.30
Peak level 57.4 %
Extraction speed 1.8 X
Track quality 100.0 %
Test CRC 348A6927
Copy CRC 348A6927
Accurately ripped (confidence 4) [5356F0EE]
Copy OK
Track 10
Filename C:\New Folder\10. C'est Magnifique.wav
Pre-gap length 0:00:02.35
Peak level 61.7 %
Extraction speed 1.3 X
Track quality 100.0 %
Test CRC 8B5DBE8E
Copy CRC 8B5DBE8E
Accurately ripped (confidence 4) [94B33EDA]
Copy OK
Track 11
Filename C:\New Folder\11. I Enjoy Being A Girl.wav
Pre-gap length 0:00:02.22
Peak level 80.5 %
Extraction speed 1.6 X
Track quality 100.0 %
Test CRC 9D8C0C65
Copy CRC 9D8C0C65
Accurately ripped (confidence 4) [53CBFF60]
Copy OK
Track 12
Filename C:\New Folder\12. 'Till There Was You.wav
Pre-gap length 0:00:02.25
Peak level 71.9 %
Extraction speed 1.7 X
Track quality 100.0 %
Test CRC 4C9E5F3A
Copy CRC 4C9E5F3A
Accurately ripped (confidence 4) [8656A83E]
Copy OK
Track 13
Filename C:\New Folder\13. Come Dance With Me.wav
Pre-gap length 0:00:02.35
Peak level 84.6 %
Extraction speed 1.6 X
Track quality 99.9 %
Test CRC 2B6611D7
Copy CRC 2B6611D7
Accurately ripped (confidence 4) [27FF2B7C]
Copy OK
Track 14
Filename C:\New Folder\14. By Myself.wav
Pre-gap length 0:00:02.33
Peak level 64.6 %
Extraction speed 2.1 X
Track quality 100.0 %
Test CRC 269876DF
Copy CRC 269876DF
Accurately ripped (confidence 3) [99D72F16]
Copy OK
Track 15
Filename C:\New Folder\15. You're So Right For Me.wav
Pre-gap length 0:00:02.30
Peak level 90.2 %
Extraction speed 1.6 X
Track quality 100.0 %
Test CRC 84B2E6AD
Copy CRC 84B2E6AD
Accurately ripped (confidence 3) [3577C1C0]
Copy OK
Track 16
Filename C:\New Folder\16. Just Squeeze Me.wav
Pre-gap length 0:00:02.25
Peak level 52.6 %
Extraction speed 1.8 X
Track quality 100.0 %
Test CRC C9F2D245
Copy CRC C9F2D245
Accurately ripped (confidence 3) [9D591390]
Copy OK
Track 17
Filename C:\New Folder\17. Fantastico.wav
Pre-gap length 0:00:02.23
Peak level 82.5 %
Extraction speed 2.0 X
Track quality 100.0 %
Test CRC 15142453
Copy CRC 15142453
Accurately ripped (confidence 3) [A2FDE198]
Copy OK
Track 18
Filename C:\New Folder\18. Love & Marriage.wav
Pre-gap length 0:00:02.25
Peak level 85.6 %
Extraction speed 2.1 X
Track quality 100.0 %
Test CRC 222FEF25
Copy CRC 222FEF25
Accurately ripped (confidence 3) [6B9994A4]
Copy OK
Track 19
Filename C:\New Folder\19. Non Dimenticar.wav
Pre-gap length 0:00:02.32
Peak level 61.9 %
Extraction speed 1.8 X
Track quality 100.0 %
Test CRC 3133F7D4
Copy CRC 3133F7D4
Accurately ripped (confidence 3) [6B3DCC40]
Copy OK
Track 20
Filename C:\New Folder\20. From Now On.wav
Pre-gap length 0:00:02.30
Peak level 94.4 %
Extraction speed 2.3 X
Track quality 100.0 %
Test CRC D6872E55
Copy CRC D6872E55
Accurately ripped (confidence 3) [BDC78B0A]
Copy OK
Track 21
Filename C:\New Folder\21. You Stepped Out Of A Dream.wav
Pre-gap length 0:00:02.27
Peak level 62.0 %
Extraction speed 2.5 X
Track quality 100.0 %
Test CRC 940EA43E
Copy CRC 940EA43E
Accurately ripped (confidence 3) [D273A5C4]
Copy OK
Track 22
Filename C:\New Folder\22. Ole.wav
Pre-gap length 0:00:02.50
Peak level 59.9 %
Extraction speed 2.4 X
Track quality 100.0 %
Test CRC 6040F883
Copy CRC 6040F883
Accurately ripped (confidence 3) [4F5B257A]
Copy OK
Track 23
Filename C:\New Folder\23. I Can't Resist You.wav
Pre-gap length 0:00:02.30
Peak level 76.1 %
Extraction speed 2.6 X
Track quality 100.0 %
Test CRC A3D6752E
Copy CRC A3D6752E
Accurately ripped (confidence 4) [7CDC20EA]
Copy OK
Track 24
Filename C:\New Folder\24. Together Wherever We Go.wav
Pre-gap length 0:00:02.55
Peak level 82.1 %
Extraction speed 2.5 X
Track quality 100.0 %
Test CRC A5773342
Copy CRC A5773342
Accurately ripped (confidence 3) [7147B267]
Copy OK
All tracks accurately ripped
No errors occurred
End of status report
==== Log checksum 5CFE0EED7A34586A1E72DC175F56F4FF290E3B65BF9DE4F6AB70B39452D299A8 ====
[CUETools log; Date: 21.11.2011 15:12:06; Version: 2.0.9]
[CTDB TOCID: uligek7DlczkSCwQtomgRtVvG90-] disk not present in database.
[AccurateRip ID: 002fe2ee-034098c1-3c0cf318] found.
Track [ CRC ] Status
01 [e9be813c] (4/4) Accurately ripped
02 [01c5e720] (4/4) Accurately ripped
03 [a241922e] (4/4) Accurately ripped
04 [7f305a9a] (4/4) Accurately ripped
05 [79559ca6] (4/4) Accurately ripped
06 [65b45e28] (4/4) Accurately ripped
07 [9ffcd862] (4/4) Accurately ripped
08 [1dd5e8a4] (4/4) Accurately ripped
09 [5356f0ee] (4/4) Accurately ripped
10 [94b33eda] (4/4) Accurately ripped
11 [53cbff60] (4/4) Accurately ripped
12 [8656a83e] (4/4) Accurately ripped
13 [27ff2b7c] (4/4) Accurately ripped
14 [99d72f16] (3/3) Accurately ripped
15 [3577c1c0] (3/3) Accurately ripped
16 [9d591390] (3/3) Accurately ripped
17 [a2fde198] (3/3) Accurately ripped
18 [6b9994a4] (3/3) Accurately ripped
19 [6b3dcc40] (3/3) Accurately ripped
20 [bdc78b0a] (3/3) Accurately ripped
21 [d273a5c4] (3/3) Accurately ripped
22 [4f5b257a] (3/3) Accurately ripped
23 [7cdc20ea] (4/4) Accurately ripped
24 [7147b267] (3/3) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 94,4 [ECA5CD01] [8E1A7D49]
01 89,6 [AB50A7D3] [BF1E7DFE] CRC32
02 85,0 [1B0A26F7] [E94160E7] CRC32
03 84,0 [36D7FFCF] [107732C5] CRC32
04 70,9 [E0CEE265] [7A43FD65] CRC32
05 90,6 [77D590D3] [67FD516B] CRC32
06 87,1 [E68055D4] [80034948] CRC32
07 53,8 [5FB85E61] [EDCAEEA0] CRC32
08 63,3 [AFFEDF56] [70DE72CF] CRC32
09 57,4 [348A6927] [C3EF4183] CRC32
10 61,7 [8B5DBE8E] [D85A137A] CRC32
11 80,5 [9D8C0C65] [111547F8] CRC32
12 71,9 [4C9E5F3A] [7365E977] CRC32
13 84,6 [2B6611D7] [657FA079] CRC32
14 64,6 [269876DF] [2CFCACDE] CRC32
15 90,2 [84B2E6AD] [EF2EE1A3] CRC32
16 52,6 [C9F2D245] [AD5E73D9] CRC32
17 82,5 [15142453] [12DB73B8] CRC32
18 85,6 [222FEF25] [603708CC] CRC32
19 61,9 [3133F7D4] [4C7303F8] CRC32
20 94,4 [D6872E55] [6F01E7E4] CRC32
21 62,0 [940EA43E] [C05F1CB1] CRC32
22 59,9 [6040F883] [1C77B511] CRC32
23 76,1 [A3D6752E] [78A38280] CRC32
24 82,1 [A5773342] [B2F54BF4] CRC32
[CTDB TOCID: uligek7DlczkSCwQtomgRtVvG90-] disk not present in database.
[AccurateRip ID: 002fe2ee-034098c1-3c0cf318] found.
Track [ CRC ] Status
01 [e9be813c] (4/4) Accurately ripped
02 [01c5e720] (4/4) Accurately ripped
03 [a241922e] (4/4) Accurately ripped
04 [7f305a9a] (4/4) Accurately ripped
05 [79559ca6] (4/4) Accurately ripped
06 [65b45e28] (4/4) Accurately ripped
07 [9ffcd862] (4/4) Accurately ripped
08 [1dd5e8a4] (4/4) Accurately ripped
09 [5356f0ee] (4/4) Accurately ripped
10 [94b33eda] (4/4) Accurately ripped
11 [53cbff60] (4/4) Accurately ripped
12 [8656a83e] (4/4) Accurately ripped
13 [27ff2b7c] (4/4) Accurately ripped
14 [99d72f16] (3/3) Accurately ripped
15 [3577c1c0] (3/3) Accurately ripped
16 [9d591390] (3/3) Accurately ripped
17 [a2fde198] (3/3) Accurately ripped
18 [6b9994a4] (3/3) Accurately ripped
19 [6b3dcc40] (3/3) Accurately ripped
20 [bdc78b0a] (3/3) Accurately ripped
21 [d273a5c4] (3/3) Accurately ripped
22 [4f5b257a] (3/3) Accurately ripped
23 [7cdc20ea] (4/4) Accurately ripped
24 [7147b267] (3/3) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 94,4 [ECA5CD01] [8E1A7D49]
01 89,6 [AB50A7D3] [BF1E7DFE] CRC32
02 85,0 [1B0A26F7] [E94160E7] CRC32
03 84,0 [36D7FFCF] [107732C5] CRC32
04 70,9 [E0CEE265] [7A43FD65] CRC32
05 90,6 [77D590D3] [67FD516B] CRC32
06 87,1 [E68055D4] [80034948] CRC32
07 53,8 [5FB85E61] [EDCAEEA0] CRC32
08 63,3 [AFFEDF56] [70DE72CF] CRC32
09 57,4 [348A6927] [C3EF4183] CRC32
10 61,7 [8B5DBE8E] [D85A137A] CRC32
11 80,5 [9D8C0C65] [111547F8] CRC32
12 71,9 [4C9E5F3A] [7365E977] CRC32
13 84,6 [2B6611D7] [657FA079] CRC32
14 64,6 [269876DF] [2CFCACDE] CRC32
15 90,2 [84B2E6AD] [EF2EE1A3] CRC32
16 52,6 [C9F2D245] [AD5E73D9] CRC32
17 82,5 [15142453] [12DB73B8] CRC32
18 85,6 [222FEF25] [603708CC] CRC32
19 61,9 [3133F7D4] [4C7303F8] CRC32
20 94,4 [D6872E55] [6F01E7E4] CRC32
21 62,0 [940EA43E] [C05F1CB1] CRC32
22 59,9 [6040F883] [1C77B511] CRC32
23 76,1 [A3D6752E] [78A38280] CRC32
24 82,1 [A5773342] [B2F54BF4] CRC32
Thanks to the original releaser.
Peggy Lee - Latin ala Lee! / Ole ala Lee! (1997)
mp3@320 share of this album can be found on AvaxHome, from @Ibiza:
Peggy Lee - Latin ala Lee! / Ole ala Lee! (1997)
(flac links are interchangeable, artwork = single link)