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recording wav at 32/192, then split it using Wavelab 6.11 and finally tag and c
onvert to flac 24/192 using EZCD 2.01. I have a rega rp1 prefomance pack phonogr
aph (made in france I think) a Denon DRA700 AE analog reciever, an Audiotrak Dr.
DAC prime external soud card which is compatible with 24/192, and it all mainli
nes into my 3 years old (works as brand new) w520 Think pad
Which is very reliable and can be used 24/7/52 with it's cooler and never heats
up.
please leave comments as to the quality, be they positive or negative.
Enjoy!!!!
Jim & Ingrid Croce
Croce First Album
Label:
Capitol Records 5C 050-82022 Special
Format:
Vinyl, LP, Reissue
Country:
Netherlands
Released:
1975
Genre:
Rock
Style:
Folk Rock, Country Rock
B2, B5)
Notes
Previously released on Capitol Records ST-315 (1969) as "Jim & Ingrid"
Manufactured by EMI-Bovema-Holland 1975
Allmusic.com
Release Date
1969
Genre
Pop/Rock
Folk
Styles
Singer/Songwriter
AM Pop
British Folk
Album Moods
Autumnal Laid-Back/Mellow Soothing Amiable/Good-Natured Reflective Sentimen
tal Sweet Bittersweet Gentle Humorous Intimate Melancholy Plaintive Poig
nant Wistful Sad Rollicking
Review by William Ruhlmann
Jim & Ingrid Croce's duo album, which appeared years before Jim Croce's breakout
1972 hit "You Don't Mess Around With Jim," demonstrates that the later decision
for Jim Croce to perform solo was a sound one. Together, the Croces singing in
unison sound like a becalmed version of Ian & Sylvia on these gentle folk songs.
Ingrid Croce, who takes several lead vocals and even sings by herself on "The N
ext Man That I Marry," has a passable but unremarkable voice, while Jim Croce of
ten shows the casual style that would become so popular in the early '70s. This
is particularly noticeable on "Another Day, Another Town" and "What the Hell," a
t least until Ingrid Croce joins in on the choruses. The material, much of it wr
itten by the Croces, is pleasant but ordinary; there are no hidden gems here. Th
is album passed unnoticed when it was first released, only gaining attention in
the wake of Jim Croce's hit recordings for ABC and his subsequent early death, w
hich put a premium on all parts of his relatively small catalog. But it remains
juvenilia or, to be more precise, a stylistic experiment that didn't really work
before Croce hit upon the magic formula as a solo act.