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by Bill Dahl

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.

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC Auslese-Logdatei vom 14. Mai 2010, 8:46

Maurice John Vaughn / In the Shadow of the City

Benutztes Laufwerk : BS2863M IYE710C Adapter: 5 ID: 0

Lesemodus : Sicher

Benutze Accurate Stream : Ja

Audio Puffer abgeschaltet : Ja

Benutze C2 Fehlerinformationen : Ja

Kombinierte Lese/Schreiboffset Korrektur : 0

Überlesen in das Lead-In und Lead-Out : Nein

Fülle fehlende Offsetsample mit Stille auf : Ja

Lösche führende und nachfolgende stille Blöcke : Nein

Null Samples gehen in CRC Berechnungen ein : Nein

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TOC der ausgelesenen CD

Track | Start | Länge | Startsektor | Endsektor

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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

Bereichsstatus und Fehler

Gewählter Bereich

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Spitzenpegel 100.0 %

Bereichsqualität 100.0 %

Kopie CRC 89EF740C

Kopie OK

Keine Fehler aufgetreten

Ende des Statusreports