======================== unified (from filesystem) ========================
                                         'bitrate'  '96.0'
                                        'duration'  '134'
                                          'artist'  'Bing Crosby/Liberace'
                                     'text_people'  'Johnny Marks'
                                         'release'  'Christmas'
                                           'title'  'Rudolph the Red-Nosed Reindeer'
                                           'quals'  ("['Q-HAP-3', 'Q-JZFKS-1', 'Q-UNU-1', 'Q-LOCALNESS-1', 'Q-HHRNBTT-1', "
 "'Q-OLDST-1', 'q-syn-1', 'q-bass-1', 'q-busy-3', 'q-grit-1', 'q-play-2', "
 "'q-chart-1', 'q-drums-1', 'q-other-2', 'q-piano-1', 'q-vocals-4', "
 "'q-mixbeat-1']")
                             'musicbrainz_albumid'  ''
                       'musicbrainz_albumartistid'  ''
                            'musicbrainz_artistid'  ''
                             'musicbrainz_trackid'  ''
                                     'tracknumber'  '1'
                                      'tracktotal'  ''
                                            'date'  '1950'
                                        'comments'  ''
                                           'genre'  'prerock-vocal;set-th-christmas'
                                             'bpm'  '145.790'
                                             'key'  '10B'
                                        'acoustid'  ''
rest: ''

======================== rawer (from filesystem) ========================

'APIC:'                                             type PictureType.COVER_FRONT (Cover (front)) b''
                                     
'COMM:ID3v1 Comment:XXX'                            'by John Bush \r\nBing Crosby w'
'COMM:MusicMatch_Bio:eng'                           ('by John Bush \r\n'
 'Bing Crosby was, without doubt, the most popular and influential media star '
 'of the first half of the 20th century. The undisputed best-selling artist '
 'until well into the rock era (with over half a billion records in '
 'circulation), the most popular radio star of all time, and the biggest '
 'box-office draw of the 1940s, Crosby dominated the entertainment world from '
 "the Depression until the mid-'50s, and proved just as influential as he was "
 'popular. Unlike the many vocal artists before him, Crosby grew up with '
 'radio, and his intimate bedside manner was a style perfectly suited to '
 'emphasize the strengths of a medium transmitted directly into the home. He '
 'was also helped by the emerging microphone technology: scientists had '
 'perfected the electrically amplified recording process scant months before '
 'Crosby debuted on record, and in contrast to earlier vocalists, who were '
 'forced to strain their voices into the upper register to make an impression '
 "on mechanically recorded tracks, Crosby's warm, manly baritone crooned "
 'contentedly without a thought of excess.\r\n'
 '\r\n'
 "Not to be forgotten in charting Bing Crosby's influence is the music itself. "
 'His song knowledge and sense of laid-back swing was learned from early jazz '
 'music, far less formal than the European-influenced classical and popular '
 "music used for inspiration by the vocalists of the 1910s and '20s. Jazz was "
 'by no means his main concentration, though, especially after the 1930s; '
 'Crosby instead blended contemporary pop hits with the best songs from a wide '
 'range of material (occasionally recording theme-oriented songs written by '
 "non-specialists as well, such as Cole Porter's notoriously un-Western "
 '"Don\'t Fence Me In"). His wide repertoire covered show tunes, film music, '
 'country & western songs, patriotic standards, religious hymns, holiday '
 'favorites, and ethnic ballads (most notably Irish and Hawaiian). The breadth '
 "of material wasn't threatening to audiences because Crosby put his own "
 'indelible stamp on each song he recorded, appealing to many different '
 'audiences while still not endangering his own fan base. Bing Crosby was '
 'among the first to actually read songs, making them his own by interpreting '
 'the lyrics and emphasizing words or phrases to emphasize what he thought '
 'best.\r\n'
 '\r\n'
 'His influence and importance in terms of vocal ability and knowledge of '
 'American popular music are immense, but what made Bing Crosby more than '
 'anything else was his persona — whether it was an artificial creation or '
 'something utterly natural to his own personality. Crosby represented the '
 'American everyman — strong and stern to a point yet easygoing and affable, '
 'tolerant of other viewpoints but quick to defend God and the American way — '
 'during the hard times of the Depression and World War II, when Americans '
 'most needed a symbol of what their country was all about.\r\n'
 '\r\n'
 'Bing Crosby was born Harry Lillis Crosby in Tacoma, WA, on May 3, 1903. '
 '(Bingo was a childhood nickname from one of his favorite comic strips.) The '
 'fourth of seven children in a poverty-level family who loved to sing, he was '
 'briefly sent to vocal lessons early on by his mother, until he grew tired of '
 'the training. An early admirer of Al Jolson, Crosby saw his hero perform in '
 '1917. Crosby sang in a high-school jazz band, and when he began attending '
 'nearby Gonzaga College (he had grown up practically in the middle of the '
 'campus), he ordered a drum set through the mail and practiced on the set. '
 'Introduced to a local bandleader named Al Rinker, he was invited to join '
 "Rinker's group, the Musicaladers, singing and playing drums with the group "
 'throughout college.\r\n'
 '\r\n'
 'Though the Musicaladers broke up soon after his graduation in 1925, Bing '
 'Crosby was ready to stick with the music business. Crosby had made quite a '
 "bit of money during the band's career, and he and Rinker — who was the "
 'brother of Mildred Bailey — were confident they could make it in California. '
 'They packed up their belongings and headed out for Los Angeles, finding good '
 'money working in vaudeville until they were hired by Paul Whiteman, leader '
 'of the most popular jazz band in the country (and known as the "King of '
 'Jazz" in an era when black pioneers were mostly ignored since they were '
 "unmarketable). For a few songs during Whiteman's shows, Rinker and Crosby "
 'sang as the Rhythm Boys with Harry Barris (a pianist, arranger, vocal '
 'effects artist, and songwriter later renowned for "I Surrender Dear" and '
 '"Wrap Your Troubles in Dreams"). With their clever songwriting and stage '
 "routines, the trio soon became one of the Paul Whiteman Orchestra's most "
 "popular attractions, and Crosby took a vocal on one of Whiteman's biggest "
 'hits of 1927-1928, "Ol\' Man River." Besides appearing on record with '
 "Whiteman's orchestra, the Rhythm Boys also recorded on their own, though an "
 'opportunity for Crosby to enlarge his part in the 1930 film King of Jazz '
 'with a solo song went unrealized, as he sat in the clink for a drunk-driving '
 'altercation.\r\n'
 '\r\n'
 'When Whiteman again hit the road in 1930, the Rhythm Boys stayed behind on '
 'the West Coast. After Crosby hired his big brother Everett as a manager, he '
 'began recording consistently as a solo act with Brunswick Records in early '
 "1931, and by year's end had chalked up several of the year's biggest hits, "
 'including "Out of Nowhere," "Just One More Chance," "I Found a '
 'Million-Dollar Baby," and "At Your Command." He appeared in three films that '
 'year, and in September began a popular CBS radio series. Its success was '
 'similarly unprecedented; in less than a year, the show was among the '
 "nation's most popular and earned Crosby a starring role in 1932's The Big "
 'Broadcast, which brought radio stars like Burns & Allen to the screen. By '
 'the midpoint of the decade, Crosby was among the top ten most popular film '
 'stars. His musical success had, if anything, gained momentum during the same '
 'time, producing some of the biggest hits of 1932-1934: "Please," "Brother, '
 'Can You Spare a Dime?," "You\'re Getting to Be a Habit With Me," "Little '
 'Dutch Mill," "Love in Bloom," and "June in January."\r\n'
 '\r\n'
 '"June in January," itself the biggest hit at that point in Crosby\'s young '
 'career, signaled a turn in his career. Brunswick executive Jack Kapp had '
 'just struck out on his own with an American subsidiary of the British Decca '
 'Records, and Crosby was lured over with the promise of higher royalty rates. '
 'Though his initial releases on Decca were recordings from his films of the '
 'year — "June in January" was taken from Here Is My Heart — Crosby began '
 'stretching out with religious material (such as "Silent Night, Holy Night," '
 'which became one of his biggest sellers, estimated at up to ten million). '
 'Late in 1935, he signed a contract for a radio show with NBC called Kraft '
 "Music Hall, an association that lasted into the mid-'40s. After his first "
 "musical director, Jimmy Dorsey, left, Crosby's songwriter friend Johnny "
 'Burke recommended John Scott Trotter (previously with the Hal Kemp '
 'Orchestra) as a replacement. Trotter quickly cinched the job when his '
 'arrangements for the 1936 film Pennies from Heaven produced the biggest hit '
 "of the year in its title song. (He would continue as Bing's orchestra "
 "arranger and bandleader into the mid-'50s.)\r\n"
 '\r\n'
 'After the biggest hit of 1936, Bing Crosby followed up with — what else? — '
 'the biggest of 1937, just months later. "Sweet Leilani," from the similarly '
 'Hawaiian film Waikiki Wedding, showed Bing the direction his career could '
 "take over the course of the 1940s and '50s. Though he had recorded several "
 'cowboy songs earlier in the 1930s as well as the occasional song of '
 'inspiration, Crosby began covering everything under the sun, the popular '
 "hits of every genre of contemporary music. These weren't castoffs, either; "
 'many of his 1940s country & western covers were hits, such as "New San '
 'Antonio Rose," "You Are My Sunshine," "Deep in the Heart of Texas," '
 '"Pistol-Packin\' Mama," "San Fernando Valley," and "Chattanoogie Shoe Shine '
 'Boy."\r\n'
 '\r\n'
 'With the advent of American involvement in World War II, Bing Crosby entered '
 'the peak of his career. Arriving in 1940 was the first of his popular "Road" '
 'movies with old friend Bob Hope and Dorothy Lamour, along with three of the '
 'biggest hits of the year ("Sierra Sue," "Trade Winds," "Only Forever"). '
 'Crosby and Hope had first met in 1932, when the two both performed at the '
 "Capitol Theater in New York. They reunited later in the '30s to open a "
 'racetrack, and after reprising some old vaudeville routines, a Paramount '
 'Pictures producer decided to find a vehicle for the pair and came up with '
 'The Road to Singapore.\r\n'
 '\r\n'
 'More popular success followed in 1941 with the introduction of the biggest '
 'hit of Papa Bing\'s career, "White Christmas." Written by Irving Berlin for '
 "1942's Holiday Inn (a film that featured a Berlin song for each major "
 "holiday of the year), the single was debuted on Bing's radio show on "
 'Christmas Day, 1941. Recorded the following May and released in October, '
 '"White Christmas" stayed at number one for the rest of 1942. Reissued near '
 'Christmas for each of the next 20 years, it became the best-selling single '
 'of all time, with totals of over 30 million copies. It was a favorite for '
 'soldiers on the various USO tours Crosby attended during the war years, as '
 'was another holiday song, "I\'ll Be Home for Christmas." Crosby\'s popular '
 'success continued after the end of the war, and he remained the top '
 'box-office draw until 1948 (his fifth consecutive year at number one).\r\n'
 '\r\n'
 'As with all the jazz-oriented stars of the first half of the 20th century, '
 "Crosby's chart popularity was obviously affected by the rise of rock & roll "
 'in the mid-\'50s. Though 1948\'s "Now Is the Hour" proved his last number '
 'one hit, the lack of chart success proved to be a boon: Crosby now had the '
 'time to concentrate on album-oriented projects and collaborations with other '
 'vocalists and name bands, definitely a more enjoyable venture than singing '
 "pop hits of the day on his radio show, ad nauseam. Inspired by the '50s "
 'adult-oriented album concepts of Frank Sinatra (who had no doubt been '
 'inspired by Bing in no small way), Crosby began to record his most '
 'well-received records in ages, as Bing Sings Whilst Bregman Swings (1956) '
 'and Bing With a Beat (1957) returned him to the hot jazz he had loved and '
 'performed back in the 1930s. His recording and film schedule began to slow '
 'in the 1960s, though he recorded several LPs for United Artists during the '
 "mid-'70s (one with Fred Astaire) and returned to active performance during "
 '1976-1977. While golfing in Spain on October 14, 1977, Bing Crosby collapsed '
 'and died of a heart attack. \r\n'
 ' \r\n')
'PCNT' (Play counter)                               PCNT(count=0)
'TALB' (Album/Movie/Show title)                     'Christmas'
'TBPM' (BPM (beats per minute))                     '145.790'
'TCOM' (Composer)                                   'Johnny Marks'
'TCON' (Content type, a.k.a. Genre)                 ['prerock-vocal', 'set-th-christmas']
'TDRC' (Recording time)                             '1950'
'TIT2' (Title/songname/content description)         'Rudolph the Red-Nosed Reindeer'
'TKEY' (Initial key)                                '10B'
'TPE1' (Lead performer(s)/Soloist(s))               'Bing Crosby'
'TPE2' (Band/orchestra/accompaniment)               'Bing Crosby/Liberace'
'TPUB' (Publisher)                                  'Universal Special Products'
'TRCK' (Track number/Position in set)               '1'
'TXXX:Q-HAP'                                        '3'
'TXXX:Q-HHRNBTT'                                    '1'
'TXXX:Q-JZFKS'                                      '1'
'TXXX:Q-LOCALNESS'                                  '1'
'TXXX:Q-OLDST'                                      '1'
'TXXX:Q-UNU'                                        '1'
'TXXX:q-bass'                                       '1'
'TXXX:q-busy'                                       '3'
'TXXX:q-chart'                                      '1'
'TXXX:q-drums'                                      '1'
'TXXX:q-grit'                                       '1'
'TXXX:q-mixbeat'                                    '1'
'TXXX:q-other'                                      '2'
'TXXX:q-piano'                                      '1'
'TXXX:q-play'                                       '2'
'TXXX:q-syn'                                        '1'
'TXXX:q-vocals'                                     '4'
'TXXX:replaygain_track_gain'                        '+2.77 dB'
'TXXX:replaygain_track_peak'                        '0.557843'
'UFID:'                                             UFID(owner='', data=b'XL\x00 CH1950_003')

========================== row from database ==========================
                                              'id'  1429830
                                            'path'  /data/Music/Bulk/00blues-jazz-exotica-oldies-country/00oldiepop/1950/ch1950_003 - bing crosby - rudolph the red-nosed reindeer 96 js (2.15).mp3
                                         'working'  None
                                         'bitrate'  96
                                    'duration_sec'  134
                                           'genre'  prerock-vocal;set-th-christmas
                                        'filesize'  1655162
                                           'mtime'  1621853302
                                   'redo_metaread'  0
                                        'rest_str'   00blues jazz exotica oldies country 00oldiepop 1950 ch1950_003 bing crosby rudolph red nosed reindeer 96 js (2.15) prerock vocal;set christmas
                                      'tag_artist'  Bing Crosby/Liberace
                                     'tag_release'  Christmas
                                       'tag_title'  Rudolph the Red-Nosed Reindeer
                                             'bpm'  145.79
                                    'search_title'  'nosed':4 'red':3 'rednosed':5 'reindeer':6 'rudolph':1 'the':2
                                   'search_artist'  'bing':1 'crosby':2 'crosbyliberace':4 'liberace':3
                                  'search_release'  'christmas':1
                                     'search_rest'  '003':8 '00oldiepop':5 '15':18 '1950':6 '2':17 '215':19 '96':15 'bing':9 'ch1950':7 'christmas':25 'country':4 'crosby':10 'exotica':2 'jazz':1 'js':16 'nosed':13 'oldies':3 'prerock':20 'red':12 'reindeer':14 'rudolph':11 'set':22,24 'vocal':21,23
                                    'search_combo'  '003':19 '00oldiepop':16 '15':29 '1950':17 '2':28 '215':30 '96':26 'bing':7B,20 'ch1950':18 'christmas':11C,36 'country':15 'crosby':8B,21 'crosbyliberace':10B 'exotica':13 'jazz':12 'js':27 'liberace':9B 'nosed':4A,24 'oldies':14 'prerock':31 'red':3A,23 'rednosed':5A 'reindeer':6A,25 'rudolph':1A,22 'set':33,35 'the':2A 'vocal':32,34
                                    'tag_tracknum'  1
                                      'num_images'  1
                                             'key'  10B
                                           'quals'  ['Q-HHRNBTT-1', 'q-vocals-4', 'Q-LOCALNESS-1', 'q-piano-1', 'q-mixbeat-1', 'q-play-2', 'Q-OLDST-1', 'Q-UNU-1', 'Q-JZFKS-1', 'q-busy-3', 'q-drums-1', 'q-syn-1', 'q-chart-1', 'q-other-2', 'Q-HAP-3', 'q-bass-1', 'q-grit-1']
                                      'lastfmtags'  []
                                        'tag_date'  1950
                                     'discogstags'  []

============================== file details ==============================
                                           'mtime'  1621853302.0699718  (2021-05-24 12:48:22)
                             'size'  1655162