MusicBrainz recording
I Won’t Come in While He’s There
Jim Reeves
2:13
fb02dcb5-3c72-497a-9cdc-27fdf9810c78
View on MusicBrainz →
AcoustIDs
7
linked to this recording
Submissions
117
linking them to it
Fingerprints
25
distinct audio files
Duration
2:06–2:56
range of submitted files
AcoustIDs
| AcoustID | Most common fingerprint | Fingerprints | Length | Sources | ||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| A |
df9b2693-6cca-43ec-968c-5943a2f6c232
Also linked to
I Won’t Come in While He’s Still There by Jim Reeves, I Won’t Come in While He’s There by Jim Reeves and
|
3 | 2:11–2:14 | |||||||||||||||||||||||||||||||||||||||||||
|
Recordings linked to A
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| B |
a6a0d929-ffdd-4ab8-988f-dbf1486471bc
Also linked to
I Won’t Come in While He’s There by Jim Reeves
|
5 | 2:06–2:10 | |||||||||||||||||||||||||||||||||||||||||||
|
Recordings linked to B
|
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| C |
895192c4-e228-43db-b64f-480341435565
Also linked to
I Won’t Come in When He’s There by Jim Reeves
|
3 | 2:09 | |||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to C
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| D |
8af5b475-5553-4fa5-a625-6f3316b46de1
Also linked to
I Won’t Come in While He’s There by Jim Reeves, I Missed Me by Jim Reeves and
|
9 | 2:07–2:10 | |||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to D
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| E |
7e579cc1-68db-4569-9626-aaf5efacc733
Also linked to
Four Walls (1957) by Jim Reeves, Four Walls by Jim Reeves
|
2 | 2:56 | |||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to E
|
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| F | 9c877045-019e-4254-9314-aa84c5eea1e1 | 1 | 2:23 | |||||||||||||||||||||||||||||||||||||||||||
| G |
175941e1-dea5-4a57-8a6f-7acbeae6133b
Also linked to
I Won’t Come in While He’s There by Jim Reeves, I Won’t Come in While He’s There by Jim Reeves
|
2 | 2:06–2:12 | |||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to G
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Are they the same audio?
Each cell compares the most common fingerprints of two of these AcoustIDs. High scores mean the same audio was split into separate AcoustIDs, while low scores are expected for different versions, edits or masterings of the recording.