Surrounded On Sundays - 5.1/quad reviews and summaries

Elliot's been doing it much, much longer, and has no less than 8 Grammys for his work too. I always imagine my rear speakers "waking up and smiling" when fed an assertive mix like this.

 

Is this only available as part of the very expensive super deluxe box set?

 

What I hear is the lead vocal in the center front and all the background vocals in the rear channels at too low a volume. I have Gone To Earth, Everyone IEE, and Octoberon. These all sound very different in surround vs 2 channel. I really would prefer the background vocals be in front at normal levels than they way it was done. With that said however, it does give the records a very different sound.

As for the 2 channel discs, i need to try them again because I was only getting 44khz not the high res rate. I will probably get And other Short Stories as that and Baby James Harvest are my 2 favorite early records.

 

Yes. There is a bluray of A Farewell To Kings available separately, but it is a different mix and not as good

 

Mark, I know you mentioned Bull Moose, but did you see in the GHS thread that a link was posted for another discounted site? Here it is, in case you missed it:

Goats Head Soup – uDiscover Music

And I can confirm that the coupon UD20Off works!



Edit: Not sure it would work for Australia, though, so on that I cannot confirm.

 

I'm in the US....
I'll check it out. Cheers mate

 

Importcds has it for $110.99.

I have a birthday coming up, so I ordered it.

 

I just saw your thread Mark - after I had started one asking about 5.1 mixes but I may get more bites here
(Where are all the Angels 5.1 mixes Mark!!?)

Seeking some info from anyone who has first hand knowledge of mixing an album in 5.1 surround, whether it be on DVD-A, SACD or blu ray. You don't have to be the actual engineer, just know the processes involved.
If you don't want to answer publicly please PM me. Any info appreciated.
Cheers

 

There are very few Australian albums in 5.1 unfortunately.
Sadly with Australia's population being so small, there are very few bands that have record company support for such a project.
Off the top of my head Midnight Oil Capricornia, Inxs Kick, The Nick Cave collection from From Her To Eternity up To Dig Lazarus Dig .... that might be it.

As for mixing an album in 5.1
- You need the multitracks to do it. Often they aren't available, because folks never really thought about doing this down the track.
- You need equipment capable of doing it. Logic, Protools and a few other programs are available that will do it. I am not sure about techniques using analog methods, but I assume it would be possible

The actual mixing
There are endless options of how to go about it. Steven Wilson generally tries to get a stereo mix as close to the original as possible, and then works from there.
When I was doing some of my own, I used to get the drums set up in a field that felt like you were somewhat sitting in them, and work from there. Set the bass up in the middle, with a bit of sub for warmth and clarity. If there were two rhythm guitars I would put one on either side. If there were keys I would generally put them at the back, unless they were driving the song. Backing vocals I generally set up across the back and through to the sides, depending on the arrangement of them. Lead Vocal Centre .....

Essentially there are no real rules about 5.1 mixing, but as it has developed there have been some more solid basic principles of how to set up a soundstage ....

Not sure if that's helpful.....

I would love to hear some Aussie bands get 5.1 mixes ... but good mixes ... but I am not sure there is enough money in the Aussie music industry, and enough widespread interest in the apathetic music listening community anymore

 

Right you are - the only other couple I can think of are one by The Church & Crowded House.

Yes, multitracks are needed of course. I'm kind of after info on the appprox. time taken to do the mixing of an album from obtaining the multitracks to the finished "master" 5.1 mix & the costings involved.
Your comments are spot on about the apathetic music situation here - especially from a country that used to absolutely ROCK :-(

 

Yea, the time and money issue would be incredibly variable .... Time would come down to how nessy the multitracks are. It's rare for bands to just have everything laid out nice and neat, and then there is the issue of how many of the tracks were used and not used, how many tracks were flown in from a different tape. Whether there were outboard effects used on the mixdown ... all sorts of possibilities. In reality depending on these factors it could take anywhere from a day to a couple of weeks for one track. I imagine if anyone ever does get around to doing some Zappa, for example, it could take a very long time just to get all the right tapes and get them set up to even start mixing.
As for money ... I guess it depends on the production team and mixer. If they need to rent/hire a studio to do it in, and all that kind of thing. I would imagine that Wilson, Scheiner and guys like that have their own setups to work in, so it would probably be a by the hour, or by the day prospect.... unless they do a flat rate. Just the encoding programs cost a bomb ... I tried to buy a DTS encoder a long long time ago, but it was out of my budget lol

 

I looked it up - Forget Yourself , a 2003 Silverline release. There's one listed for $40 on discogs, but the actual sale prices in the past are under $10. Given the fact that it's a Silverline, I am not tempted.

 

I'm pretty chuffed with my son who's 5 who now asks me when I put an album on "Is it in surround sound dad?"
His favourites are the Beatles No 1 (the 2 blu rays discs), John Lennon - Legend, Allman Bros - Idle Wild (especially Midnight Rider), Fleetwood Mac - Rumours & Steve Miller -Fly Like An Eagle

 

I was wondering what the Church album was. Silverline fills me with annoyance and a certain amount of disdain for their shoddy butchering of the format, but I love the Church, so it is in the cart.... I'll report on it when it comes around.

 

Despite being a Silverline I reckon it's pretty good - one of their better ones.
It's a dual disc & if you find it for a tenner it's definitely worth getting.
I actually find it quite interesting that of all things they picked an unknown album by an Aussie band to do in 5.1, so hats off to them for doing it!

 

I guessed it on my second try. First guess was Starfish, of course. Second guess was something released around 2002 because that's when a bunch of new and unrenowned were released by Silverline. I have at least a half-dozen of them. Some are decent (Queensryche, Todd Rundgren, Wishbone Ash), while others are terrible (Jack Bruce, Desmond Dekker, Shankar and Gingger). The Dekker was an absolute stinker - I think most of it was "mixed" from a mono source. Still have Fairport Convention to go.

 

Don't have the Queensryche but Liars by Rundgren is great. (Sound as well as material)
5.1 mixes have introduced me to some albums I'd probably have never bought otherwise so am pretty happy about that.
One of my favourite artists to have discovered through surround is Nick Drake - had never heard of him until a few years back when for about 5 bucks got a copy of "A Treasury" 5.1 sacd & was absolutely enchanted with him.

 

same on both counts

 

I'm going to wait a bit for both reviews and the hope that it comes down a bit in price.

 

As soon as I get it, I will do my best to accurately describe it

 

Slowhand


Studio album by
Eric Clapton
Released 25 November 1977
Recorded May 1977
Studio Olympic Studios, London
Genre Rock
Length 39:06
Label RSO
Producer Glyn Johns

Slowhand is the fifth solo studio album by Eric Clapton. Released on 25 November 1977 by RSO Records, and titled after Clapton's nickname, it is one of his most commercially and critically successful studio albums. Slowhand produced the two hit singles "Lay Down Sally" and "Wonderful Tonight", reached various international music charts and was honoured with numerous awards and recording certifications. In 2012, a deluxe edition was released to celebrate the album's 35th anniversary.

Clapton wanted to work with record producer Glyn Johns, because he thought Johns produced great work with famous groups like the Rolling Stones and Eagles and understood how to work with both British and American musicians. While in the studio with Johns, Clapton noted that the A-list producer was very disciplined and disliked jamming, because it would kill important recording time. Although Clapton and his band were intoxicated nearly all the time when recording, Johns liked Clapton's work and brought out the best in every musician, according to Clapton.

• Eric Clapton – lead vocals, guitar
• George Terry – guitar
• Dick Sims – keyboards
• Carl Radle – bass guitar
• Jamie Oldaker – drums, percussion
• Mel Collins – saxophone
• Yvonne Elliman – harmony and backing vocals
• Marcy Levy – harmony and backing vocals, duet on "The Core"

Production

• Glyn Johns – producer, engineer
• El & Nell Ink. (David Stewart, Nello) – art direction and design
• Jonathan Dent – artwork
• Andy Seymour – inner sleeve photo
• Watal Asanuma – outer sleeve photo

1. "Cocaine" J.J. Cale 3:38
2. "Wonderful Tonight" Eric Clapton 3:41
3. "Lay Down Sally" Eric Clapton · George Terry · Marcy Levy 3:56
4. "Next Time You See Her" Eric Clapton 4:01
5. "We're All the Way" Don Williams 2:32
6. "The Core" Eric Clapton · Marcy Levy 8:45
7. "May You Never" John Martyn 3:01
38. "Mean Old Frisco" Arthur Crudup 4:42
9. "Peaches and Diesel" Eric Clapton · Albhy Galuten 4:46
Total length: 39:06
---------------------------------------------------------------
So far we have done Give Me strength 74/75 recordings (461 Ocean Blvd/There's One In Every Crowd), Reptile and Back Home. Also Derek and the Dominos Layla.
Today we look at Slowhand.

The sacd is available fro discogs from about $15 Eric Clapton - Slowhand
There are new copies on Amazon for about $16, but it doesn't state if it is the multichannel version, so I am not going to link it.

Also in 2012 there was a super deluxe edition

Disc One: Slowhand Remastered And Expanded
CD1-1 Cocaine 3:42
CD1-2 Wonderful Tonight 3:42
CD1-3 Lay Down Sally 3:52
CD1-4 Next Time You See Her 4:02
CD1-5 We're All The Way 2:31
CD1-6 The Core 8:42
CD1-7 May You Never 3:00
CD1-8 Mean Old Frisco 4:38
CD1-9 Peaches And Diesel 4:50
Bonus Tracks
CD1-10 Looking At The Rain 3:39
CD1-11 Alberta 2:40
CD1-12 Greyhound Bus 2:57
CD1-13 Stars, Strays And Ashtrays 4:36
Disc Two: Slowhand Hi-Res Stereo And 5.1 Surround Sound DVD (Audio Only)
DVD-1 Cocaine 3:42
DVD-2 Wonderful Tonight 3:42
DVD-3.1 Lay Down Sally (Hi-Res) 3:52
DVD-3.2 Lay Down Sally (Surround) 4:14
DVD-4 Next Time You See Her 4:02
DVD-5 We're All The Way 2:31
DVD-6 The Core 8:42
DVD-7.1 May You Never (Hi-Res) 3:00
DVD-7.2 May You Never (Surround) 3:58
DVD-8 Mean Old Frisco 4:38
DVD-9 Peaches And Diesel 4:30
Disc Three: Live At Hammersmith Odeon, April 27, 1977
CD2-1 Hello Old Friend 3:58
CD2-2 Sign Language 3:58
CD2-3 Alberta 4:06
CD2-4 Tell The Truth 9:00
CD2-5 Knocking On Heaven's Door 5:18
CD2-6 Steady Rolling Man 6:55
CD2-7 Can't Find My Way Home 6:06
CD2-8 Further On Up The Road 6:35
CD2-9 Stormy Monday 12:42
Disc Four: Live At Hammersmith Odeon, April 27, 1977
CD3-1 Badge 8:37
CD3-2 Nobody Knows You When You're Down And Out 4:00
CD3-3 I Shot The Sheriff 14:04
CD3-4 Layla 6:02
CD3-5 Key To The Highway 7:28
Five: Slowhand Vinyl L.P.
A1 Cocaine 3:42
A2 Wonderful Tonight 3:42
A3 Lay Down Sally 3:52
A4 Next Time You See Her 4:02
A5 We're All The Way 2:31
B1 The Core 8:42
B2 May You Never 3:00
B3 Mean Old Frisco 4:38
B4 Peaches And Diesel 4:50

Available from discogs from about $169 Eric Clapton - Slowhand
Also available at discogs from about $70 Eric Clapton - Slowhand

5.1 mix Glyn Johns
Mastered by Bob Ludwig

Cocaine
Instantly a really nice sound.
Guitars either side towards the rears, with a guitar up front also.
The bas has a really nice warm sub assist, it sounds great.
Cymbals, a crash on the right side, a ride left rear.
A really nice balanced mix.
The bass guitar sounds excellent.

Wonderful tonight
Organ right side. Guitar left rear. Lead riff front. Again that bass.
Elec piano up front.
No tricks or strangeness, just a solid mix with a really nice balanced mix.
We get backing vocals in the rears.
This is a classic track, and I must have played this a hundred or more times ... yes I sing to my wife, I'm weird like that lol

Lay Down Sally
We start with two guitars front left and right. Again that really nice sounding bass comes in with punctuation and the build comes in.
Bvox rears.
This is such a cool song.
Keys right side.
This is a song I have always loved.... I sort of taught myself to play, jamming along with the Just One Night album.

Next Time You See Her
A really nice spread of sounds from the outset.
Keys on either side in the rears. Guitars either side and front.
Again the bass is very cool.
John's has done a fine job, and as much as I like 461, I think I prefer this album.
Accent cymbals in the rears again.
Nice mix.

We're All the Way
A glistening guitar front right and right side.
Bvox in the rears.
Snare with brushes front left.
Again that bass.
Electric piano right side.
Another nice mix

The Core
Guitars all round. Two rhythms in the rears, one up front.
Organ right rear.
Marcy Levy open the vocals.
She and Eric share the lead
The organ has a really unusual sound, some synth like tones.
On the whole this is a really immersive track and it works really well in this mix.
Mel Collins gives us some nice sax in the rears.
The vocals do get the centre channel here also.
This is a cool song. Nice immersive mix.
We get some nice jamming here too with that keyboard in the right rear, sax in the rears, Clapton up front, and about 8:45 length

May You Never
This is one of my favourite John Martyn tracks. Whenever I read the title it's that version I hear in my head.
This is still a smooth rolling Clapton style though.
Organ right rear.
Rhythm guitar left rear.
Another rhythm gtr front left.
This is a nice smooth mix, with nice immersion and a cool version of the song.

Mean Old Frisco
An Arthur Crudup track, with piano in the rears.
Slide guitar up front.
This is a bit of a down home blues groove, and has a great feel.
The mix is again really nice, and sets the song off nicely.

Peaches and Diesel
Acoustic guitars left rear, right rear.
Lead guitar up front.
The way the guitars work together really work effectively.
Organ rears.
This is a really nice melodic instrumental.
Beautiful way to close the album.

This is a really solid album, and Glyn John's has given it a really solid mix.
Really the only question to ask yourself here is do you like Eric Clapton, and if you do like Eric Clapton then you need to buy this sacd.
At $15 0r $16 it is really not a questionable decision.

 

So, imagine this - you're sitting in a packed movie theatre with their amazing sound system playing the ads, then what comes on blasting over the speakers in glorious surround sound? A selection of awesome music that blows their minds - could be snippets of Another One Bites The Dust, More Than This, Long Train Running, Crazy, Hey Nineteen - you name it - then they are told that this could be in their home...
Fantasy yes but, could have been...

 

Storm Corrosion

Studio album by Storm Corrosion
Released May 7, 2012
Recorded March 2010–September 2011
Genre Progressive, folk, ambient
Length 47:49
Label Roadrunner
Producer Storm Corrosion

Storm Corrosion is the self-titled only album of the musical collaboration between Mikael Åkerfeldt, frontman of Opeth, and Steven Wilson, former frontman of Porcupine Tree. Having worked with each other in the past, Åkerfeldt and Wilson decided to start work on a collaboration, on an intermittent basis, in March 2010. Wilson later said that only "15-20%" of the album would have drums on it, performed by Porcupine Tree drummer Gavin Harrison. The album was completed in September 2011, but held back for an April 23, 2012 release so that Wilson could concentrate on releasing and promoting his second solo album, Grace for Drowning, and Åkerfeldt could concentrate on Opeth's tenth studio album Heritage, both albums being released in September 2011 themselves. Wilson said of the project:

Because I think we both had this idea of this kind of music that we knew we couldn't get our bands to play, but that we both kind of understood where we were coming from. 'Cause we have this kind of passion: very experimental, obscure records, almost orchestral in their scope. And we wanted to make a record like that for a long time. It's a long way from metal and it's a long way from anything that, I think, Mikael has ever done, including [Opeth's] Damnation record. I think a lot of people thought, 'Oh, it's gonna be like Damnation.' It's not; it's a long way from that, too. And it's actually a long way from anything I've done…The one thing we didn't wanna do is get together and do a prog-metal supergroup, which would have been so easy to do - and kind of expected, in a way. And, you know, we might do that anyway one day. But this time around, we thought, 'Let's just do this record.' Some people will love it and some people will not, and that's OK, because, in a way, I don't think we wanted to just give what was expected, and we're certainly not doing that.

Wilson also said that on the album, Åkerfeldt did most of the guitar work, while Wilson concentrated on the keyboard parts and arranging the music. He described it as containing a lot of orchestral parts, and as "mellow, strange, and disturbing".

The album has received generally positive reviews, with many reviewers concluding that, while the album was very different from either of the two contributor's other bands, the album was still good by its own merits. Allmusic gave it a 3.5 out of 5, concluding that the album's worth may vary depending on the listener's expectations, stating "Given the nature of their earlier collaborations, fans diving into Storm Corrosion expecting a sequel to Blackwater Park are going to be disappointed as they unexpectedly hit the shallow end of the pool, but even though the album doesn't sound much like the metal masterpiece, that doesn't make it unworthy of a listener's attention, and anyone open-minded enough to approach the project without any expectations will be quickly swept off into the spacious perennial twilight created by these two master craftsmen." Revolver gave it an identical 3.5 out of 5 score for similar reasons, stating: "Many Opeth and Porcupine Tree fans may be disappointed with the lack of heavy riffage, but those with open minds will find much to enjoy in this dense, atmospheric album." The BBC praised the album as a "magnificently retro album", comparing it favorably to "drug-fuelled experimental avant-gardism of the 70s". The Guardian gave the album a 4 out of 5, stating the album "...could confound and irritate as many as they enchant, but as an immersive journey into uncharted territory, Storm Corrosion is an unequivocal triumph".

Other reviewers were less enthusiastic to the album's sound, with Powerline magazine giving the album a 1.5 out of 5 rating, calling it a "silly, self-indulgent, meandering 48 minutes of uninspired progressive noodling, and one that deserves to be quickly forgotten by fans of either founding musician".

Personnel
Storm Corrosion
Mikael Åkerfeldt – vocals, guitars
Steven Wilson – vocals, keyboards, string arrangements

Additional musicians
Gavin Harrison – drums, percussion
Ben Castle – woodwind
The London Session Orchestra – Conducted by Dave Stewart

Track listing
No. Title Length
1. "Drag Ropes" 9:52
2. "Storm Corrosion" 10:09
3. "Hag" 6:28
4. "Happy" 4:53
5. "Lock Howl" 6:10
6. "Ljudet Innan" 10:16
Total length: 47:49
_______

The surround mix is on a Blu-ray/CD digipack that contains the Storm Corrosion self-titled CD, a 5.1 audio mix of entire self-titled album, two exclusive demo tracks, and five instrumental tracks. Out of Print, but used copies are not expensive. Discogs.

5.1 mix by Steven Wilson

"Drag Ropes"
Starts with strings in surround – bass strings more in front. Then Åkerfeldt vocals in center channel, piano right front, vocals in center give way to synth. Then guitar in front, synth in back. Gentles giant style round with vocals from both Wilson and Åkerfeldt – front, back, and center. More guitar front, synth rear, percussion left, woodwind front, strings in surround, more layered vocals, percussion center. Crap, let’s just say it’s a very busy mix and I can’t keep up. More strings in surround, piano in front; hey I tried.

"Storm Corrosion"
Acoustic guitars front and back, synth then Wilson vocals in center. Synth in rear, guitar solo in rear with backing guitar in front. Percussion rear left, strings in surround, backing vocals in rear. 6 minutes in turns to pure Bass Communion-like ambient with little noises coming from all over. After two minutes the noise stutters and the stops, replaced by vocals, piano, strings, and a flute. A very cool transition, especially in surround.

"Hag"
Starts with a few notes (could be keyboard or guitar) left front followed by clicking noises in rear. Then guitar front, piano rear, Wilson vocals center. Mellotron in surround, guitar center, a little percussion in the rear. Things meander along in an ambient sort of way for about four minutes until, a rude synth in the back breaks it up, some cacophony in front joins in. Eventually it gives way back to “stony silence” (that’s in the lyrics).

"Happy"
Guitar in front and lead vocals (Wilson I think) center, backing vocals rear. Bass pulse in front followed by reverberating percussion in surround. Left and right guitars. Regresses to ambient noise.

"Lock Howl"
Synth in rear, left and right guitars. Strings in rear. At about 3 minutes everything briefly stops but for some percussion in the rear. Starts back up with synth both front and rear, some percussion in front too. Then a string interlude with a little synth too. Guitars come back, with keyboards rear.

"Ljudet Innan"
Keyboards rear, Åkerfeldt vocals center. Then mellotron front, synth rear – we’re in ambient mode again. Guitar comes in on center at 5 and a half minutes, Wilson vocals two minutes later, then sedate drums on left, mellotron moves to rear.
____

If you wanted another Porcupine Tree album after their untimely demise, then this isn’t it. OTOH, if you wanted another No-Man album with Mikael Åkerfeldt instead of Tim Bowness, then you are in luck. That said, you might also need to be a Bass Communion fan to appreciate the latter half of it. If you are OK with all that, then the surround mix is definitely what you need. It’s adventurous music with an adventurous mix – I think it is one of Wilson’s best. Especially the first two tracks, which are both surround masterpieces. I feel like the going rate for used copies are a bargain. (2/3).

 

Too Old to Rock 'n' Roll: Too Young to Die!


Studio album by
Jethro Tull
Released 23 April 1976 (UK)
17 May 1976 (US)
Recorded 19 November 1975 - 27 January 1976
Studio Radio Monte Carlo by the Maison Rouge Mobile Studio, except tracks 8 and 10, recorded at Morgan Studios, in Brussels
Genre Progressive rock, folk rock, hard rock, blues rock
Length 42:26
Label Chrysalis
Producer Ian Anderson

Too Old to Rock 'n' Roll: Too Young to Die! is the ninth studio album released by British band Jethro Tull, recorded in December 1975 and released in 1976. It is the first album to include bassist John Glascock who also contributes with backing vocals. Too Old to Rock 'n' Roll: Too Young to Die! is the last Jethro Tull concept album, which follows the story of Ray Lomas, an ageing rocker who finds fame with the changes of musical trends.[1]

• Ian Anderson – lead vocals, acoustic guitar, flute, harmonica, additional electric guitar and percussion
• Martin Barre – electric guitar
• John Evan – piano, keyboards
• John Glascock – backing vocals, bass guitar
• Barriemore Barlow – drums, percussion

Additional musicians

• Dee Palmer – saxophone (on track 5), piano (on track 11)
• Maddy Prior – backing vocals (on track 8)
• Angela Allen – backing vocals (on tracks 2 & 7)

Orchestrations by Dee Palmer. Orchestra conducted by Dee Palmer.

Additional personnel

• Robin Black – sound engineer
• Michael Farrell – cover design, illustrations
• David Gibbons – design, illustrations

2015 40th Anniversary TV special edition
CD 1: Steven Wilson remix of the re-recorded album for TV special, five original album tracks and an outtake

1. "Prelude"
2. "Quiz Kid"
3. "Crazed Institution"
4. "Salamander"
5. "Taxi Grab"
6. "From a Dead Beat to an Old Greaser"
7. "Bad-Eyed and Loveless"
8. "Big Dipper"
9. "Too Old to Rock 'n' Roll: Too Young to Die!"
10. "Pied Piper"
11. "The Chequered Flag (Dead or Alive)"
12. "From a Dead Beat to an Old Greaser" (Original album track)
13. "Bad-Eyed and Loveless" (Original album track)
14. "Big Dipper" (Original album track)
15. "Too Old to Rock 'n' Roll: Too Young to Die!" (Original album track)
16. "The Chequered Flag (Dead Or Alive)" (Original album track)
17. "Quiz Kid (Version 1)" (Monte Carlo out-take)

CD 2: Steven Wilson remix of associated recordings and flat transfer of the original album

1. "Salamander's Rag Time"
2. "Commercial Traveller"
3. "Salamander (Instrumental)"
4. "A Small Cigar (Acoustic Version)"
5. "Strip Cartoon"
6. "One Brown Mouse (Early Version)" (Original master mix)
7. "A Small Cigar (Orchestrated Version)" (Original rough mix)
8. "Too Old To Rock 'n' Roll: Too Young To Die! (Demo)"
9. "Prelude" (Original album flat transfer)
10. "Quiz Kid" (Original album flat transfer)
11. "Crazed Institution" (Original album flat transfer)
12. "Salamander" (Original album flat transfer)
13. "Taxi Grab" (Original album flat transfer)
14. "From A Dead Beat To An Old Greaser" (Original album flat transfer)
15. "Bad-Eyed And Loveless" (Original album flat transfer)
16. "Big Dipper" (Original album flat transfer)
17. "Too Old To Rock 'n' Roll: Too Young To Die!" (Original album flat transfer)
18. "Pied Piper" (Original album flat transfer)
19. "The Chequered Flag (Dead Or Alive)" (Original album flat transfer)

DVD 1:

1. "Too Old To Rock 'n' Roll: Too Young To Die?" (TV film with DTS and Dolby Digital 5.1 surround sound and Dolby Digital Stereo)
2. "TV audio (stereo)" (in 96/24 stereo PCM)
3. "Five original LP tracks (5.1 surround and stereo)" (with DTS and Dolby Digital 5.1 surround sound and 96/24 stereo PCM)

DVD 2: Associated recordings and others

1. "Salamander's Rag Time" (with DTS and Dolby Digital 5.1 surround sound and 96/24 stereo PCM)
2. "Commercial Traveller" (with DTS and Dolby Digital 5.1 surround sound and 96/24 stereo PCM)
3. "A Small Cigar (Acoustic Version)" (with DTS and Dolby Digital 5.1 surround sound and 96/24 stereo PCM)
4. "Strip Cartoon" (with DTS and Dolby Digital 5.1 surround sound and 96/24 stereo PCM)
5. "Quiz Kid (Version 1)" (in 96/24 stereo PCM)
6. "One Brown Mouse (early version) (Original Master Mix)" (in 96/24 stereo PCM)
7. "Salamander (Instrumental)" (in 96/24 stereo PCM)
8. "Strip Cartoon (Original Master Mix)" (in 96/24 stereo PCM)
9. "A Small Cigar (Orchestrated Version) (Original Rough Mix)" (in 96/24 stereo PCM)
10. "Too Old To Rock 'n' Roll: Too Young To Die! (Demo)" (in 96/24 stereo PCM)
11. "A flat transfer of the original 1976 Quad LP Production Master with DTS 4.0 and Dolby Digital AC3 4.0 surround sound."
12. "A flat transfer of the original 1976 LP master at 96/24 stereo PCM."
------------------------------------------------------------------------------------
So far we have covered a lot of Tull, so here's a link to the complete list, don't forget the check out Anderson, Ian - Homo Eraticus. Surrounded On Sundays - 5.1/quad reviews and summaries

This is one of those albums where the majority of the multitrack tapes were not available, BUT, what we do have is a TV special, where the band rerecorded all the tracks in a studio, properly for the TV special, and oddly enough, even though the album proper multis were lost, all the TV show multis were available and they made this set from those.
This probably isn't a favourite Tull album for me, but is memory serves me well, because again, it has been a while, it is a lot better than I expected it to be.
Initially I was perturbed about the situation with the versions and the tapes and such, because I don't think I knew about that before the purchase, but I do remember being very pleased with what we have.
My understanding is that they pretty much recorded the album again, due to some copyright thing, and needed to not use the actual album for the special, or some such thing. I'm not going to read the whole book to explain it all, or that will be the end of today's music....
Anyway, we do have five tracks from the original recordings in 5.1, four bonus tracks in 5.1 , and we also have the original quad mix on here as well.

Anyone who has bought any of these Tull sets know that based on the original new price, we get value for money every time, and I highly commend Ian Anderson, and/or the record company for not gouging fans, but presenting solid and satisfying sets that give us just about everything we could want at a very affordable and reasonable price, in an age where many bands have been throwing out four or five discs and sticking a huge price tag on it....
I actually appreciate anything we can get at this stage but, Tull have really gone above and beyond in the service of their fans..... in my opinion.

These sets have been revelatory to me, because I wasn't particularly familiar with Tull's catalog before they started coming out, and now I regard it very highly. I actually hope for more sets to come, but we will have to wait and see what happens.

Available new at Amazon for about $56 https://www.amazon.com/Too-Old-Rock-Roll-Young/dp/B0155YD1YC
On discogs from about $30 Jethro Tull - Too Old To Rock 'n' Roll: Too Young To Die (The TV Special Edition)

5.1 mix Steven Wilson

You can watch/listen this with or without the video.
The video is a faux concert setting, with kind of play type theatrics entwined with it.

Prelude
An acoustic guitar left side, electric right side. Orchestral arrangement up front.

Quiz Kid
Acoustic gtr left rear, electric gtr front left.
Flute rears.
Keys right rear.
Pizzicato strings right side.
Horns right side.

I think the audio only track sounds a little better.... not altogether sure why?

There are sections of this track that sound a little Gentle Giant-like.
Anderson's vocal is in the centre speaker.
A good mix, immersive and balanced

Crazed Institution
Acoustic gtr left side. Electric guitar right rear.
Nice bass sound up front.
Flute rear.
Lead gtr front left.
Acoustics across the back.
Interestingly elements in this mix change places in certain sections of the song.
Keys in rears.
This sounds very good, and the mix is excellent... if there is any slightly negative comment, the eq is a little midrangey.
Harmony lead gtrs either side rears.

When I listen to this I actually like it more than I think I will before I put it on.

Salamander
Really nice acoustic gtr opening.
Acoustic guitars in all channels, working together really well to create a really nice sound, that is very immersive.
Flute in the rears.
This is a very cool track, with an excellent mix.
The harmonised flutes in the rears to end are excellent too.

Taxi Grab
Riff gtr just left of front left. Answering rhythm gtr right side.
Guitar and flute riff harmonised in the rear.
Again this is an excellent mix.
Blues harp right rear.
Section with guitars either side is really good.
A change comes in and harp is on left side.

From a Deadbeat To An Old Greaser
This is a cool ballad type track.
Acoustic gtr left side.
Strings start right rear, and come in all round.
Another gtr comes on right rear.
Keys in rear.
Sax up front
Harmonised guitars in rears during instrumental break.

Bad Eyed And Loveless
Acoustic gtr an vocal up front effect sends to rears. This is like a folk blues track at the start.

Big Dipper
Flute left side. Reverse? cymbals rears.
Keys right rear.
Mellow dirty groove up front.
Another flute plays right front.
Guitars either side after the change/chorus.
Then we go back to the original arrangement.
Another nice mix.

Too Old To Rock and Roll
Guitars on the intro - front, left side and right side.
When vox start gtr right side, and left side.
Piano front right.
Strings in rears.
Pizzicato strings right side.
Horns in rears.
Nice balanced immersion again.

Pied Piper
Guitar left side, and front.
Effected guitar or keys right rear, flute left rear.
Strings rears.
Pizzicato strings left side. Keys right side.
This has a slowly building layered mix, and it's very effective.
Another very effective mix.

Chequered Flag
Guitar up front. Strings rears, mainly left rear.
Electric piano left side.
Gtr right rear.
Effected gtr left side.
Tambourine across rears.
Another nice mix
----------

Old greaser original
Acoustic left side, and front.
Keys rears.
Strings rears.
Gtr right side.
Sax up front.
Harmonised guitars rears.
There seems to be somewhat better eq, but it could be the sound of each of the studios used.

Bad eyed and loveless
Acoustic gtr, sort of middle if the room.
Vocal up front.

Big dipper
Reverse cymbals slide across the rears.
Keys in right rear.
Riff guitar front left.
Gtr left rear.
A good mix.
Interestingly there are some things I prefer on this one, and some on the other version.

Too old to rnr
Similar opening mix.
Very similar mix here also.

Chequered Flag
Strings left rear.
Electric piano across middle.
This again is a very similar mix.

---------------
Quad

The quad is a really interesting mix.
We get a lot of interesting placements.
At the start the vocal is left rear... then is front.
We get a lot of well, and interestingly placed instruments.
Certainly different from the Wilson mix, but we still have full channel usage, and immersion.
The vocals are a little lower in volume, or focus... which could very well be the centre speaker in the 5.1
In Crazed Institution during the second verse, the vocal are right side.
As with the special, the vocal eq seems a little midrangey.
The vocal slides across the front to the left side. Then in the change it is front and left side.
The usage of the speakers for the mix is very good.
Salamander again has the acoustics spread around us, not quite, and I mean ever so slightly, not as good as the 5.1, but still very enjoyable and immersive.
Vocal just to the right of front centre.
Taxi gtr up front , and right side.
Drums sort of left side, but across the front and rear.
Harp right rear.
Again a nice mix, that keeps with the seventies quad aesthetic
Old greaser
Acoustic left side.
Keys front.
Vox front right and right rear.
Strings all round.
Bad eyed
Gtr left side, effect send front right.
Vocal front left and right rear.
Big dipper
Flute front left.
Reverse cymbal right rear. Keys right rear.
Drums left side.
Gtr front.
Flute right rear.
Too old to rnr
Gtr starts left side, keys right rear.
Vocal middle of the room, slightly to the front.
Drums centred around front left.
Horns right side.
Strings across front.
Pied piper
Acoustic front left, vocal front right.
Drums front left.
Flute right rear.
Keys front.
Gtrs either side.
Chequered Flag
Keys left front
Gtr right side.
Strings across middle.
Vocal front left
Drums left side.
Bass left side.

Ok a couple of things first .... I think this is a better album than it often gets credited with, but Tull do have a quite remarkable and versatile/eclectic catalog.
To some degree all the versions are a little midrangey (a vocal thing really, not so much the music ... so assume that is the way they wanted it to sound at the time. It certainly isn't bad, it is just a particular sound.

The TV special mix is really very good, as I hope I was able to share. The five original album tracks are also very good, some minor placement differences but very similar, and the sound is slightly different, probably due to using a different studio.

The quad mix is very in line with the types of mixes that came from the early to mid seventies quad mixes ......

So, what do I think .... I reckon a Tull fan is going to enjoy this, it is such a versatile set.... If you want to watch the tv special, you get a great surround mix with the guys in the band putting on a faux concert with some funny little skit type things. If you want to listen to just the album with the slight variation of the tv special, you can do that also.
If the original album is different enough to bother you, you have half the album mixed in 5.1 from the original session tapes, and you also get the bonus of the original quad mix, in all its seventies oddball mix glory.

I reckon this is a better album than most seem to generally say, even though it isn't in my favourite Tull albums. With the variety of ways you can listen to and watch this, it's really hard to go wrong. With it still being available for reasonable prices, it would seem to be worth getting in my opinion, I'm happy I have it, even if it isn't one of my go to Tull albums, it is still a good album worth having and hearing.

 

You guys are draining my wallet with all these SW side projects!