Surrounded On Sundays - 5.1/quad reviews and summaries

All the REM 5.1 DVDs are wonderful.

 

Finally getting around to spinning the Queen- A Night at the Opera DVD-A today. Queen are my favorite band btw. This was one of the first surround titles I purchased and I was hooked! A shame they only gave The Game this treatment as well. In case you missed them, there are dedicated, discrete surround mixes on the Queen Greatest Hits Volume 1&2 DVD sets. Only DTS but still, the mixes are very well done, cheap to find, and essential for Queen fans.

The ANATO mix is fantastic. It sounds flat out amazing, especially at high volume. Queen threw in the proverbial kitchen sink with this album and it shines in surround. I love that the lyrics play along with the songs as well.

Some highlights:

Death on Two Legs is a killer opening track and it has never sounded better. The opening effects into Freddie's piano is fantastic enough but then Brian comes crashing in through surround left! Awesome.

I'm In Love With My Car is nonsensical fun but you can really appreciate it musically here. Roger's drumming really shines on this mix across the whole album. The multiple backgrounds in the chorus are otherworldly. The surround mix takes an average tune and makes it a must listen. You can't ask for more than that!

Freddie gives a great vocal effort on Sweet Lady and it sounds great here. This track sounds like something written during the previous few years. It has that older Queen vibe.

The Prophet's Song is epic. This was a song I would always play for my "non-surround" friends back in the day. That swirling guitar lead right after the first verse is spine tingling. The background vocals are just stunning. The "two by two, my human zoo" bit is jaw dropping. The multi-Freddie bit in the middle is a freak out waiting to happen. Apparently this was remixed for the other surround mix which came out later. I will have to revisit that DVD and see how it compares.

Bo Rhap is everything you imagine it could be...and more! Those vocals!!!

This is essential music made even more essential in surround. Buy this, buy The Game, and buy the two Greatest Hits DVD sets. Amazing music with amazing mixes.

 

With more commercial interest in getting the new patent on the new format, rather than providing accessible items people can take on board easily
With all the new formats, that required all the new equipment and people becoming fed up with it
With all the dying industry talk
It isn't surprising where we are unfortunately.
The general public aren't interested in 192/24, for the most part. They like a song, easy and digestible, and I can't blame them. The music industry sort of got a bit big for its boots during the boom, and through many bad decisions devalued music in the public eye.
It is somewhat heartbreaking that a catalog like Kate's, and many others that would be fantastic in surround, will almost certainly never see the light of day.

I don't know enough about the industry functionality ... which is probably a good thing ... but it seems that the streaming thing is going to be the future for now at least, and if someone came up with a decent model for some form of surround music via a provider on a roku/internet style system, it is possible that it would work. My main concern these days, is whether there is actually any interest there. It is actually really hard to tell.
The introduction of surround music was poorly timed and executed.
Quad didn't work, because mama didn't want four big speakers in her living room, and there was a format problem there also I think, but that's before my time.
When the modern surround was introduced, nobody in retail knew anything. They were completely ignorant of the whole thing. Sony and Warner's sabotaged the whole deal with a format war, and so the cards were on the table.
It really should have been the next big thing. We had the technology to produce great sounding music through much more home friendly smaller speakers. We had the technology to be wireless. The issue was with the companies trying to get their version out there.
Even bluray struggled to get off the ground due to the hd-dvd and bluray war .... people are sick of that stuff.
Many stayed well clear of it because after all the other times that way of doing things burned them, they didn't want to get burned again.

Sorry went down a rabbit trail and I'm tired lol

 

I was really happy with those Greatest hits dvd's too.
Although the Game isn't quite as strong an album as Night At The Opera, it sounds great in surround. The highlights of that album, are very high indeed!

 

I know, it drives me nuts. Every time a new technology comes along, Sony and Panasonic produce incompatible and competing systems, each wanting to be the only winner of a format war. And every time they forget that the systems that were incredibly successful had avoided them, like DVD (although they still stupidly fought on recordable DVD.)

I am not either, except for recording where I need the extra bit depth for manipulation.

If this Forum ever has a real-life meet-up, I'm going to be the guy in the t-shirt that reads Nyquist Was Right!

The CD boom was an anomaly. When you take their historical earnings and correct for inflation, the industry is back up to their historical average PLUS they have eliminated virtually all of their manufacturing, shipping, stocking and returns costs.

This is data from the RIAA's own web site:

As a Kate fan, I've had to resign myself to many things, but the last of a surround version of The Ninth Wave is one of the most painful.

It might be interesting to poll here and the QQ Forum.

Brandmart, the AV dealer I was working for at the time was going through it's death throes at the time at the hands of Best Buy and Ultimate Electronics, and Amazon and CostCo would have killed us anyway.

If only they could have agreed on one standard before launching.

They would have died of streaming anyway.

We're all rabbits here.

 

Both of you are missing the boat.

The hard part is convincing the general public to sit still for 5 minutes to listen to music.

With no pictures.

 

This is sadly true.
Most young folk seem to listen to 30 seconds of a song and skip to the next one. Attention spans have virtually disintegrated, or it at least seems that way.

 

Funny, I think The Game is their strongest album front to back. The only song I don't really love is Don't Try Suicide!

 

Depends on the young people.

 

Please don't forget to vote for next weeks albums here Surrounded On Sundays - 5.1/quad reviews and summaries

 

Bump ... vote

 

Thanks for the heads up on this sale Mark! Grabbed a still sealed copy for $41. I had completely forgotten about this release!

 

Very cool!

 

Please don't forget to vote for this coming Sunday's albums ... the link to the seven pairs are just above there.

Cheers
Mark

 

For the record Genesis/Porcupine Tree, and Tom Petty/Jethro Tull are the closest competitors to the leading Dylan/ ELP combo

 

Great thread here, Mark! I only discovered it today.

Re. Queen ANATO in surround:
Once I heard this album in surround it is very unlikely I will play my LP ever again...
The whole surround mix is done very well - the songs sound fresh as if they were recorded only yesterday.
A standout for me is "Good company": A song which on the LP I would almost consider as "filler", but in 5.1 Brian's guitar orchestra is very outstanding!

 

Cheers mate. Glad to have you on board.
ANATO was a game changer for me. One of the first surround discs I had, and from there I wanted all my favourite albums in surround.

 

Please don't forget to vote here Surrounded On Sundays - 5.1/quad reviews and summaries , for Sunday's albums

These are the albums we have done so far. Please feel free to comment on them, and if you feel so inclined, to do a review of the surround mix that they have ...If you want to do a full album review, by all means include that as well.

Reference to the albums

Jackson Browne - Running On Empty - Surrounded On Sundays - 5.1/quad reviews and summaries
Ray Charles - Ray Sings, Basie Swings - Surrounded On Sundays - 5.1/quad reviews and summaries
Jimi Hendrix - Electric Ladyland - Surrounded On Sundays - 5.1/quad reviews and summaries
Sly And The Family Stone Greatest Hits - Surrounded On Sundays - 5.1/quad reviews and summaries
The Allman Brothers Band - Live At Fillmore East - Surrounded On Sundays - 5.1/quad reviews and summaries
Gentle Giant - The Power and The Glory - Surrounded On Sundays - 5.1/quad reviews and summaries
Alice Cooper - Welcome To My Nightmare Surrounded On Sundays - 5.1/quad reviews and summaries
Yes - Close To The Edge Surrounded On Sundays - 5.1/quad reviews and summaries
Queen - A Night At The Opera Surrounded On Sundays - 5.1/quad reviews and summaries

 

bump

 

Great point about Good Company and what a great surround mix can do. It takes a track that I've never liked and makes it an essential listen.

 

To expand on this a little, a great surround mix can articulate and showcase music that might have always been there, but buried in the mix.

Just yesterday, a friend was visiting who has never heard a good surround system (or possibly not heard any surround system outside of a movie theater) before. So I played him a bit of the 5.1 of Sgt. Pepper and Pink Floyd's DSOTM. He immediately commented on hearing sounds that he never noticed before, despite knowing these albums quite well.

At the very least, a good mix can showcase the individual instruments, and even something someone hasn't highly regarded in the past, can introduce new respect and admiration for it.

 

Blonde on Blonde


Studio album by
Bob Dylan
Released June 20, 1966[1]
Recorded January 27 – June 1966
Studio Columbia Studio A, New York City and Columbia Studio B, Nashville, Tennessee
Genre Folk rock[2]
Length 72:57
Label Columbia
Producer Bob Johnston

Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released on June 20, 1966 by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.

Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial".[3] It was one of the first double albums in rock music.

The album peaked at number nine on the Billboard 200 chart in the US, where it eventually was certified double platinum, and it reached number three in the UK. Blonde on Blonde spawned two singles that were top-twenty hits in the US: "Rainy Day Women #12 & 35" and "I Want You". Two additional songs—"Just Like a Woman" and "Visions of Johanna"—have been named as among Dylan's greatest compositions and were featured in Rolling Stone's 500 Greatest Songs of All Time list.

The personnel involved in making Blonde on Blonde is subject to some discrepancy:[18][144][145]

• Bob Dylan – vocals, guitar, harmonica, piano

Additional musicians

• Bill Aikins – keyboards
• Wayne Butler – trombone
• Kenneth Buttrey – drums
• Rick Danko or Bill Lee – bass guitar (New York)
• Bobby Gregg – drums (New York)
• Paul Griffin – piano (New York)
• Jerry Kennedy – guitar
• Al Kooper – organ, guitar
• Charlie McCoy – bass guitar, guitar, harmonica, trumpet
• Wayne Moss – guitar, vocals
• Hargus "Pig" Robbins – piano, keyboards
• Robbie Robertson – guitar, vocals
• Henry Strzelecki – bass guitar
• Joe South – bass guitar, guitar

Technical

• Bob Johnston – production
• Jerry Schatzberg – cover photographer

Side one
1. "Rainy Day Women #12 & 35" 4:36
2. "Pledging My Time" 3:50
3. "Visions of Johanna" 7:33
4. "One of Us Must Know (Sooner or Later)" 4:54

Side two
1. "I Want You" 3:07
2. "Stuck Inside of Mobile with the Memphis Blues Again" 7:05
3. "Leopard-Skin Pill-Box Hat" 3:58
4. "Just Like a Woman" 4:52

Side three
1. "Most Likely You Go Your Way and I'll Go Mine" 3:30
2. "Temporary Like Achilles" 5:02
3. "Absolutely Sweet Marie" 4:57
4. "4th Time Around" 4:35
5. "Obviously 5 Believers" 3:35

Side four
1. "Sad Eyed Lady of the Lowlands" 11:23

-------------------------------------------------------------
I came to Dylan early in my musical life, and he has been a part of it since the beginning. When i was a young pup, there were seemingly always two crowds for Dylan, The Dylan acoustic fans, and the Dylan electric fans ... I never really understood, but it was there. I enjoyed both sides of the coin. These days those groups seem less distinct.
Blonde On Blonde is an album that probably needs very little introduction to anyone over forty that is a music lover. It is one of those perennial favourites that shows up on best albums of all time lists frequently.
When the Dylan sacd releases came out in 2003 I was all over them, and I was terribly happy to find several were in surround sound ... for those interested but unaware - Another side, Bringing it All Back Home, Blood On The Tracks, Slow Train a' Comin' and Love and Theft all received 5.1 remixes. I was terribly disappointed that Hwy 61, Desire and Infidels didn't, but we take what we can get.
Theodore Gracyk wrote in his book Rhythm and Noise "Dylan and his Contemporaries are sometimes disdained for their musical illiteracy; Their musical sources were other records. As Composers they composed with sound, not in notation. The songs on Blonde on Blonde were composed in the recording sessions themselves, evidently to take advantage of available resources. The cream of Nashville's studio musicians were paid to sit and play cards while Dylan composed. The resulting collision of blues, country and rock and roll was a unique sound: "Dandy's blues... the sound of a man trying to stand up in a drunken boat, and for the moment succeeding"" That last quote I believe being attributed to Greil Marcus, who went on to say "His tone was sardonic, scared, threatening, as if he'd awakened after paying all his debts to find nothing was settled."
Of course that is all poetic writing from people paid to write about music, but to me there is a ring of truth to it. The whole tone of the Bringing It All Back Home to Blonde On Blonde, was uneasy, unnerving and had a feeling that it could all fall apart at any moment. It isn't that it is unpleasant or unprofessional or anything like that, but it is the very definition of edgy, physically and psychologically edgy ... and it draws me into it every time.

Sacd 5.1 mixing by Michael H Brauer and Steve Berkowitz at Quad Recording Studios
5.1 Mastering George Marino at Sterling Sound

Rainy Day Women #12 and 35
A track that sounds like drunken revelry at 2am on a Sunday morning.
We have a tambourine, somewhat struggling to keep the beat on the left side, we have the whoops and hollers of of the folks in the studio on either side.
The piano is slightly right side. The horns are right side. Bob is up front with vocals and harmonica.
To some degree slightly out of balance, favouring the right side, but i think for a song like this it actually works.

Pledging My Time
I sometimes think of this album as Dylan's Exile On Mainstreet... it has a dense layering of instruments, where you can hear everything and nothing all at the same time.
This mix is immersive, and this album seems one that needs you to sit forward into it.

Visions Of Johanna
Another favourite Dylan song here for me.
The drums are predominantly just to the right on this album, and i know that annoys some folks, but i think in the context of this album it works ok. A sort of in the studio vibe. The ride cymbal in between verses actually comes out on the left.
It's like the organ has a leslie effect on it, seeming in gently swirling spaces, smoothly moving here and there.
The meniere's is playing up a little this morning though.

One Of Us Must Know
This album is a really interesting mix, coming from everywhere and nowhere. We have full surround, but it is harder to pinpoint.

I Want You
Guitar left, organ and drums right.
Obviously a classic, and sounding excellent here.

Stuck inside a mobile with the memphis blues again
The mix is actually pretty stable through the album. I think what is somewhat confusing my ears, are the layers.
There is a guitar front left and another rear left.
The drums are right side, with an organ again...
It would be interesting to know what the recording set up was for this album, and how many tracks they had to play with.

Leopard Skin Pillbox Hat
This track is pulsating all around us. With little pieces spread around nicely

Just Like A Woman
We have an acoustic guitar to our left. The organ and drums are right.
It's like the instruments are blended so well, they almost don't have their own identity, except for particular little sections of the songs.
This does have a good sounding mix. I'm just finding it hard to nail down.

Most likely go your way and I'll go mine
Nice rhythm guitar left rear.
But the thing about this mix to my ears at the moment, is the mix is consistent from the album start to finish giving a certain stability to the surround environment, and the instruments are quite densely layered giving the mix a sort of all encompassing feel.

Temporary like achilles
Another really nice mix here. Being a little more laid back it is also a little more distinct.

Absolutely Sweet Marie
Steady as she goes mix-wise here
Guitar left, drums and organ right.
Other guitars and keys are spread across the front by the way... the harmonica is generally in the front throughout the album also.

4th time around
Acoustic guitar front left. Harmonica middle. This track creates somewhat more an ambient mix, more than a surround mix. It works very well, and i love this song.

Obviously 5 believers
Among my favourite songs on this stellar album. We have a continuation of the base mix used through the album.

Sad Eyed Lady Of The Lowlands
What an amazing song this is.
Again the same basic mixing premise here.

Sorry I feel I have done a terrible job of trying to share what I'm hearing here.
Overall I think this is very worth getting if you like this album.
I feel i need to sit slightly forward of my normal position, for the optimal listening spot. As we have stated before, the optimal spot is often slightly different between albums, but i feel this is a little forward of forward, if that makes sense.
As i said earlier, this to me is somewhat like Dylan's Exile On Mainstreet, with a murky beauty that is hard to pin down, and your not sure if you want to.
I find this mix very satisfying, but most sixties recordings are limited in the channels used for recording, so there is always somewhat of a compromise that needs to be made.

Especially this week, i would love someone to step to the plate and try and give a better idea of what is happening in this mix, I found it very hard to convey this in text. By far the hardest album to break down so far.

This albums availability is quite broad
Amazon new for forty bucks https://www.amazon.com/Blonde-Bob-Dylan/dp/B0000C8AVU
Discogs - 2 US issues, a Japan and Europe issue, all from 2003 starting at about 10 bucks Bob Dylan - Blonde On Blonde
scroll down to 2003 Bob Dylan - Blonde On Blonde

 

Brain Salad Surgery


Work 217: ELP II by H. R. Giger
Studio album by
Emerson, Lake & Palmer
Released 19 November 1973
Recorded June—September 1973
Studio Advision and Olympic Studios, London
Genre Progressive rock
Length 45:02
Label Manticore
Producer Greg Lake

Brain Salad Surgery is the fourth studio album by English progressive rock band Emerson, Lake & Palmer, released on 19 November 1973 by their own record label, Manticore Records, and distributed by Atlantic Records.

Following the tour in support of the last album, Trilogy (1972), the group acquired rehearsal facilities to work on new material, which would blend classical and rock themes. In order to control things, they launched their own record company, Manticore, in March 1973.[1] The album was recorded from June to September at Olympic and Advision Studios, and mixed in October 1973 at AIR Studios in London. As were all the group's previous works, it was produced by Greg Lake. The album includes a cover designed by H. R. Giger.

Released to a mixed critical response, it has begun to receive more favourable reviews with time.[2][3][4] Brain Salad Surgery continued the group's commercial success, reaching number 2 in the United Kingdom[5] and number 11 in the United States,[6] and eventually gaining Gold certifications in both countries.[7][8] In its support, the trio embarked on their largest world tour to date, including a headlining spot at the California Jam festival.

Emerson, Lake & Palmer

• Keith Emerson – organs, piano, harpsichord, accordion, Moog synthesizers, Moog Polyphonic Ensemble (known as the Constellation, comprising the Apollo polyphonic, the Lyra monophonic, and the Taurus bass synthesizers), 'computer' voice (on "Karn Evil 9: 3rd Impression")
• Greg Lake – vocals, bass guitar, guitars; production
• Carl Palmer – drums, percussion, percussion synthesizers

Technical[edit]

• Geoff Young – engineer (all tracks except "Karn Evil 9: 1st Impression")
• Chris Kimsey – engineer ("Karn Evil 9: 1st Impression")
• Barry Diament – CD mastering[nb 3] (at Atlantic Studios, New York)
• Joseph M. Palmaccio – 1993 remastering[nb 9] (at PolyGram Studios)
• Bill Inglot and Dan Hersch – 1996 remastering[nb 13]
• John Kellogg – 2000 5.1 remix production and mastering[nb 10] (at Magna Vision Studios, Santa Monica, California)
• Paul Klingberg – 2000 5.1 remix engineering, mixing, and mastering (at Magna Vision Studios, Santa Monica, California)
• Mark Chalecki – 2007 remastering[nb 14] (at Capitol Mastering, Hollywood)
• Paschal Byrne – 2008 stereo remastering[nb 11] (at The Audio Archiving Company, London)
• Andy Pearce – 2011 remastering[nb 15], 2014 remastering[nb 1]
• Matt Wortham – 2014 remastering
• Jakko Jakszyk – 2014 stereo[nb 1] and 5.1 mixing[nb 2] (at Silesia Sound, Hertfordshire)
• H. R. Giger – cover painting
• Fabio Nicoli Associates – design and art direction
• Rosemary Adams – photography

1. "Jerusalem" William Blake Hubert Parry (arranged by Keith Emerson, Greg Lakeand Carl Palmer) 2:44
2. "Toccata" (an adaptation of Ginastera's 1st piano concerto, 4th movement) Alberto Ginastera (arranged by Emerson, percussion movement—Palmer) 7:23
3. "Still...You Turn Me On" Lake Lake 2:53
4. "Benny the Bouncer" Lake, Pete Sinfield Emerson 2:21
5. "Karn Evil 9: 1st Impression—Part 1" Lake Emerson 8:43
6. "Karn Evil 9: 1st Impression—Part 2" Lake Emerson 4:47
7. "Karn Evil 9: 2nd Impression" Emerson 7:07
8. "Karn Evil 9: 3rd Impression" Lake, Sinfield Emerson 9:03
Total length: 45:02
9 Lucky Man
-----------------------------
Emerson Lake And Palmer are one of those bands, where when I am in the mood for them, I absolutely love them, and when I am not, I'm just not interested. Fortunately this morning I am in the mood, because it has been a long while since I had this on the player.
This is my favourite ELP album, closely followed by Tarkus.
----------------------------

Interestingly I read this morning that in 2014 Jakko Jakszyk did a 5.1 remix of this album, and there is a box set with cd's, vinyl and a dvd audio. There is also a Japan release of a streamlined set that has the dvd audio. I looked to check its availablility...
1x dvd 2x cd Emerson, Lake & Palmer - Brain Salad Surgery
2x dvd 3x cd 1x vinyl version Emerson, Lake & Palmer - Brain Salad Surgery
I guess this must have been pretty limited release, as the availability is virtually nil, and the prices are pretty lofty.
If anyone has this version, I would love you to give us a run down of it. It is labelled Super Sonic Brain Salad Surgery, in terms of the new mix, by Jakko.
*please be aware if you are drawn to this that there are a few versions of this that have a dvd audio that is only the stereo mix ... I don't understand why, but just be aware and save disappointment at spending 60-100 bucks on something that isn't what you expected.
------------------------------------------------------------------------

The version i am looking at this morning is the 2000 Dvd audio
5.1 remix Produced by John Kellogg
5.1 remix engineered and mixed by Paul Klingberg at Magna Vision Studios

There are video extras on the dvd-a which are excerpts from the Manticore documentary, that are essentially live and rehearsal excerpts.

Jerusalem
As one would expect we are surrounded by Keith Emerson.
Lake and Palmer have a solid rhythm section mix across the front stereo speakers.
A nice church bell rings in the left rear.
Some lead synth and horn type synth sounds find some nice spots around the whole field.
Very nice sounding mix

Tocatta
A solid front stereo mix with some excellent surround swirls from the synths. A great piece of mixing for surround lovers.
Palmer gets some nice placement left and right side with some percussion additions.
Again we get some really nice movement, front to back, side to side from the synth... and although some criticise this kind of thing in surround, it is the kind of mixing that made headphones incredibly popular for stereo.
Even if the music here is a little too OTT for the listener, the mix keeps the interest levels high, and is extremely effective.

Still ... You Turn Me On
A nice acoustic guitar left side. A nice wah wah guitar right side. Synths washing around.
The percussive section in the chorus moves nicely from left rear to right rear.
The wah wah rhythm guitar sits up the front in the chorus.
A beautiful mix

Benny the Bouncer
A bit of fun put in the album to break up the intense pieces around it.
Again very nice use of the whole sound field here.

Karn Evil 9
1st impression pt1 and pt2
This individual movement is reunited as one. Which wasn't possible on the vinyl. So that's very nice and gives the track a nore complete feel.
Another nice full mix.
The vocal mix of - "I'll be there" in right rear, "I'll be there" in left rear, and then "i will be there" in front, is effective. On at least one occasion the oreder is reversed, but still effective.
Some more really nice use of the surround fields for the keyboards.
This mix is really exploring the possibilities that a surround field makes available.
Roll up- right rear
Roll up- center rear
Roll up- left rear
See the show front
It is a very effective mix, that shows the same imagination that the written music does.

2nd impression
Palmer gets some nice mixing here with there being several percussion pieces in the field.
I had never really paid attention to the fact that Lake produced this album, and he did a very good job.
These guys were commonly called pompous and pretentious, but they were just doing what they wanted to do, and doing it well. I am a fan of creative music, and they were stretching themselves and creating, and it's always an entertaining listen.
This track has Emerson showing us why he was such a highly regarded keyboard player. Just using a piano, he stretches himself right out playing some beautiful, melodic and technically brilliant piano, that has flavours of classical, jazz and a rock feel.

3rd impression
Again we have a nice full mix with all channels getting a good workout.
At one point the synth sounds like it in the middle of your head.
The closing arpeggio is a real trip as it starts slowly moving around the field, speeding up until it racing around at a rate of knots. Spectacular.

Lucky Man
I guess added as a bonus track, as there weren't a lot of 5.1 albums, and it works as an extra lure, and we didn't have artists redoing whole catalogs at this stage.
Another nice mix. Full field usage again, with guitars and backing vocals getting a full field spread, to nice effect.
The moog gets a sound field workout here also.

So this is very early in the dvd audio release zone to the best of my memory, and perhaps some of the mixing isn't to everyone's tastes, but personally I love it. It wouldn't suit a remix of Crosby Stills and Nash Deja Vu to be mixed this way, but to me it very much suits this album.
They went all out to give this album a full surround mix, with lots of interesting stuff going on, just like late sixties and early seventies stereo mixes played with the sound field they were using. I find it really effective, and for me it enhances the album, and is in context with the original ideas on the album, and ELP being as wild and crazy as they were would have probably loved this.
On a minor note. Some early dvd audios were ever so slightly glitchy. I think to some degree with the addition of photos, and lyrics etc, there were occasional minor authoring issues.
My dvd-a does have a few slight glitches at the start of a couple of tracks. Less than a second I would guess. Pushing the back button to restart the song and they aren't there.

So to me a very worthwhile purchase for the surround enthusiast.
although discogs has this as dvd-v, it is certainly a dvd-a
Sadly again this is getting more rare. there are 5 available in the two releases listed on discogs starting around the 40 or 50 dollar mark.
Emerson, Lake & Palmer - Brain Salad Surgery
Emerson, Lake & Palmer - Brain Salad Surgery (DVD, US, 2000) For Sale | Discogs

there are six on amazon ranging from between a hundred and hundred and fifty for a new one.
https://www.amazon.com/Brain-Salad-Surgery-Palmer-Emerson/dp/B0000507R0

this one on ebay for 48.99
EMERSON LAKE AND PALMER ELP BRAIN SALAD SURGERY DVD AUDIO ADVANCE RESOLUTION | eBay

 

The Mrs is doing that Sunday sleep thing, so I am going to go through this. Again I hope that isn't annoying to anyone, but the thread is hardly setting the world on fire lol
I haven't actually heard this album yet. I got it a couple of weeks ago and haven't had time to spin it, so let's see where we're at here ...

Yoshimi Battles the Pink Robots


Studio album by
The Flaming Lips
Released July 15, 2002
Recorded June 2000 – April 2002
Studio Tarbox Road Studios, Cassadaga, New York
Genre Neo-psychedelia, space rock, dream pop
Length 47:25
Label Warner Bros.
Producer The Flaming Lips, Dave Fridmann, Scott Booker

Yoshimi Battles the Pink Robots is the tenth studio album by American rock band The Flaming Lips, released on July 15, 2002 by Warner Bros. Records. The album was well-received critically and commercially, helping the band break into the mainstream, and was adapted into a musical in 2012.[1]

The lyrics of Yoshimi Battles the Pink Robots concern a diverse array of subject matter, mostly melancholy ponderings about love, mortality, artificial emotion, pacifism, and deception, while telling the story of Yoshimi's battle. The title character is inspired by Boredoms/OOIOO member Yoshimi P-We, following a comment in the Flaming Lips studio that her machine-sound abstract singing sounds like she is battling monsters—Coyne added 'pink'.[2] P-We also performs on the album. Some listeners consider Yoshimi Battles the Pink Robots to be a concept album; however, the story is debated, as it is only directly apparent in the first four tracks. Despite the story-type title and science fiction themes of the album, Flaming Lips frontman Wayne Coyne has made it clear that the album is not intended to be a concept album.[3]

The Flaming Lips

• Wayne Coyne – songwriting, vocals, guitars, cover paintings, mixing, production
• Steven Drozd – songwriting, drums, guitars, keyboards, electronics, bass, vocals, mixing, production
• Michael Ivins – songwriting, bass, keyboards, backing vocals, mixing, production, additional engineering

Additional personnel

• Yoshimi P-We – vocalization
• Dave Fridmann – additional songwriting, production, mixing, programming, engineering, mastering
• Scott Booker – production
• Trent Bell – additional tracking
• Andy Taub – additional tracking
• George Salisbury – design and layout

1. "Fight Test" 4:12
2. "One More Robot/Sympathy 3000-21" 5:01
3. "Yoshimi Battles the Pink Robots Pt. 1" 4:48
4. "Yoshimi Battles the Pink Robots Pt. 2" 2:52
5. "In the Morning of the Magicians" 6:25
6. "Ego Tripping at the Gates of Hell" 4:25
7. "Are You a Hypnotist??" 4:50
8. "It's Summertime" 5:45
9. "Do You Realize??" 3:32
10. "All We Have Is Now" 3:53
11. "Approaching Pavonis Mons by Balloon (Utopia Planitia)" 3:12
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The only song I know off here is do you realize? but I have heard several other flaming Lips songs, and have heard many good reports about this surround mix over the years, and finally picked it up a couple of weeks ago

Dvd audio surround mix executed and mixed by Elliott Scheiner and Dave Fridman
Mastered by Bob Ludwig Produced by David May

Fight Test
We open with some grand sfx and some hello welcome to a surround mix statements. Effective, not too over the top.
The song is very reminiscent of Cat Stevens Father to Son.
The first thing to stand out is the slowly circling drum kit.
Very nice use of space for the backing vocals.
What i gather is the chorus has the drums fixed and a nice boot of sub for the kick drum.
This is a very full, and well put together mix, and as unusual as the circling drum kit is, it ends up being pretty tastefully done.
Very good start to the album.
After some similar sfx to the intro we move without a breath into....

One More Robot/Sympathy 3000-21
There is an interesting percussion track in the right rear. Drums up front.
More nice use of the surround space for vocals and backing vocals.
Nice use of synth pads and a very immersive mix here also.
These guys seemed to have thought about this.
This is more mellow and pretty than i was expecting from these guys. We get a lovely simulated? Orchestra to finish the track.

Yoshimi Battles The Pink Robots pt1
They were having a lot of fun with the guitar at the start, as it pushes and pulls the space, with panning and delay effects.
Then as the song comes in we settle down and again a beautifully layered piece of writing, with a nice comfortable, and very appealing mix.
Lots of great effects, but to me at least, they are in context with the music and lyrics.
I get the impression that this album was a lot of work, and a lot of fun to mix.
We transition straight into...

Yoshimi Battles The Pink Robots pt2
This track starts out as a real head trip. Everything is everywhere. This is an instrumental and has a lot going on over a nice cool funky beat, and decent descending and ascending scaler style riffs.
This is an effects bonanza and moves directly into...

In The Morning Of The Magicians
We have a beautiful melancholy here. That mellows even more and moves into an acoustic guitar and vocal in the left rear, after being a full mix. Some nice use of the other channels, and then we move to a more traditional centred mix.
Again, we have a beautiful arrangement and mix.
Beautiful isn't a word i expected to use for this album, but it has a real melancholy beauty, that warms it, to my heart at least.
Around the 3:40 mark we move back to the acoustic and vocal in the left rear, and it reprises the move back to a full centred mix.
Although a fairly extreme surround mix, to me, at least, this feels very tastefully done.
We end with a medium size crowd's applause.

Ego Tripping at The Gates Of Hell
A nice mellow funky kind of beat via bass and drums gets us going. Again there is good use of sound effects, but again it works in context with what we are listening to.
The percussion used here is beautifully mixed to use the fields well.
In fact this is a pretty great mix all round. Nice equilibrium between the levels, nice use of the surround field. It is perfect for this album.
A nice smooth fade.

Are You a Hypnotist ?
Another nice mellow groove. Very modern in styling, but very tastefully put together.
Again the surround field is used to maximum effect, and the overall effect is entertaining, soothing and musical.
Kudos to everyone involved in this.
So far this is a great album and mix that i had somewhat been avoiding due to apprehension of what it would actually be. What it is, is really good.

It's Summertime
Bass up front, a guitar either side, bird noises all around. Probably a keyboard with a delay alternating between three points in the field. Pads filling in space. Vocals working well in the field. They really used some nice backing vocals on here.
A bit of guitar bouncing around the sound field around the 2:30 mark.
A nice gentle guitar lead break.
Some more pushing and pulling between the fields effects.
Very cool.

Do You Realize?
I always enjoyed this song when i heard it, but sadly until now, had not followed it up.
Again, i can't speak highly enough of this piece of work. Again we have a beautifully constructed piece of work, from the musical base, through the vocals, and the mix.
There is certainly a melancholy here, but it isn't morose, or depressing. It is comfortable and comforting.

All We Have Is Now
Another pretty song, with a lovely arrangement and mix.
I certainly underestimated the She Don't Use Jelly guys.

Approaching Pavonis Mons By balloon
Although there are links and crossfades, and some lyrical themes and ideas that carry through the album, i certainly agree that this isn't a concept album.
If there is a concept, it is love and appreciate everything, now, and create beautiful aural landscapes. And they have achieved this in my mind.

I really didn't know what to expect from this album, and sometimes that is a bonus.
This is like a little treasure that has been sitting on my want list patiently for a few years, and finally made it to my house.
This is way more beautiful than I was expecting. It is way more soothing than I was expecting.
To me it is somewhat like Hawkwind and Tangerine Dream decided to get In The Aeroplane Over The Sea (Neutral Milk Hotel)

I highly recommend this, if you aren't afraid of modern sounds, if you like adventurous mixes, if you have liked Do You Realize? at all.
This is really good, and I'm pleased I finally got it.

Again, sadly I think this is out of print, but copies are easily attainable from about $15

The Flaming Lips - Yoshimi Battles The Pink Robots 5.1

The Flaming Lips - Yoshimi Battles the Pink Robots (+DVD, 2004) for sale online | eBay

https://www.amazon.com/Yoshimi-Battles-Pink-Robots-Deluxe/dp/B0000B1A2O

 

Reference to the albums

Jackson Browne - Running On Empty - Surrounded On Sundays - 5.1/quad reviews and summaries
Ray Charles - Ray Sings, Basie Swings - Surrounded On Sundays - 5.1/quad reviews and summaries
Jimi Hendrix - Electric Ladyland - Surrounded On Sundays - 5.1/quad reviews and summaries
Sly And The Family Stone Greatest Hits - Surrounded On Sundays - 5.1/quad reviews and summaries
The Allman Brothers Band - Live At Fillmore East - Surrounded On Sundays - 5.1/quad reviews and summaries
Gentle Giant - The Power and The Glory - Surrounded On Sundays - 5.1/quad reviews and summaries
Alice Cooper - Welcome To My Nightmare Surrounded On Sundays - 5.1/quad reviews and summaries
Yes - Close To The Edge Surrounded On Sundays - 5.1/quad reviews and summaries
Queen - A Night At The Opera Surrounded On Sundays - 5.1/quad reviews and summaries
Bob Dylan - Blonde On Blonde Surrounded On Sundays - 5.1/quad reviews and summaries
Emerson Lake And Palmer - Brain Salad Surgery Surrounded On Sundays - 5.1/quad reviews and summaries
The Flaming Lips Yoshimi Battles the Pink Robots Surrounded On Sundays - 5.1/quad reviews and summaries