Surrounded On Sundays - 5.1/quad reviews and summaries

Very good, otherwise I'd have sold it in the last 10 years.

 

further to MYKE's post, i think this is the bulk of the Clapton surround stuff (apart from the Crossroads DVDs)

from Top L;
There's One In Every Crowd (Quad; DTS CD),
Back Home (5.1; DVD-Audio DualDisc),
461 Ocean Boulevard (5.1 Guzauski mix; SACD),
Reptile (5.1; DVD-Audio),
Riding With The King (5.1; DVD-Audio),
461 Ocean Boulevard (Quad; DTS CD),
Layla 40th Anniversary Box (5.1 Scheiner mix; DTS DVD-V),
Layla (5.1 Guzauski mix; SACD),
Slowhand (5.1; SACD),
Give Me Strength (Quads of 461 Ocean Blvd & There's One In Every Crowd + 5.1 Scheiner mix
of 461 Ocean Blvd; Blu-ray Audio),
Sessions For Robert J. (5.1; DVD-Video).

 

oh don't mention the Streisand Quads! we'll be here all day there's a gazillion of 'em!

edit: i should add, there aren't an absolute ton of them and they're almost all nice Quad mixes to be fair, not sure we'll ever see them reissued on a more modern format though so its SQ, Q8 or bust! (is this some kind of bust? yes that's very impressive!)

 

You forgot Rush Blu-ray

 

how's the surround sound?

 

Great, always a favorite film. Gregg, Eric, Robin Trower, Hendrix...

 

I was also trying to help a Forum Brother who's done right by me, sell his Give Me Strength set. Before my post gets buried.

 

Sorry

 

Nothing to be sorry for, I'm the one bending the rules. I just see it as some sort of injustice, when a seller like that, has an item like that, since I can't afford it, and really, obviously now, don't need it, I'd like to see somebody grab it. I thought maybe somebody getting started in surround might like it.

 

Wow, thanks for your detailed reply! However, I'm still wondering why I can't hear the solo; I don't have a real surround system, but an improvised set-up that works well: a regular stereo system with normal front left and front right speakers and the two rear channels routed from the left & right rear outputs of my Oppo BDP-103 player to a pair of powered speakers I use as rear L & R channels. I don't have a physical centre channel, but in the Oppo you can have the centre channel mixed to the front L and R channels. This works surprisingly well and I absolutely enjoy listening to many types of 5.1 music, from the Steven Wilson remix stuff to DSOTM, The new Beatles surround mixes, etc. I normally can hear all the lead vocals and other centre channel stuff perfectly well, including Elton's vocals on "Captain Fantastic", but just not Davey's guitar solo in Writing. How strange...!

 

I reckon you need to get yourself a centre speaker. There is a good chance you are missing more than you realise ...

 

you're welcome!
the EJ 5.1's were mixed with Elton's lead vocals (and occasionally other elements) hard panned in the Centre channel but those vocals are also in Front Left & Right and at a lower level in the Rears so i suspect something's not downmixing the 5.1 into 4.0 properly and you're only hearing the sum of the vocals from the other 4 channels.. but i don't know the in's and out's of downmixing SACDs on an Oppo as not only do i not have an Oppo but the only time i play an SACD in anything but straight surround is if there's no surround on it!

 

definitely! it won't make a jot of difference to all the old Quads of course, nor to a host of modern 5.1 mixes that either barely use the Centre much or even at all (!) but for stuff like the Steven Wilson's and the Elton's etc you'll be in heaven! oh and there's also some stunning 3-channel SACDs like the Nat King Cole's that Steve Hoffman did which are absolutely jaw-dropping with an LCR setup across the Front.

 

The Nightfly


Studio album by
Donald Fagen
Released October 1, 1982
Recorded 1981–82
Studio
Various[show]
Length 38:46
Label Warner Bros.
Producer Gary Katz

The Nightfly is the debut studio album by American singer-songwriter Donald Fagen. Produced by Gary Katz, it was released October 1, 1982 by Warner Bros. Records. Fagen was previously best known for his work in the group Steely Dan, with whom he enjoyed a successful career in the 1970s. The band separated in 1981, leading Fagen to pursue a solo career. Although The Nightfly includes a number of production staff and musicians who had played on Steely Dan records, it was Fagen's first release without longtime collaborator Walter Becker.

Unlike most of Fagen's previous work, The Nightfly is almost blatantly autobiographical. Many of the songs relate to the cautiously optimistic mood of his suburban childhood in the late 1950s and early 1960s, and incorporate such topics as late-night jazz disc jockeys, fallout shelters, and tropical vacations. Recorded over eight months at various studios between New York City and Los Angeles, the album is an early example of a fully digital recording in popular music. The nascent technology, as well as the perfectionist nature of its engineers and musicians, made the album difficult to record.

The Nightfly was well-received, both critically and commercially. It was certified platinum in both the US and UK, and generated two popular singles with the top 40 hit "I.G.Y." and the MTV favorite "New Frontier". Among critics, The Nightfly gained widespread acclaim, and received seven nominations at the 1983 Grammy Awards. The relatively low-key but long-lived popularity of The Nightfly led Robert J. Toth of The Wall Street Journal in 2008 to dub the album "one of pop music's sneakiest masterpieces."[1]

The Nightfly is considered more jazzy than Fagen's previous work with Steely Dan, and his lyrics are more wistful and nostalgic than biting.[3] Fagen aimed for his lyrics to have "as little irony as possible”, and his goal was to make an album that was fun to listen to.[3] As many of the songs come from an adolescent viewpoint, he hoped for them to maintain "a certain innocence”.[15] Walter Becker was responsible for the more sardonic elements in Steely Dan, and many writers have considered his absence the reason for the album's "warm and nostalgic" tone.[3][24] Another difference between The Nightfly and his work with Becker is that it maintains a focus on a "certain period [or] motif”, according to Fagen.[8] Though Fagen hints in the album's liner notes that it is an autobiographical piece, he downplayed this notion in a later interview: "It is not me exactly. It is a composite character of myself, what I remember and people I knew. Plus, it includes my feelings in retrospect”.[15]

According to Sam Sutherland, writing for Billboard, Fagen's songs "shimmer with jazz harmonies and alternately swing, shuffle or bounce to a samba“.[8] Will Fulford-Jones, in his appraisal of the album in 1001 Albums You Must Hear Before You Die, considered it ironic in the sense that while it focuses on a simpler time, its production sounded like a modern Steely Dan album.[25] Fagen held a "propensity for the perfect drum track”, and multiple drummers are credited on the album, sometimes on the same song. For example, James Gadson and Jeff Porcaro are present on "I.G.Y.", with the former playing the snare drum, kick drum, and hi-hat, and the latter performing the tom-tom fills. Even still, some songs contain the drum machine Wendel II.[21]Fagen feared listeners finding plagiarism in his lyrics, so he altered a lyric in "The Goodbye Look"—"Behind the big casinos by the beach"—as it "reminded him of a line from a well-known poem." He was also concerned the "late line" lyrics in the title song were too close to the late-night news program Nightline.[15]

Musicians

• Donald Fagen – lead vocals (all tracks), organ (3, 4, 7, 8), synthesizers (1–3,5–8), synth blues harp (1), electric piano (3, 4, 8), piano (6), background vocals (3, 5–8), horn arrangements, liner notes
• Dave Bargeron – trombone (1), euphonium (4)
• Michael Brecker – tenor saxophone (1, 3, 4)
• Randy Brecker – trumpet (1, 3), flugelhorn (3, 4)
• Larry Carlton – lead guitar (2, 3, 5–7), guitar (4, 8)
• Ronnie Cuber – baritone saxophone (1, 4)
• Rick Derringer – guitar (1, 3, 6)
• Frank Floyd – background vocals (1, 2, 6)
• James Gadson – drums (1), additional drums (3)
• Ed Greene – drums (4, 5)
• Gordon Grody – background vocals (1)
• Anthony Jackson – bass (1, 3)
• Steve Jordan – drums (8)
• Steve Khan – acoustic guitar (7)
• Abraham Laboriel – bass (5)
• Will Lee – bass (8)
• Hugh McCracken – guitar (1, 3, 6), harmonica (5)
• Lesley Miller – background vocals (8)
• Marcus Miller – bass (4, 6, 7)
• Rob Mounsey – synthesizers (1,2,6), horn arrangements
• Michael Omartian – piano (3, 5) electric piano (5, 6)
• Dean Parks – guitar (2, 7)
• Greg Phillinganes – synthesizer (7), piano (4), piano solo (3), electric piano (1, 2, 7), clavinet (2), synthesizer bass (8)
• Jeff Porcaro – drums (2, 3, 6, 7), additional drums (1)
• Chuck Rainey – bass (2)
• Zachary Sanders – background vocals (1, 2, 6)
• Valerie Simpson – background vocals (1–3, 6, 7)
• David Tofani – alto saxophone (1, 4)
• Starz Vanderlocket – percussion (1, 2, 5, 7), background vocals (5)

Production

• Gary Katz – record producer
• Roger Nichols – percussion, special effects, engineer, sequencing
• Daniel Lazerus – background vocals (2), engineer, overdub engineer
• Elliot Scheiner – engineer, mixing, tracking
• Cheryl Smith – assistant engineer
• Robin Lane – assistant engineer
• Mike Morongell – assistant engineer, digital editing assistant
• Wayne Yurgelun – assistant engineer, digital editing assistant
• Bob Ludwig – mastering
• Ginger Dettman – project assistant
• Steve Pokorny – project assistant
• Steve Woolard – project assistant
• David Dieckmann – authoring
• George Lydecker – authoring
• Greg Allen – design, art direction
• George Delmerico – art direction
• Cory Frye – editorial supervision
• James Hamilton – photography
• Andrew Thomas – screen design

1. "I.G.Y." – 6:03
2. "Green Flower Street" – 3:42
3. "Ruby Baby" (Jerry Leiber and Mike Stoller, arranged by Donald Fagen) – 5:38
4. "Maxine" – 3:50
5. "New Frontier" – 6:23
6. "The Nightfly" – 5:47
7. "The Goodbye Look" – 4:50
8. "Walk Between Raindrops" – 2:38

----------------------------------------------------------
From 1972 - 1980 Steely Dan had been making ever more challenging Rock/Pop-Jazz/Rock albums. This crescendo'd to the Gaucho album somewhat, although Aja is the biggest seller at two million certified copies. All the other albums sold One Million, except C0untdown To Ecstasy which sold half a million.
When the band split Walter Becker went to Maui to become an Avocado farmer, and ended up getting off drugs, and Donald Fagan, somewhat the face of the group, moved into a solo career.

Fagan's first solo album was this album, The Nightfly, which itself went on to be certified platinum, reaching one million sales.
I.G.Y. (International Geophysical Year) went on to be a minor hit in many countries, and was actually number 2 in Canada, and 26 on the US Hot 100. I can't speak for anywhere else, but in Australia at the time, and for many years after, I.G.Y. was an FM staple.

I don't have the relationship that I should have with this album, because by the time I knew it was available, it was already sky high in the price, which tends to be very annoying for those of us that love surround music, and I am assuming everyone bothering to read this loves surround music. I bought this a while ago, but have only had one or two listens, at this stage.
The Steely Dan ethos of solid production and recording has carried over into this album, and with the DDD format, you know the sounds will be clean and clear, although some aren't fans of that style of recording.

5.1 Produced, Engineered and Mixed By Elliot Scheiner
Mastered by Bob Ludwig
Dvd Audio Producer Rob Hurley
Dvd Authoring Spencer Chrislu

The Album is available in Dvd-audio, Dual Disc(dvd-a), sacd and also in a box set called The Nightfly Trilogy, containing dvd video discs with DTS and DD audio (The albums on the box set are the Nightfly, Kamakiriad and Morph The Cat, + some extra tracks.

Nightfly Trilogy is available from $56 on Discogs
Donald Fagen - Nightfly Trilogy
it starts from about $70 on ebay
donald fagen nightfly trilogy | eBay
from about $64 on Amazon
https://www.amazon.com/Nightfly-Tri...htfly+Trilogy&qid=1566736800&s=gateway&sr=8-2

The Dvd-audio
from $60 on discogs
Donald Fagen - The Nightfly
from $48 (European press) on discogs
Donald Fagen - The Nightfly
The Dual-disc is currently unavailable
Dvd-audio is on ebay for around $70
donald fagen nightfly dvd Audio | eBay
Dvd-audio approx $60 on Amazon
https://www.amazon.com/Nightfly-Don...fly+dvd+audio&qid=1566737279&s=gateway&sr=8-3

The sacd -Which is still in print and available.
Available from $28 on discogs
Donald Fagen - The Nightfly
around the $35 price on Ebay
donald fagen nightfly sacd | eBay
approx $38 on Amazon
https://www.amazon.com/Nightfly-SAC...ly+sacd&qid=1566737377&s=gateway&sr=8-1-fkmr0

For some reason I ended up getting the Dvd-audio, and I can only assume it must have been a better price than the sacd's at the time. It's the first time I have looked at the pricing for quite a while and most of the prices seem pretty reasonable, particularly for the sacd.

IGY
A slowly circling arpeggiated synth in the intro just before the groove kicks in.
Beautiful lush sound. Clicky rhythm guitars either side. Horns all around.
The elements in place, the songs smoothly cruises along, with its rhythmic bounce, and draws you right in.
The little synth type lead at the end moves between front and rears, with subtlety.

Green Flower Street
A wonderful collage of rhythms, with a couple of guitars either side.
Essentially this is the same soundstage, as the opening track.
A really sweet slide guitar runs across the middle of the field, with a response guitar up front.
Some really nice little fills, pop up from various positions also.

Ruby Baby
Fagen is really good at constructing a groove.
Horns and vocals spread nicely across the whole field.
Again we get these wonderful clicky guitars around us accentuating the groove.
As the piano takes a lead up front, we get a nice organ in the rears.
Again, optimal position is sat just forward in my seat.
We also get the sfx of a group of people partying around us towards the end of the song.
Often I have heard folks complain about digital recordings not sounding good.... to me the album's I know to be digitally recorded, sound great. This album and Brothers in Arms coming immediately to mind.

Maxine
Maxine gets a slower, more mellow groove, and some wonderful jazz flavoured harmonies. Wonderful melody, that again follows a very jazz flavoured styling.
Guitar left, horns rears, organ right.
Scheiner doesn't seem to be talked up as much as Wilson, but he does some beautifully balanced mixes, and his involvement is as much of a spur to me, as Wilson is.

New Frontier
The track has a touch of new wave to it.
Harmonica on the right. Staccato synth or sequencer stutters all round. Horns and bvox all round.
The smooth mellow feel of this album is enhanced extremely well by the 5.1 mix.
The bass on this album is smooth and warm also. A nice sub mix, that isn't overbearing, but present and accounted for.
There's a little percussion colouring in the right rear.
There's even a cowbell folks

The Nightfly
This track feels like the groove and vocals dominate the fronts, with a beautiful warm surrounds filled keys, guitars and horns.
Again we have this mellow and infectious groove.
Perhaps I sound like a broken record, but balance is so important in these mixes, and you could stand a penny on its edge on this.
Fagen is notoriously famous for his subtle tinkering with sounds and arrangement and production. One time I remember he and Becker talking about a Dan album, and some sound they had put in, that they didn't even remember, but knew they had spent ages discussing/arguing about. Lol. You can hear that in his music. Attention to detail.

The Goodbye Look
This is a percussive treat, with rhythmic persuasions all around here.
Wonderful layering is a feature here.
There is a particularly nice lead guitar on this track.
"I believe I just got the goodbye look" what a great line.
Great mix, and a very cool track.

Walk Between The Raindrops
A really nice swing feel here. With almost a touch of ska in one of the keyboards.
Again a beautiful subtle mix, little bits and pieces all around us, with a really fun feel to finish of the album.

I guess again I sound like a broken record, but this is a beautiful mix, and an excellent album, I can only say that this is well worth having.
I would assume a Steely Dan fan, would find this essential, and anyone that ever liked this album, should probably have this surround mix.
I really do hope some other Steely Dan album get revisited for a 5.1 mix, but fear that ship may have sailed. I think it is almost essential for Aja, but I can't help but feel all these albums would just glow in this audio environment. I have my fingers crossed for Pretzel Logic, Aja, Royal Scam and Katy Lied, but won't hold my breath.

 

Great review Mark! Hopefully I get to play this in the next few days. Clocking in at under 40 minutes should help! As all things Steely Dan related, this recording is exquisitely produced.

 

great appraisal! The Nightfly's one of my all-time favourite surround music mixes. when Elliot Scheiner gets it right he really nails it imho and this is one of those times, it sounds gorgeous and everything gels so well in 5.1. an essential purchase i would say. i never did get the Japanese SACD for some reason (i may still
if i see it come up cheap), got the MVI as soon as it came out (strange format idea from Warner, didn't take off, i think there was only this Nightfly Trilogy, Rush's Snakes & Arrows in 5.1 and a Chicago Best Of MVI in stereo?) i subsequently found a beatup copy of the DVD-A in a joblot for £15 quid and then the DualDisc appeared in a thrift store for a fiver! yes only £5 English Pounds. you can't say fairer than that. "what a beautiful world this will be.. what a glorious time to be free..!"

 

Anyone questioning the value of Nightfly would be well-served to read all the accolades about it on various sites. On Wiki, it’s regarded amongst some the best recorded music that’s out there.

This album, Brothers In Arms and Avalon, all reviewed here. It’s almost a coin toss for me as to which one sounds the best. All impeccably recorded and mastered. All essential to a 5.1 collection, IMO.

And, of course, all expensive.

 

Rumours


Studio album by
Fleetwood Mac
Released 4 February 1977
Recorded February–August 1976
Studio
Various[show]
Genre Pop rock soft rock
Length 39:43
Label Warner Bros.
Producer Fleetwood Mac Ken Caillat Richard Dashut

Rumours is the eleventh studio album by British-American rock band Fleetwood Mac, released on 4 February 1977 by Warner Bros. Records. Largely recorded in California in 1976, it was produced by the band with Ken Caillat and Richard Dashut. The band wanted to expand on the commercial success of their eponymous 1975 album, but struggled with relationship breakups before recording started. The Rumours studio sessions were marked by hedonism and strife among band members that shaped the album's lyrics.

Recorded with the intention of making "a pop album", the album's music featured a pop rock and soft rock sound characterized by accented rhythms and electric keyboards such as the Fender Rhodes or Hammond B3 organ. The members partied and used cocaine for much of the recording sessions, and its completion was delayed by its mixing process, but was finished by the end of 1976. Following the album's release, Fleetwood Mac undertook worldwide promotional tours. Rumours reached the top of both the US Billboard 200 and the United Kingdom Albums Chart, and became the band's most successful release. The songs "Go Your Own Way", "Dreams", "Don't Stop", and "You Make Loving Fun" were released as singles, all of which reached the US top 10.

Having won the Grammy Award for Album of the Year in 1978, Rumours has since sold over 40 million copies worldwide, making it one of the best-selling albums of all time, and has received diamond certifications in several countries, including the United States, Canada, and Australia. The album garnered widespread acclaim from critics, with praise centred on its production quality and harmonies, which frequently relied on the interplay among three vocalists and has inspired the work of musical acts in different genres.

Often considered Fleetwood Mac's best release, it has featured in several publications' lists of the best albums of the 1970s and of all time. In 2004, Rumours was remastered and reissued with the addition of "Silver Springs", which had been excluded from the original due to tension within the band, and a bonus CD of outtakes from the recording sessions. In 2018, the album was selected for preservation in the National Recording Registry, being deemed "culturally, historically, or artistically significant" by the Library of Congress.[1]

In February 1976, Fleetwood Mac convened at the Record Plant in Sausalito, California, with hired engineers Ken Caillat and Richard Dashut. Production duties were shared by the three parties, while the more technically adept Caillat was responsible for most of the engineering; he took a leave of absence from Wally Heider Studios in Los Angeles on the premise that Fleetwood Mac would eventually use their facilities.[12] The set-up in Sausalito included a number of small recording rooms in a large, windowless, wooden building. Most band members complained about the studio and wanted to record at their homes, but Fleetwood did not allow any moves.[13] Christine McVie and Nicks decided to live in two condominiums near the city's harbour, while the male contingent stayed at the studio's lodge in the adjacent hills.[14] Recording occurred in a six-by-nine-metre room which included a 3M 24-track tape machine, a range of high-quality microphones, and an APImixing console with 550A equalisers; the latter were used to control frequency differences or a track's timbre. Although Caillat was impressed with the set-up, he felt that the room lacked ambience because of its "very dead speakers" and large amounts of soundproofing.[12]

The record's working title in Sausalito was Yesterday's Gone.[15] Buckingham took charge of the studio sessions to make "a pop album".[16] According to Dashut, while Fleetwood and the McVies came from an improvisational blues-rock background, the guitarist understood "the craft of record making".[17] During the formative stages of compositions, Buckingham and Christine McVie played guitar and piano together to create the album's basic structures. The latter was the only classically trained musician in Fleetwood Mac, but both shared a similar sense of musicality.[18] When the band jammed, Fleetwood often played his drum kit outside the studio's partition screen to better gauge Caillat's and Dashut's reactions to the music's groove.[19] Baffles were placed around the drums and around John McVie, who played his bass guitar facing Fleetwood. Buckingham performed close to the rhythm section, while Christine McVie's keyboards were kept away from the drum kit. Caillat and Dashut spent about nine days working with a range of microphones and amplifiers to get a larger sound, before discovering they could adjust the sound effectively on the API mixing console.[12]

As the studio sessions progressed, the band members' new intimate relationships that formed after various separations started to have a negative effect on Fleetwood Mac.[20][21] The musicians did not meet or socialise after their daily work at the Record Plant. At the time, the hippie movement still affected Sausalito's culture and drugs were readily available. Open-ended budgets enabled the band and the engineers to become self-indulgent;[13][22] sleepless nights and the extensive use of cocaine marked much of the album's production.[9] Chris Stone, one of the Record Plant's owners, indicated in 1997 that Fleetwood Mac brought "excess at its most excessive" by taking over the studio for long and extremely expensive sessions; he stated, "The band would come in at 7 at night, have a big feast, party till 1 or 2 in the morning, and then when they were so whacked-out they couldn't do anything, they'd start recording".[23]

"Trauma, Trau-ma. The sessions were like a cocktail party every night—people everywhere. We ended up staying in these weird hospital rooms ... and of course John and me were not exactly the best of friends."[2]
—Christine McVie, on the emotional strain when making Rumours in Sausalito

Nicks has suggested that Fleetwood Mac created the best music when in the worst shape,[22] while, according to Buckingham, the tensions between band members informed the recording process and led to "the whole being more than the sum of the parts".[21] The couple's work became "bittersweet" after their final split, although Buckingham still had a skill for taking Nicks' tracks and "making them beautiful".[24] The vocal harmonies between the duo and Christine McVie worked well and were captured using the best microphones available.[12] Nicks' lyrical focus allowed the instrumentals in the songs that she wrote to be looser and more abstract.[25] According to Dashut, all the recordings captured "emotion and feeling without a middle man ... or tempering".[7] John McVie tended to clash with Buckingham about the make-up of songs, but both admit to achieving good outcomes.[26] Christine McVie's "Songbird", which Caillat felt needed a concert hall's ambience, was recorded during an all-night session at Zellerbach Auditorium, across San Francisco Bay in Berkeley.[27]

Following over two months in Sausalito, Fleetwood arranged a ten-day tour to give the band a break and fan feedback. After the concerts, recording resumed at venues in Los Angeles,[11] including Wally Heider Studios. Christine McVie and Nicks did not attend most of the sessions and took time off until they were needed to record any remaining vocals. The rest of Fleetwood Mac, with Caillat and Dashut, struggled to finalise the overdubbing and mixing of Rumours after the Sausalito tapes were damaged by repeated use during recording; the kick and snare drum audio tracks sounded "lifeless".[12] A sell-out autumn tour of the US was cancelled to allow the completion of the album,[2] whose scheduled release date of September 1976 was pushed back.[28] A specialist was hired to rectify the Sausalito tapes using a vari-speed oscillator. Through a pair of headphones which played the damaged tapes in his left ear and the safety master recordings in his right, he converged their respective speeds aided by the timings provided by the snare and hi-hat audio tracks.[12] Fleetwood Mac and their co-producers wanted a "no-filler" final product, in which every track seemed a potential single. After the final masteringstage and hearing the songs back-to-back, the band members sensed they had recorded something "pretty powerful".[29]

Fleetwood Mac

• Lindsey Buckingham – guitars, dobro, percussion, vocals
• Stevie Nicks – vocals
• Christine McVie – keyboards, synthesizer, vocals
• John McVie – bass guitar
• Mick Fleetwood – drums, percussion, harpsichord[101]

Production

• Ken Caillat – producer, engineer
• Richard Dashut – producer, engineer
• Fleetwood Mac – producers
• Chris Morris – assistant engineer
• Ken Perry – mastering
• Charlie Watts – mastering

Artwork

• Desmond Strobel – design
• Larry Vigon – calligraphy
• Herbert W. Worthington – photography

1 Second Hand News 2:43
2 Dreams 4:15
3 Never Going Back Again 2:02
4 Don't Stop 3:11
5 Go Your Own Way 3:38
6 Silver Springs 4:32
7 The Chain 4:27
8 You Make Loving Fun 3:32
9 I Don't Want To Know 3:12
10 Oh Daddy 3:55
11 Gold Dust Woman 5:07
12 Songbird 3:22
--------------------------------------------------------
Fleetwood Mac are a truly remarkable band, with a history spanning back to the mid-late sixties as part of the British blues explosion, with Peter Greene as pretty much the artistic spearhead of that era. There were changes upon changes, and in the Early seventies Bob Welch (Ebony eyes) and Christine Perfect (Mcvie) were probably the artistic spearhead for the band, with some very good, but seemingly overlooked albums in that period. Many people have many different favourite sections of the bands career, but when Lyndsey Buckingham and Stevie Nicks joined the band it shot the group into the rock stratosphere. Mick Fleetwood was looking for a replacement for Bob Welch, who had decided to move on, and Keith Olsen played him a track off the Buckingham/Nicks album. Fleetwood met with Buckingham to check him out, and Buckingham agreed to join the band, as long as music partner and girlfriend Stevie Nicks got in also.

With Christine Mcvie, Buckingham and Nicks, the band now had three top class songwriters and singers, and they produced a wonderful rock-soft/rock sound that captured the imagination of pretty much the whole world. The debut album from this version of the band went on to sell seven million albums, with Rhiannon becoming a solid classic, and many other great songs, but somewhat sadly these days it has been overshadowed by the incredible situation that was the Rumours album.
This album has a storied history of partnership breakups, and so much stuff that I couldn't possibly enter into it here, but more importantly from our perspective, it contained some incredible heartfelt music, seemingly based around the personal problems that the five members were all having at the same time. It isn't by any means a morose album of heartbreak, but it is quite a beautiful collection of songs, that touched the psyche of just about the whole world, and became one of the biggest selling albums in history. It really is a marvellous achievement, and in spite of years of very consistent playing on the radio and anywhere else music may be heard, I still very much enjoy it. It is a remarkable album. In the US alone this album has sold twenty million copies!

This was among my first 5.1 albums, and I already know that it is a great sounding album. I am very much looking forward to having a close listen for the first time in a while.
There are some minor alterations to the original album, with a couple of discarded tracks included to enhance the surround field, most notably in Never Going Back Again. These tracks are subtly done and do not detract from the original feel of the album. We also get the addition of the Stevie Nicks track Silver Springs that was originally left off the original album, due to the space restrictions of vinyl.
We will at some stage or another, go through Fleetwood Mac, Tusk, Mirage and Say You Will, because I think they are all fantastic albums, but today we will go through this wholly remarkable album from 1975, that stood the music world on its head and became among the greatest albums ever recorded.

5.1 Produced, Engineered and Mixed by Ken Caillat
Assistant Engineers - Rich Fowler, James Stone
Assistant producers - A.J. Lara, James Stone
Mastered by Bob Ludwig

Back in Australia I used to have the Dvd-audio, but now due to reasons previously explained, I have the sacd. I am pretty sure they are the same mix and master, but if someone has more or better info, please stick your head in here and let us know.

The Dvd-audio appears to have come down in price considerably from last time I looked
available from $29 on discogs
Fleetwood Mac - Rumours
European pressing form $38 on discogs
Fleetwood Mac - Rumours
there is also this version, which I am unsure of the differences from $49 on discogs
Fleetwood Mac - Rumours
The sacd starts at $28 on discogs
https://www.discogs.com/Fleetwood-Mac-フリートウッドマック-Rumours-噂/release/3469652
The Dvd-audio starts at around $40 on Ebay
fleetwood mac rumours dvd audio | eBay
the sacd is still available new on ebay from around $30
fleetwood mac rumours sacd | eBay
Dvd-audio from approx $50 on Amazon
https://www.amazon.com/Fleetwood-Ma...urs+dvd+audio&qid=1566743747&s=gateway&sr=8-1
The sacd is still available new on amazon for around $30
https://www.amazon.com/Rumours-FLEE...+rumours+sacd&qid=1566743787&s=gateway&sr=8-1

I feel I can pretty much say this is a high quality, essential album and mix, before we even start, but lets see how we go here.

Second hand News
Beautiful slow pan of the rhythm guitars, swelling to the rears. Harmonics/bell tones right rear, heavy distorted guitar, mixed left left.
Wonderful drum mix, that gives the impression of sitting on the kit. Bvox all round.
Fade out lead guitar in the middle of my head.
Wonderful.

Dreams
Again wonderful drum mix. Volume swell guitar in the middle of my head. Subtle percussion keyboard right rear. Organ through my head. Actual percussion both rear sides.
Beautiful warming of the kick drum in the sub.
The thunder only happens section has the vocals surrounding us, and mixed well enough to barely discern who is where, while still retaining the unity required for them to work. Excellent mixing job.

Never Going Back Again
I have always loved this track, the guitar is wonderful.
We are surrounded by the guitar and it sounds great.
We get some little lead licks and bell tones added, that were not on the original. They may be slightly loud, but it all still gels nicely.

Don't Stop
This will sound silly, but this came out when I was about 7, and I thought this song was a Status Quo song ... anyway
Organ through rears. Little guitar bits either side. Guitar lead break just forward of centre with effects sends to rears, nice sound.
This is a nice balanced pumping rocker of a song with a great immersive feel. So many subtle little details, that mix beautifully.

Go Your Own Way
Acoustic right rear. Nice mix of the bvox again.
Again so many subtle bits an pieces all over the place here.
Organ left.
Same sort of lead guitar set up as the last track here.
Lindsey is such a good and tasteful guitarist, and I have always loved this fade out. Wonderfully effective and melodic.
Such a great song.

Silver Springs
Beautiful rear stereo'd harmonics from the guitar.
This is a wonderful song, that was terribly unlucky to miss the album.
The interplay between the two guitars either side in the rears is great.
Beautiful lead break again.
Nice organ that's just there, on the left. Another example of beautiful subtle production and mixing.

The Chain
This has always been a favourite, and a musical feast, for me at least.
Solid sub backed kick. Again beautifully mixed vocals all round. Organ right. A couple of great guitar tracks, possibly three with different timbres adding a great feel.
I wonder how hard it was for them to have this public catharsis of their relationships.
Nice warm sub aided bass in the wonderful change.
Minimalist lead at the start from Lyndsey that just explodes, and slides into the rears.
A magnificent aural painting.

You Make Lovin' Fun
Tambourine right rear. Funky d6? Left side. Guitar right. Angelic bvox all around. Guitar in the middle of my head.
A bit of subtle call and response between the guitars either side.
Another wonderful mix, but this is such a great album.

I Don't Want To Know
Probably one of the lesser songs, but I love it. Vocals front and sides. Guitar right. Claps either side rears. A wonderful swell of sound in the change, that really sucks you in.
A really nice dynamic mix between the verses and the change, give this song a really good feel.

Oh Daddy
Initially a lesser song for me as a young fella, but it has really grown on me over the years.
Acoustics either side. Again really nice use of the sub.
Nice slide of backing vocals through the rears in the bridge.
Organ right.
Again so many wonderful subtleties set this off so nicely.

Gold Dust Woman
Almost Stevie's signature song these days, and the highlight of the Stevie concert I saw in Memphis last year.
Beautiful balance of guitars either side, with the resonator up front.
Beautiful blending of the vocals. A flanger in parts gives this an ethereal sound and feel.
Nice distorted guitar kicking in. These guys were on another planet when they put this thing together, a perfect storm of inspiration and musicianship.

Songbird
The piano has reverb sends to the rears. Christine's vocal also gets some reverb sends to the rears, and after being a concert closer for years, it feels natural to have this track at the end of the album.
Subtle acoustics in the sides.
Such a beautiful song.

This album really is a classic. I doubt very much that anyone that likes this album would be disappointed with it at all. I highly recommend getting it while the prices are very reasonable for the sacd, and even the dvd-audio in some instances.
The fact that the band were able to put forward such a united and beautiful album, in the face of so much emotional turmoil for them all at the time is quite remarkable, and I am never disappointed with this album.

 

Nightly & Rumors. great sounding in 5.1. Unlike a lot of surround music- these are still available. Prices have gone up a bit but not ridiculously priced like a lot of hard to get discs.
Highly recommended if you are on the fence. I would give the edge to Nightfly in the surround experience between the two IMHO.

 

Rumors is just an excellent album and in 5.1 the instrumation is superb...you will hear elements that are buried in the stereo...opens soundfield so well...ive the sacd from Japan

A must own!

 

Red


Studio album by
King Crimson
Released 6 October 1974
Recorded 30 June (live) July–August 1974(studio)
Venue Palace Theater, Providence, Rhode Island
Studio Olympic Studios, London, England
Genre Progressive rock, Hard rock, Progressive metal
Length 39:54
Label Island Atlantic
Producer King Crimson

Red is the seventh studio album by English progressive rock group King Crimson, released in 1974 by Island Records in the United Kingdom and by Atlantic Records in the United States. It was their last studio recording of the 1970s and the last before lead member Robert Fripp temporarily disbanded the group. Though their lowest-charting album at the time, spending only one week in the UK charts, Red has received critical acclaim.

Much of the material on Red has origins in improvisation. Motifs that would eventually be used for "Fallen Angel" were first played by Robert Fripp in 1972, as part of improvs performed with the quintet lineup that would record Larks' Tongues In Aspic. These improvisations are documented as "Fallen Angel" and "Fallen Angel Hullabaloo" in the Larks' Tongues in Aspic: The Complete Recordings box set, as well as standalone releases of their respective concerts. The distinctive introduction to "One More Red Nightmare" was also deployed by John Wetton and Robert Fripp in various improvs throughout 1974, which can be heard in the Starless (box set) and The Road to Red box sets. One notable performance is titled "The Golden Walnut". Lastly, "Providence" itself was an improv, taken from the group's show on June 30th in Providence, Rhode Island. It has been included in its uncut form as part of various live sets, such as The Great Deceiver, as well as the 40th Anniversary Edition of Red itself.

"Red" was composed solely by Robert Fripp. In an analysis of the piece by Andrew Keeling, he describes "Red" as "an instrumental piece scored for electric guitar (multi-tracked X3), bass guitar and drums," as well as "one of the more muscular pieces of Robert Fripp's, in particular the deployment of open strings and heavily attacked and syncopated bass and drums."[1] In an online diary from 2012, Robert Fripp speaks about the development of "Red": "A motif; moved from [the missing piece] "Blue" to "Red": the opening and closing theme of "Red" itself. The driving, relentless figure that follows it, and the middle figure played by the basses, weren't enough for a complete piece."[2] Speaking about it in the book accompanying the Larks' Tongues in Aspic: The Complete Recordings box set, he says, "After we had just recorded the track "Red" in [Olympic Studios] ... we played it back and Bill said, 'I don't get it, but if you tell me it's good, I trust you.' ... I said, 'We don't have to use it.' John was in no doubt: 'We'll use it.'"[3] In retrospect, "Red" has been considered an influence on avant-garde metal.[4] PopMatters ranked "Red" as the twentieth best progressive rock song of all time.[5]

"Starless" was originally written by Wetton, with the intent of it being the title track for Starless and Bible Black. At the time, the piece consisted only of the vocal section of the song, and Wetton claims that it got a "cold reception" from both Robert Fripp and Bill Bruford. Later, an introductory theme was written by Robert Fripp and performed on violin by David Cross, and two additional sections were added after the vocal, one being contributed by Bruford.[6] The final section reprises various themes from earlier in the song, and it also re-uses a bass part which was originally written for the song "Fracture".[7] This early arrangement of "Fracture" can be heard on discs 1 and 25 of the Starless box set, as well as the standalone releases of their respective concerts. The lyrics went through several iterations, and one early verse was later used for a U.K. song, "Caesar's Palace Blues".[8] Since the title "Starless and Bible Black" was already used for an improvisation on the group's previous album, the song's title was shortened to "Starless".[6] On Red, "Starless" is credited to the quartet, as well as lyricist Richard Palmer-James.

Near the conclusion of King Crimson's 1974 North American tour, the decision was made to kick Cross out of the band. EG, the band's management, urged Fripp not to tell Cross until after the final date of the tour, but he would not be able to anyway; he would not return from the United States until after Cross would return to Europe. Fripp reached an agreement with EG that they would tell Cross, "on proviso that [he] is told that I objected to not telling him personally." Despite reaching this agreement, Cross would not be told about the decision for him to leave the band until the day before the recording of Redbegan.[9] In his stead, the band brought back several contributors to past albums: Robin Miller on oboe, Marc Charig on cornet, Ian McDonald and Mel Collins on saxophone, as well as an uncredited cellist.

Red sees King Crimson follow in the direction established by their previous two albums, Larks' Tongues in Aspic and Starless and Bible Black, but in contrast to those albums, Red features more layered production with several guitar overdubs on certain tracks, as well as the return of earlier instrumentation such as saxophone. Red having a heavier tone was largely due to the rhythm section of John Wetton and Bill Bruford, which Fripp has referred to as "the flying brick wall". During the recording of the album, Fripp took a "backseat" when making large decisions.[10] He had decided to take "a year's sabbatical ... at Bennett's Institute,"[11] and offered the idea of McDonald rejoining the band in his absence to EG. When this idea was met with disinterest, Fripp abruptly disbanded King Crimson on September 24th, 1974, and Red was released a month later.[12]

King Crimson – production, arrangements

• Robert Fripp – guitar, mellotron
• John Wetton – bass, vocals
• Bill Bruford – drums, percussion

Additional personnel

• David Cross – violin on "Providence"
• Mel Collins – soprano saxophone on "Starless"
• Ian McDonald – alto saxophone on "One More Red Nightmare" and "Starless"
• Mark Charig – cornet on "Fallen Angel",
• Robin Miller – oboe on "Fallen Angel"
• Uncredited musician – cello on "Red"[23]
• Uncredited musician – cello on "Starless"
• George Chkiantz – recording, engineering
• Rod Thear – recording, assistant engineering
• Chris, Tex, Harvey and Peter Walmsley – equipment
• John Kosh – cover
• Gered Mankowitz – photography

Red - Fripp*
Fallen Angel - Wetton*, Palmer-James*, Fripp*
One More Red Nightmare - Wetton*, Fripp*
ProvidenceWritten-By – Bruford*, Cross*, Wetton*, Fripp*
Starless - Bruford*, Cross*, Wetton*, Palmer-James*, Fripp*

Fallen Angel Trio Version (Instrumental) - Wetton*, Fripp*
Providence Full Version (Taken From 'The Great Deceiver') - Bruford*, Cross*, Wetton*, Fripp*
A Voyage To The Centre Of The Cosmos (Taken From 'The Great Deceiver') - Bruford*, Cross*, Wetton*, Fripp*
-------------------------------------------------------------------------------------------------------------------------------------
It has surprised me somewhat that Crimson have been bypassed so far in the voting, and I am in the mood to listen to some Crimson, so I'm going to hook into Red.
I guess they really just aren't for everybody, with some of their odd stylings and sometimes abrasive writing, but I think it would be hard to deny the artistic quality of the band. Incredibly unique in so many ways, and like a lot of the other bands tagged with the progressive label, these guys went through several different stylistic variances, seeming to get heavier as the decades passed.
The hardest thing for me here was to decide what to listen to, as I have huge soft spots for Islands, Larks Tongues, Red, Discipline, Beat, Three Of A Perfect Pair, Thrak and the often overlooked Power To Believe. I settled on Red, primarily because it seems to be the album that folks talk about most, and it has the magnificent Starless on it.

The band was started by Michael and Peter Giles, and they recruited a guitarist named Robert Fripp.
Eventually over a series of member changes and stylistic direction experiments, the band essentially became Robert Fripp's baby. They continued progressing and changing from 68-75. It was in 75 that the Red album was released and met with very minor interest. Over the years though the album has grown in stature substantially and is now seen by many as a classic album of the genre.
Of course the band was disbanded after this album for several years. Fripp had become disenchanted by the industry and the band itself, and felt the need to break it off. He went on spiritual pursuits and played sideman to a few people over the intervening years, but essentially stayed quietish up until 1979, when he released his brilliant solo album Exposure, worked with Daryl Hall on his Sacred Songs album, and Peter Gabriel on his second solo album. There is a strange unity between those three albums, and they seemed to spark Fripp back to life, and eventually on to a new incarnation of King Crimson in 1981. We will most certainly visit those albums in this thread also because they are like a completely different band, yet equally (in my opinion) brilliant albums. The Crimson history is long and involved, and that is just a rough overview for folks not familiar with the band.

I came to Crimson via ... yes that whacky bass player in my first band that introduced me to Zappa, prog in general and jazz fusion, Thanks Phil, I owe you mate!
I first got into the band via Islands, which many consider to be a weak album, but I love it, whether because of the first album syndrome, or just because I have weird taste. I tentatively explored the bands catalog, because I knew they had a penchant for being unusual, and I wasn't sure if I would like it all. Up until the more recent releases of the eighties album and the recent final box set, I had held off getting Larks Tongues In Aspic for a long while, because I had heard of its extremely unusual nature ... it ended up being one of my favourites, so I now have all these 5.1 albums and I think they are a fantastic set of albums that really shine in 5.1.

I guess I am waffling here, but I am just trying to give some back story to the band and where they sit in my world.
I also guess that many aren't big fans of the band, as they didn't really get a lot of votes, and I am not sure if that is something to do with their somewhat cultish status, and being relatively known, but unknown. If it is a general avoidance of prog to some degree by many, or if folks just aren't keen on the band because of aspects already mentioned.

5.1 Produced and Mixed by Steven Wilson
Executive Producer Robert Fripp
Mastered by Neil Wilkes

The 40th Anniversary sets are wonderful from my experience. You get the original album on cd with bonus tracks. The dvd contains the album in stereo 96/24 with the bonus tracks, the 5.1 mixes we will look at here and four tracks from French TV, with video, but in mono. I often wish more bands would follow the Crimson or Tull paths with these reissues as these two bands have done their fans a great service by producing these definitive versions of their albums, packaged well, and priced to sell.

These discs seem to currently be very affordable.
The US pressing is currently starting at $18 on discogs
King Crimson - Red
UK European starts at $8
King Crimson - Red
Japanese starts at $29
King Crimson - Red
Still new on Amazon at approx. $20
https://www.amazon.com/Red-King-Cri...g+crimson+red&qid=1566755586&s=gateway&sr=8-3

There is also the Road to Red box set which includes many concerts, and the USA album in 24/96 stereo and the red album and mixes that we are looking at here.
This is currently starting at $150 on discogs
King Crimson - The Road To Red
and starting at $131 on Amazon
https://www.amazon.com/Road-Red-Kin...g+crimson+red&qid=1566755586&s=gateway&sr=8-5



Red
This track is based around a series of chordal patterns, and a big fat rhythm section from Bruford and Wetton.
We have a very full sound, with the drums making use of the surround space well. Crashes and rides to the sides.
It sounds like doubled guitar either side.
There is a musical breakdown from the main riff and Fripp's guitar floats around us in a very smooth effective way.
The harmonised run section sounds great too.
Excellent

Fallen Angel
This starts with a synth sounding swells that rolls around us nicely.
Then Wetton sings a somewhat ballad-like song. Mellotron left. Wind instruments in various positions around the field.
Again nice use of the cymbals on the sides giving the drums some dimension.
It almost sounds like the band Cake got their sound from here.
Some nice bvox in the surrounds.
A frenetic piece of Fripp guitar slides from side to side.
Another nice mix. Starting fairly sparse and becoming more dense.

One More Red Nightmare
Guitars either side.
Nice China cymbal just left of left front.
A nice bed of guitars here, that get some wide coverage.
This a typically abstract song by Crimson with some great sections that work together well.
This album couldn't be more different to the prior two albums today if it tried.

Providence
We start with a very nice violin that seems somewhat distant and then moves closer, with some subtle movement across the soundfield.
We get some flourishes here and there, musically and in the field of sound.
Some menacing guitar comes and goes, with the string and wind instruments, and percussion, acting like frightened little birds. This happens all around the soundfield with many small components here and there. This track reminds me of some of Zappa's sound collages, and is definitely mood music.
It works very well in the surround field.
Eventually the drums come in, and Bruford is laying down a solid groove with some nice fills, as the aural nightmare goes on around us.
Fripp constructs one of his solos to the left, that gives way to the violin.

Starless
This is the beautiful caress after the nightmarish visions occurring on some of the previous tracks.
We have a mellotron base, and Fripp plays a beautiful melody on the guitar, the has a rich warm glow end tone.
Wetton sings beautifully and a sax joins the party.
There is an aching melancholy and beauty here, than many miss out on, because some of Crimson's other stuff is too aurally antisocial for them.
We resolve to a major, and then get the guitar and bass play a fairly simple pattern, as some synth or mellotron intermittently slide into the rears, with cymbals. Some wood tone percussion up front also.
This section is all about building tension. The guitar is playing a series of single note sections the move through pitches while the bass is playing a somewhat Sabbath-like foreboding bassline while Bruford is doing what he does.
Then the tension breaks into a different feel, and then again we move into a somewhat game-like musical scene with some really good sax.
This gives way to a beautiful horn arrangement, and then dives back into an aural assault.
All of these changes and arrangements find ample space in the soundfield to be effective.
Then we break back into the opening theme with a sax playing the melody instead of Fripp, and we hit the final chord to a slow fade.
Certainly not everyone's cup of tea, but it is a journey that I enjoy.

Fallen Angel (trio version)
This has a really cool arrangement, and functions as an instrumental.
Another good mix.
The guitars either side, horn up front. Mellotron either side.
I like Fripp's guitars here too.
This track really works well as an instrumental.

Providence (full version from Great Deceiver)
The violin does its slowly creeping intro and we get a swell of sound left.
This is essentially the same as the album version, for the most part, but a longer version.
Like a nightmare, and as noted before, very much like some of Zappa's soundscape collages.
The guitar left, violin right and bass front works really well, with the cymbals in the rear in the crescendo at the end... this was live btw.

A Voyage To The Centre Of The Cosmos (from Great Deceiver)
There is a bit of an introduction here with someone speaking with the crowd and them reacting with a lot of enthusiasm.
Hats left, kick and snare front and centre, with a growling bass.
The guitar comes in on the right.
David cross the violin player is on the mellotron here.
We get some violin also.
This track comes across like an elaborate live improvisation. It has plenty of dynamics and texture.
We move into a big rave up with Bruford and Wetton holding it down while Cross and Fripp squeeze the chordal life out of their mellotrons on either side of us.

Look, this certainly isn't everyone's cup of tea, but if it is yours, here you get it served hot and fresh.
I wouldn't recommend this album as an introduction to the band unless you are already a fan of Avant-garde improvisational styled music.
Obviously this is highly recommended to the Crimson fan. If you are a Crimson fan of all eras, then really these sets are essential for the mixes and the extras, and to the best of my ability to state as such, are the go to versions for these albums... @Jimbino may well be able to add some information regarding that last statement, as I believe he is a much more knowledgeable Crimson fan than I .

 

Thanks @mark winstanley for the vote of confidence.
My go-to for live Crimson is The Great Deceiver set. First released in 92 or 93, it was the first release of a broad swathe of live recordings from this era. Taken from about six shows, the 4 CD TGD set has only one complete show, but all other shows are released completely via The Road To Red and Starless Live In Europe boxes.
If Red is your cuppa tea, and the big boxes seem like too large an investment, then I reckon TGD is a good place to become familiar with the jazz rock ‘fission’ on 73-74Crim.

 

Minstrel in the Gallery


Studio album by
Jethro Tull
Released 5 September 1975 (UK)
8 September 1975 (US)
Recorded 15 May 1975 – 7 June 1975
Studio Maison Rouge Mobile Studio, in Monaco
Genre Progressive rock[1][2] hard rock[1] folk rock[3]
Length 45:11
Label Chrysalis
Producer Ian Anderson

Minstrel in the Gallery is the eighth studio album by British band Jethro Tull, recorded in April and released in September 1975. The album goes in a different direction from their previous work War Child (1974), with the orchestration being replaced by a string quartet conducted by David Palmer. The band also returned to the blend of electric and acoustic pieces, in a manner closer to their early '70s albums such as Benefit (1970), Aqualung (1971) and Thick as a Brick(1972), and for the first time since their two concept albums of Thick as a Brick (1972) and A Passion Play (1973), they recorded a song of more than ten minutes, which occupies almost all of the second side of the record.[1][4]

It would be the last album to feature bassist Jeffrey Hammond, who was replaced by former Carmen bass player John Glascock.

Jethro Tull

• Ian Anderson – vocals, flute, acoustic guitar
• Martin Barre – electric guitar
• John Evan – piano, organ
• Jeffrey Hammond – bass guitar, string bass
• Barriemore Barlow – drums, percussion

Additional personnel

• David Palmer – string quintet arrangements and conducting
  • Rita Eddowes, Elizabeth Edwards, Patrick Halling and Bridget Procter – violin
  • Katharine Tullborn – cello
• Brian Ward – photographs
• Ron Kriss and J.E. Garnett – front cover, based on a print by Joseph Nash
• Robin Black – sound engineering

1. "Minstrel in the Gallery" (5.1 Surround Mix) 8:17
2. "Cold Wind to Valhalla" (5.1 Surround Mix) 4:18
3. "Black Satin Dancer" (5.1 Surround Mix) 6:54
4. "Requiem" (5.1 Surround Mix) 3:43
5. "One White Duck / 010 = Nothing at All" (5.1 Surround Mix) 4:40
6. "Baker St. Muse: Baker St. Muse" (5.1 Surround Mix) 5:09
7. "Baker St. Muse: Pig-Me and the Whore" (5.1 Surround Mix) 1:30
8. "Baker St. Muse: Nice Little Tune" (5.1 Surround Mix) 1:09
9. "Baker St. Muse: Crash-Barrier Waltzer" (5.1 Surround Mix) 3:09
10. "Baker St. Muse: Mother England Reverie" (5.1 Surround Mix) 5:46
11. "Grace" (5.1 Surround Mix) 0:37
12. "Summerday Sands" (5.1 Surround Mix) 3:42
13. "Requiem" (Early Version) (5.1 Surround Mix) 3:43
--------------------------------------------------
The Jethro Tull deluxe books, to me, are pretty much second to none in quality and value for money. It is this quality and value for money, with 5.1 mixes that has turned me into a great fan of the band. Prior to these releases, I had the cd's for Aqualung and Broadsword and the Beast... I liked both of those album, but never really ventured any further into the Tull catalog. I enjoyed my Living In The Past compile on vinyl that I used to have back in the day, but never really ventured past those albums.
The Deluxe books have been a revelation of music, and the albums that I previously had, are not favourite albums of the band. This is rare, because normally I find that the album that leads me into a band, more often than not becomes my favourite album by nostalgia or default ... I am not really sure, but this is really not the case with Tull. I really love many of these albums, Minstrel, possibly being my favourite, but I really love Thick as a Brick (which being essentially one song, really scared me from purchasing it for years) Passion Play (same as Thick) Songs From The Wood and Heavy Horses. These albums are like long lost music that I missed all those years ago, but I am very pleased to now be enjoying these, and especially in a 5.1 sound environment.
If everyone was a careful and thorough as Tull in presenting definitive editions of their history of albums, what a wonderful place the world would be ... I'm looking at you 10cc, Supertramp and quite a few others

Anyway this album for me is magnificent and contains some great writing and arranging that really sets itself well for this format.

5.1 Producer Ian anderson
Mixing and Engineering Steven Wilson
Dvd authoring Ray Shulman

5.1 mix for the bonus dvd of Tull live in Paris 5th of July 1975 Jakko Jakszyk. (includes video)

This set was exceptional value when it came out, but I was amazed to see that it appears to be out of print now, which is disappointing.

Aside from the cd, with bonus songs, and the cd of the concert, and the album in 5.1, and the concert on video in 5.1 .... you also get An original album flat transfer, the original quad flat transfer, a couple of bonus 5.1 mixes and extensive liner notes in the attractive and well put together book format. The notes include articles on the band, including their input. Notes from Wilson and Jakszyk about the way they approached the mixes and album/concert, lyrics, and a plethora of other information.
Truly these guys are the flagship that everyone should be looking to in terms of how to present a really great affordable overview of their album catalog. Currently all the albums from the debut up to Heavy Horses has been done. Stormwatch is coming out in a couple of months, and the rumour is that there is more to come. Having been done so well, I ended up getting them all, and enjoy them all a lot.... but again. Up until doing this thread, I haven't properly made time to fully enjoy them all, and been distracted by work, and necessary functions that aren't necessarily fun.
The great thing for me about this thread is actually getting back into these things and listening to them properly, and making time to enjoy the music that I love with few, to no distractions. I sure hope some other folks are getting that opportunity.

Well I was distressed to see that this appears to have gone out of print....
From roughly $40 new ... there is one new one available on amazon for about $250. second hand starts at $2015 ... you did not misread that.
https://www.amazon.com/Minstrel-Gallery-Anniversary-Grande-Édition/dp/B00T0S7CYA
Much more reasonable on discogs starting at $139
https://www.discogs.com/Jethro-Tull-Minstrel-In-The-Gallery-40th-Anniversary-La-Grande-Édition/release/6982491
On ebay there is one for $73, and a couple of others.... be sure to get the book version with the dvd's though, as there was a plain cd version put out with the new Wilson mix.
Jethro tull Minstrel In The Gallery grande deluxe | eBay

1. "Minstrel in the Gallery"
We start with a bit of chat. Then Anderson in Minstrel mode with acoustic and flute and a couple of other instruments.
Then we get get Martin Barre exploding on the guitar and Barriemore Barlow playing some wildly good drums. Since hearing the full version of this track, the edited version just won't do.
Flute left, guitar front, guitar right. Lead gtr left rear.
Some fills roll to the left side.
I turned the sub up a little, and it warmed the bottom end up a little.
Good mix, very happy with this song as a complete song.

2. "Cold Wind to Valhalla"
A voice introduces the song title.
Flute left rear. Strings in rear. Guitar right rear.
Very effective mix, but difficult to pinpoint everything as it is a somewhat chaotic song.

3. "Black Satin Dancer"
Flute left. Bass centrepiano across the field. Guitar both sides, strings also.
A nice swoop note on the guitar slides right to left rear.
Hi hats left.
Despite being a little more hard rock than a lot of Tull releases, this sounds like a precursor to the folk trilogy. There is a certain folk tale feel about the songs.
The lead break works really well with effects sends filling the soundfield.
A somewhat babbling voice on the left side.
Since adjusting the sub a little the drums sounds excellent, and get a fair bit of space in the surround field.
This is a very good mix also.

4. "Requiem"
We get the acoustic guitar filling the field and Anderson singing front and centre. Strings in the rears.
Nylon string guitar left rear with sends to right to finish.

5. "One White Duck / 010 = Nothing at All"
Acoustic guitar left and right. Strings in the rears.
The pizzicato sounds great.
This is somewhat like a medley, but holds its ground well as one track.

6. "Baker St. Muse"
Guitar Gently opens on the left. Piano left rear. Strings all around.
The arrangement of this is marvellous.
Little snippets of guitars and flute coming from all angles, and in context.
Really great harmonised section that leads in to

"Pig-Me and the Whore"
Acoustic guitar either side and vocals front.
Electric guitar coming from the both side and front.
Then we get a beautiful strings reprise that leads into

"Nice Little Tune"
A well named nice little tune. With a nice full surround mix with strings piano guitar. That leads into

"Crash-Barrier Waltzer"
The acoustic and strings and vocal.
This album is quite unusual in some ways, but it works, and really takes the listener on a journey, and I find the writing, and mixing very balanced and it all adds up to my favourite Tull album.
We end with acoustic, flutes and sfx all around, and this leads into

"Mother England Reverie"
A standard structure in the stream of songs, or large multifaceted song. Whichever way you prefer to view it.
For me Baker Street Muse, as a whole piece is brilliant, and the mix is really good, immersive and interesting.
We get Nderson walking off and it got my dog's attention lol.

7. "Grace"
A sweet acoustic guitar and strings ending.

Summer day sands
An excellent bonus track. With a great mix and feel.
A really nice bonus track that could easily have been included in the album.

Although the opening track seems lacking in the bass to some degree, I think that is be design and not default, and the intensity of the songs may well have just felt more need ing of minimalist bass. The album itself sounds great and the mixing of the acoustic and electric instruments, with the strings and flute is really remarkably well done. One may well say, "this is Tull, what would you expect" but I think they really outdid themselves here. To me there is a leaning towards some extremely technical writing ala Passion Play, but with a subtle break down to more simple sounding, but certainly not simply written sections. There is a real punch to this album, but again it is beautifully balanced by the folk leanings of Anderson.
To me this album gives you pretty much all the best of what Tull has to offer, in a condensed volume of sorts ... if that makes any sense. We get technical Tull, Rock Tull, Folk Tull and some great writing and stories, that for me, culminate in the marvellous Baker Street Muse.
I think the mix goes a long way to enhancing the album as a whole and the songs individually.
Here we have more of a solid platform, than a series of strange interjections, but we also get some interesting little effects that without drawing attention away from the album, add just that little bit more interest to the album.

 

Also don't forget to run through any of the albums we have done, if you feel drawn to

Reference to the albums

Alice Cooper - Welcome To My Nightmare Surrounded On Sundays - 5.1/quad reviews and summaries
Allman Brothers Band - Live At Fillmore East - Surrounded On Sundays - 5.1/quad reviews and summaries

The Beatles - The Beatles (White Album) Surrounded On Sundays - 5.1/quad reviews and summaries
Bowie, David - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars Surrounded On Sundays - 5.1/quad reviews and summaries
Browne, Jackson - Running On Empty - Surrounded On Sundays - 5.1/quad reviews and summaries

Charles, Ray - Ray Sings, Basie Swings - Surrounded On Sundays - 5.1/quad reviews and summaries

Dire Straits - Brothers In Arms Surrounded On Sundays - 5.1/quad reviews and summaries
Doobie Brothers - The Captain And Me Surrounded On Sundays - 5.1/quad reviews and summaries
Dylan, Bob - Blonde On Blonde Surrounded On Sundays - 5.1/quad reviews and summaries

ELO - debut album 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

Fagen, Donald - The Nightfly Surrounded On Sundays - 5.1/quad reviews and summaries
Flaming Lips - Yoshimi Battles the Pink Robots Surrounded On Sundays - 5.1/quad reviews and summaries
Fleetwood Mac - Rumours Surrounded On Sundays - 5.1/quad reviews and summaries

Genesis - Selling England By The Pound 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

Hendrix, Jimi - Electric Ladyland - Surrounded On Sundays - 5.1/quad reviews and summaries

Iron Maiden - Dance Of Death Surrounded On Sundays - 5.1/quad reviews and summaries

Jethro Tull - Minstrel In The Gallery https://forums.stevehoffman.tv/threads/surrounded-on-sundays-5-1-quad-reviews-and-summaries.851486/page-31#post-21966853
Joel, Billy - The Stranger Surrounded On Sundays - 5.1/quad reviews and summaries
John, Elton - Madman Across The Water Surrounded On Sundays - 5.1/quad reviews and summaries

King Crimson - Red Surrounded On Sundays - 5.1/quad reviews and summaries

Lynyrd Skynyrd - Southern Surroundings Surrounded On Sundays - 5.1/quad reviews and summaries

Moody Blues - A Question Of Balance Surrounded On Sundays - 5.1/quad reviews and summaries

Queen - A Night At The Opera Surrounded On Sundays - 5.1/quad reviews and summaries

Roxy Music - Avalon 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

Talking heads - Remain In Light Surrounded On Sundays - 5.1/quad reviews and summaries
Tangerine Dream - Phaedra Surrounded On Sundays - 5.1/quad reviews and summaries
T Rex - Electric Warrior Surrounded On Sundays - 5.1/quad reviews and summaries

Waters, Roger - Amused to Death Surrounded On Sundays - 5.1/quad reviews and summaries
Who - Quadrophenia Surrounded On Sundays - 5.1/quad reviews and summaries

XTC - The Black Sea Surrounded On Sundays - 5.1/quad reviews and summaries

Yes - Close To The Edge Surrounded On Sundays - 5.1/quad reviews and summaries

Zappa - Quaudiophiliac Surrounded On Sundays - 5.1/quad reviews and summaries

If the mood takes you, please feel free to give us your summary of any of these albums that we have done. For our purposes here, please try and give us information about the mix, in as much or as little detail as takes your fancy.
If you feel so inclined, review the album, and the mastering or anything else about the album that you feel drawn to.
Cheers,
Mark

 

So on to this weeks nominations ... which will start on the next page