Surrounded On Sundays - 5.1/quad reviews and summaries

Have you heard the Japanese SACD of Bitches Brew, Mark? Probably my fave quad mix of all time.

 

Green


Studio album by
R.E.M.
Released November 7, 1988
Recorded May–June 1988 July–September 1988
Studio Ardent Studios, Memphis, Tennessee Bearsville Studios, Woodstock, New York
Genre Alternative rock folk rock
Length 41:01
Label Warner Bros.
Producer Scott Litt R.E.M.

Green is the sixth studio album by American rock band R.E.M., released on November 7, 1988 by Warner Bros. Records. Produced by the band and Scott Litt, it continued to explore political issues both in its lyrics and packaging. The band experimented on the album, writing major-key rock songs and incorporating new instruments into their sound including the mandolin, as well as switching their original instruments on other songs.

Upon its release, Green was a critical and commercial success. To promote Green, the band embarked on an 11-month world tour and released four singles from the album: "Orange Crush", "Stand", "Pop Song 89", and "Get Up".

With the release of Document in 1987, R.E.M. fulfilled its contract with I.R.S. Records. Frustrated that its records did not see satisfactory overseas distribution, in early 1988 the band told I.R.S. head Jay Boberg that it was leaving the label.[1] Guitarist Peter Buck also explained that his group felt it was being pressured to sell well by I.R.S., yet felt I.R.S.'s distributor MCA Records did not consider the ensemble a priority.[2] R.E.M.'s management then approached any record companies that expressed interest in the band.[3] Though other labels offered more money, R.E.M. ultimately signed a deal with Warner Bros. Records—reportedly between $6 million and $12 million—due to the company's assurance of total creative freedom.[4] In light of its move to a major label, the band became defensive in interviews about accusations from some fans who claimed it was selling out.[5]

R.E.M. began the album process by recording demos at Robbie Collins' Underground Sound Recording Studio in Athens, Georgia in February 1988. Bill Berry, Peter Buck and Mike Mills recorded the basic tracks in two configurations: (1) drums, guitar, and bass, and (2) percussion, mandolin, and accordion. The demos were mixed by Robbie Collins, Buren Fowler (guitar tech for Peter Buck and later member of Drivin N Cryin), and David LaBruyere (later bassist for Vic Varney, Michelle Malone, and John Mayer) and presented to R.E.M. management. Michael Stipe used these recordings for his vocal arrangements. Some of these demos, including "Title," "Great Big," "Larry Graham" and "The Last R.E.M. Song," have never been commercially released. The demo "Larry Graham" was named for Sly and the Family Stone bassist Larry Graham, who was famous for his slap-bass style. "Larry Graham" has many similarities musically with Out Of Time opener "Radio Song." "Title" was an older song which had been demoed for Document the prior year and performed often on the Work Tour. "Title" is the only unreleased song from these demo sessions known to have recorded vocals.

Just one month after signing with Warner Bros., the band recorded the basic tracks for Green at Ardent Studios Studio A in Memphis, Tennessee from May 24 through July 5, 1988, with Scott Litt producing. Recording and mixing resumed later that month at Bearsville Sound Studios in Bearsville, New York. Three unreleased songs were recorded in Bearsville, including "Carnival" and two untitled songs. "The Wrong Child" was recorded and mixed under the working title "Mozart." The Bearsville sessions continued until September 3, 1988—barely two months before Green's release.

R.E.M.

• Bill Berry – drums, percussion, backing vocals, bass guitar on "You Are the Everything", "The Wrong Child", and "Hairshirt"
• Peter Buck – guitar, mandolin, drums on "Untitled"
• Mike Mills – bass guitar, keyboards, accordion, backing vocals
• Michael Stipe – vocals

Additional musicians

• Bucky Baxter – pedal steel guitar on "World Leader Pretend"
• Peter Holsapple – guitar and keyboards on Live in Greensboro 1989[29]
• Keith LeBlanc – percussion on "Turn You Inside-Out"
• Jane Scarpantoni – cello on "World Leader Pretend"

Production

• Bill Berry – production
• Peter Buck – production
• Thom Cadley – engineering (Bearsville)
• Jem Cohen – photography
• George Cowan – engineering (Bearsville)
• Jay Healy – engineering
• Tom Laune – engineering (Ardent)
• Scott Litt – production, engineering
• Bob Ludwig – mastering, at Masterdisk, New York City, New York, United States
• Jon McCafferty – packaging and photography
• Mike Mills – production
• Frank Olinsky and Manhattan Design – packaging
• Michael Stipe – production, packaging, and photography
• Michael Tighe – photography

1. "Pop Song 89" – 3:04
2. "Get Up" – 2:39
3. "You Are the Everything" – 3:41
4. "Stand" – 3:10
5. "World Leader Pretend" – 4:17
6. "The Wrong Child" – 3:36
7. "Orange Crush" – 3:51
8. "Turn You Inside-Out" – 4:16
9. "Hairshirt" – 3:55
10. "I Remember California" – 4:59
11. Untitled – 3:10

----------------------------------------------
Although it makes me the odd sock, a place I am used to being, this is my favourite REM album. I am not going to get into whether the band was selling out or not, because that isn't really of any interest to me. I enjoy the early albums, and I also enjoy the albums that followed on from here up to Monster. I like the fact there there is a different approach to each album, and at least an attempt to sound fresh and different with each album, something that I think they achieved well. To some degree I lost interest after Monster, but I am not going to say that the band didn't make any good albums after that, because the interest was based on my direction and not theirs really. For now though we go to 1988, and an album that hit like a ton of bricks, in Australia at least.
We had heard The One I Love and End Of The World, and they seemed to work as a prequel to this album.
To be honest when I first heard Stand and Orange Crush, I liked them but I wasn't knocked out by them, but they seeped into my later eighties mind, and I ended up buying the album. In hindsight the other songs on the album are so much more engrossing to me than the singles, that it is really pleasing that I got around to buying this..

Rem had Alternate music cred from their first few albums and I think most folks lean toward those as being the bands best period. I have no problem with that at all they are great albums, but this album seems to work as a perfect crossover album. To me it manages to harness that whole late eighties alternate thing, and just colour it with a bit of hook laden pop, but not enough in my mind to taint it as being lightweight or "sell out", it just seems like a natural progression of searching, that again, to me, works.
There is a deep emotive feel to a lot of this stuff and it it never fails to grab me.
After this the made the more pop leaning, but again very well soaked in alternate and somewhat experimental musings Out Of time. They followed that with Automatic For The People which seemed to be somewhat of a reply to grunge at the time. Again they mixed it up, and for me the variety that they put into their albums made them always interesting to listen to. With Monster they got back into a heavier guitar sound and all these albums I ended up getting the double sets with the cd and the dvd-audio ... which being on Warners, was probably a directive of Warners as that was their format and the whole sacd/dvd-a war was still going strong, much to the disillusionment of we the public, that just wanted great albums mixed in surround.

Anyway Green, to me, is a magnificent album that captures a time and a place really well, with some thoughtful, and sometimes slightly obtuse songs that capture my imagination at least.

again, sadly out of print
available from about $23 on Amazon
https://www.amazon.com/Green-CD-DVD-Dig-M/dp/B0006IIPEY
discogs (Europe) from about $23
R.E.M. - Green
discogs (US) about $25
R.E.M. - Green
From about $27 on ebay
REM green DVD a | eBay

5.1 Mix Elliot Scheiner
Mastering Darcy Proper
dvd-a Executive Producer Robin Hurley

I had a little REM burnout, so it has been a while since I listened to this, but seem to remember it being very good.... so lets see.

Pop Song 89
Instantly immersive. Guitars either side. Nice balanced sub. Vocals with a nice unison doubling, with balanced rears.
Beautifully balanced mix.
Scheiner seems often overlooked, but I seem to enjoy his mixes a lot.

Get up
I love this track.
Guitars either side. Replying vocals in the rears. Again really nice balance.
Wonderful mixing in the little breakdown section.
Very solid

You Are The Everything
Possibly my favourite track
Nice surround sfx intro.
Piano accordion? Rears
The replying vocals mixed really well in the rears.
Mandolin nice and clear in the front.
Again balance is the key to this mix.
Excellent stuff.

Stand
Again really well balanced use of sub.
Guitars either side. Percussive bell left.
Bvox rears.
Lead guitar front and centre.

World Leader Pretend
Pedal steel in the rears. Castanets rear right.
I always seem to forget how much I like this song.
Again a lovely full sounding mix.
Piano right.
Very consistent mix again.

The Wrong Child
Mandolins rears, acoustic gtr either side. Piano up front.
Mellotron or strings... I think it's mellotron in the middle.
A really nice dreamlike atmosphere to this track.

Orange Crush
The big hit.
Nice choruses treble rhythm gtr right side. Guitar either side and front.
Bvox rears.
Chants right, chopper moving around the field. Announcer left.
Again great balance.

Turn You Inside Out
Ok I lied, this is my favourite track
Guitars either side. Nice bass sound.
Shhhlk effect, right.

Hairshirt
Bell right. Keys rears, mandolin slightly left. Another great song. Yes I really love this album.
The bell actually alternates sides.

I Remember California
The darkest song on the album, and another great one.
We start upfront. A synth/mellotron? comes in right rear. Bvox rears.
Nice balance again.

Untitled
Bvox in the rears.
Percussion left. Gtr right.
Again nice balance.
This is a good track, but slightly different, and I get the impression this was seen a somewhat a bonus track.

If I had a criticism of this album at all it is a little on the bright side, but it probably suits the style of the music.
I think this is essential for any REM fan.
Listening again after so long, I feel pretty confident in my estimation that this is my favourite REM album. I personally don't see how it could be seen to be a sellout, but everyone will always have differing opinions on these things.
I also find it interesting that people often say that in the late eighties there was no good music, and that is why grunge broke out ... I don't hear that. I think we sometimes just forget how good things were at the time, and then something new comes along and we get temporary amnesia.
Great album, great mix, very much worth getting.

 

Yes I love it. I have put it up a couple of times, but it hasn't been getting votes.
The Santana Lotus and Bitches Brew Japanese quads are both quite brilliant.
I will go through them, even if they never get votes. It is just a matter of time.
I really want everyone to be involved, so I like the voting set-up, because hopefully that way people feel included, but obviously as you have seen, if I have time I put something on that i feel like listening to and run through that as well

 

With such a tight vote this week I went through all four. Thankfully I had the time.

Thanks so much for participating guys. That makes it very worthwhile, and not just me blathering on, honestly sometimes a little confused at how to explain what I hear... and sometimes not trusting my dodgy right ear.

 

Isn't there more then one version of Rush's Moving Pictures in 5.1? If so, please advise the preferred version? Thanks in advance.

 

Rush Moving Pictures Deluxe Edition UPC 602527621074 5.1 surround mixed by Richard Chycki is the only version I've owned or heard.

 

Really? I've heard Lotus has basically no surround at all. That it's all in the front speakers.

 

Moving Pictures


Studio album by
Rush
Released February 12, 1981
Recorded October–November 1980
Studio Le Studio, Morin-Heights, Quebec, Canada
Genre Progressive rock
Length 40:03
Label Anthem
Producer Rush Terry Brown

Moving Pictures is the eighth studio album by the Canadian rock band Rush, released on February 12, 1981, on Anthem Records. After touring to support their previous album, Permanent Waves (1980), the band started to write and record new material in August 1980 with co-producer Terry Brown. They continued to write songs with a more radio-friendly format, featuring tighter song structures and songs of shorter length compared to their early albums.

Moving Pictures received a positive reception from current and retrospective music critics and became an instant commercial success, reaching number one in Canada and number 3 in the United States and the United Kingdom. It remains Rush's highest selling album in the United States after it was certified quadruple-platinum by the Recording Industry Association of America (RIAA) for over 4 million copies sold. "Limelight", "Tom Sawyer" and "Vital Signs" were released as singles across 1981, and the instrumental "YYZ" was nominated for a Grammy Award for Best Rock Instrumental Performance. Rush supported the album with a concert tour from September 1980 to July 1981.

n June 1980, the band ended their ten-month tour of the United States, Canada and the United Kingdom in support of their seventh studio album, Permanent Waves (1980). During the tour's stop in New York City, the band agreed to start work on a new studio album, rather than prepare a second live album from several recordings they set up during the tour, partly due to the ideas they were developing at sound checks interested them enough to put them onto tape.[1]Peart was instrumental in doing a new album, and Lee and Lifeson found themselves catching onto his enthusiasm. The trio pitched the idea to their manager and producer who had mapped out a two-year plan for them but agreed to the sudden change and cancelled the schedule.[2]

After a short break, they regrouped at Phase One Studios in Toronto, Ontario, Canada, in July 1980 with members of rock band Max Webster to record "Battlescar" for their album Universal Juveniles. During the sessions, their lyricist Pye Dubois suggested a song that he thought was suitable for Rush to record which was developed into "Tom Sawyer".[1]Rush then moved to Stony Lake, Ontario to write and prepare material for their new album. The sessions were productive, with "The Camera Eye" the first song to be worked on, followed by "Tom Sawyer", "Red Barchetta", "YYZ" and "Limelight".[1] Following the initial writing sessions, Rush returned to Phase One Studios with their co-producer Terry Brown and prepared demos of the songs. The band worked on them further during rehearsals of their 1980–1981 tour which began in September and included "Tom Sawyer" and "Limelight" in their live set prior to recording.[1]

With the material fully prepared, Rush recorded Moving Pictures in October and November 1980 at Le Studio in Morin-Heights, Quebec.[1] The studio had been recently fitted out with a digital 48-track machine, which was unfamiliar to the band and necessitated them spending time familiarising themselves with the equipment.[3] Moving Pictures is Brown's first digitally-produced album.[3] The band made a conscious effort to preserve the quality of their recordings as much as possible by transferring finished sections onto a fresh piece of tape and placing the original copy in storage, thereby reducing the damage to it from frequent playback.[3] During the sessions, they experimented with a pressure zone microphone, a type of boundary microphone that picks up direct sound and no reverberated signals, that was taped onto Peart's chest as he played. The audio captured from it was used to pick up the ambience in the studio room in the final mix.[4] Peart wore the microphone for the filming of the music video to "Vital Signs".[4] "Red Barchetta" was recorded in one take. There were problems with equipment failures and they finished the album three days behind schedule.[1]

Rush

• Geddy Lee – bass guitars, synthesizers (Oberheim polyphonic, Oberheim OB-X, Minimoog, and Moog Taurus pedals), bass pedals, vocals
• Alex Lifeson – 6- and 12-string electric and acoustic guitars, Moog Taurus pedals
• Neil Peart – drums, timbales, gong, orchestra bells, glockenspiel, wind chimes, bell tree, crotales, cowbell, plywood

Additional musician

• Hugh Syme – synthesizer on "Witch Hunt"

Production

• Rush – production, arrangements
• Terry Brown – production, arrangements
• Paul Northfield – engineering
• Robbie Whelan – assistant engineering
• Albert, Huey, Dewey, Huey – computerized companions
• Peter Jensen – digital mastering, editing
• Bob Ludwig – mastering and remastering
• Hugh Syme – art direction, graphics, cover concept
• Deborah Samuel – photography

1. "Tom Sawyer" (Peart and Pye Dubois) 4:34
2. "Red Barchetta" 6:10
3. "YYZ" (Lee, Peart; instrumental) 4:26
4. "Limelight" 4:20
5. "The Camera Eye

• "I." (a.k.a "New York")
• "II." (a.k.a "London")"

10:58

• 5:58

• 5:00

6. "Witch Hunt" (Part III of "Fear") 4:46
7. "Vital Signs" 4:46
---------------------------------------------------
Rush are pretty much Canadian legends these days, and they have gone through their career making uncompromising albums of their own design.
To be honest I took a long time to get into Rush, because I really used to have problems with Geddy's vocals, but over the years I have grown accustomed to his vocals, and thankfully my intense interest in the magnificent drum work of Neil Peart held me in there long enough for that to happen.
These guys are great musicians and this is the album where I finally managed to click with the band. It is quite a magnificent album, and really deserves to be in everyone's collection.

For some reason I had got it in my head that I was disappointed with all of the surround mixes of the Rush catalog, so I imagine there are a couple of underwhelming mixes, unless of course I was just not listening properly on the day..... Even though I said I wouldn't, I now have all their surround mixes, getting the Hemisphere's and Farewell to Kings boxes the other day for a good price, so perhaps they may get on here soon too, because i am itching to give them a listen, but this is the album that made the band click for me, and this is probably their most universally popular album, so we'll go here first,

Sadly I believe the Permanent Waves tapes are lost, so we may never see that one get a surround mix, but I actually hope Grace Under Pressure gets done at some point also.
So far for those interested in such things the albums available are
Fly By Night
2112
A Farewell To Kings (a bluray, and a different Wilson mix in the box set)
Hemispheres (only available in the boxset)
Moving Pictures
Signals
Snakes And Arrows

Moving Pictures
cd/dvd-a set is still available new at Amazon for $23.44
https://www.amazon.com/Moving-Pictu...+pictures+dvd&qid=1567366811&s=gateway&sr=8-1

Discogs (canada) from $13
Rush - Moving Pictures
discogs (Europe) from $38
Rush - Moving Pictures
disocgs (US) from $15
Rush - Moving Pictures
discogs (brazil) from $35
Rush - Moving Pictures

cd/bluray
discogs (UK and Europe) from $50
Rush - Moving Pictures
discogs (US) from $48
Rush - Moving Pictures
and there are a couple more also

With formatting the way it is, I highly recommend getting the bluray. I do have fears of dvd-a compatible players becoming extinct at this stage, and that drives me nuts, but there is nothing I can do about it. Hopefully if my Oppo ever fails I can get it repaired somewhere ...

If anyone knows about player repairs and who to see that may well be some great info for us here!

I have the bluray here.

5.1 mix by Richard Chycki
Mastered by Andy VanDette
Supervisors Jeff Fura and Pegi Cecconi

So lets revisit what we have here.
I'm listening to the pcm 5.1

Tom Sawyer
A really nice synth swirl slides down the sides.
The production of this album is great.
We get the synth sliding between the rears. Synth riff rotates around.
Lead guitar with effects sends to rears.
Man those drums.... I could just listen to the drum track.
I'm not sure if there are layered guitars going to the rears or if it is an effects send, but it sounds full and balanced.
The basic band is set up in the stereo field being a three piece, but on this album at least the surrounds are getting nice usage.

Red Barchetta
We have the same effect with the guitars on this track.
The drums are nice and present, the sub giving the kick a little assistance.
This sounds like doubled guitars either side. A nice swoop from the guitar.
The sound of breaks created by guitar slides across us.
Cymbals get some rears action.

YYZ
Bells either side movement. Keys middle of the room.
This a bit of a Rush classic.
We have the same guitar set up here.
Nice drum roll across the front. The trade off section works really well.
Percussive ping across the back between lead lines.
A really nice drum mix here.

LimeLight
Again the guitar/s get a nice full sound.
It seems they have achieved a really good mix here via effects sends and some doubling of guitar. Also some of the synth that started coming into the Rush world, filling out the sound as well.

The Camera Eye
Sfx all round. Military snare left rear.
Drums kick in up front.
A couple of nice guitar bits mixed in the surrounds.
Some nice doppler synth bouncing to the rears.
Parts are effects sends here but I think there are sections of doubled guitar either side.
Return of the synths through the rears.
I had never noticed what a good guitar tone Lifeson has on this album.
The mix is all round really well balanced.
Wonderful melodic lead break here.
Then some really nice shredding.

Witch Hunt
Very interesting opening here interesting sounds left. Subtle small crowd sound.
Nice musical build up. Cowbell right rear.
Nice drum placement in the intro, and then the groove kicks in.
Some added guitars in rears for punctuation.
Keys stab right rear.

Vital Signs
Guitars bouncing either side.
Really interesting mix here. Again unsure if we have effects send or multiple guitars on this one.
Synth pad through rears.

This is a fantastic album, and it does sound very good. I guess I figure the mix could be a little better in some ways. It is slightly front heavy, but only slightly, and for many folks that is going to be preferable anyway.
In a lot of instances I find it hard to tell if there are double tracked guitars, or if it is Lifeson's processed sound with multiple sends, but at the end of the day I don't think it matters, it ends up sounding very good.
So yes, I was wrong to say all the Rush 5.1's are underwhelming, and I will be interested to revisit some more.

 

I heard that as well. It is mainly in the front, but it is an amazing sounding disc. I was taken immediately by how good it sounded.
After failing to convey on the Rush 5.1's well from memory, I am loathe to corner myself on the Santana. At this stage I will just say it sounded great and I wasn't disappointed in it.
We may get to it soon.

 

Next Week's choices .... 1st up

Santana - Lotus Quad

 

Alan parsons Eye In The Sky
Hawkwind Warrior On the Edge Of Time'

 

Miles David Bitches Brew
Marvin Gaye Lets Get It On

 

Neil Young Harvest
Ohio players Honey

 

Mark Knopfler Shangri La
Depeche Mode Songs Of Faith And Devotion

 

Marillion Sounds That Can't Be Made
Simple Minds Sparkle In the Rain

 

the mix was by A&M's most prolific Quad engineers, Marv Bornstein & Bart Chiate.

sorry Mark, i can't go into details (nda) but if you'd like to hear a sample clip of a transfer of my Q8 tape or a demodulated needledrop of my Japanese CD-4 LP, for reference, you can hear how even a superior SQ decode doesn't do the mix justice, it really needs to be heard in discrete form imho. drop me a line anytime for more info

 

Van Morrison Moondance
Uriah Heep Gold From The Byron Era

 

Did they not have the multis for it?

 

I really liked the surround mix of Alan Parsons Project´s "EYE IN THE SKY". It helps that I knew and loved the album for decades, but the mix opened it up in a way I loved. More, please.

 

in order to create a new 5.1 mix, you mean?

 

I would love them to do Turn Of A Friendly Card, Robot, Ammonia Avenue, but i know I am probably in a minority.
Somewhere along the line Parsons seemed to fall out of favour with folks ... I still enjoy his stuff.

 

Yes

 

Same here. His - or rather, their - music is often called "rock music for people who don´t like rock". I see what they mean, but I still love their music. I would also love to hear a surround version of their 1979 album "EVE". Not their most beloved work, but there are some great tracks - and an often overlooked gem: Lesley Duncan´s lovely vocal on "IF I COULD CHANGE YOUR MIND". I adored this vocal long before I knew who Lesley Duncan was. On the same album, you find a vocal performance from Dave Townsend, the talented songwriter who penned Cliff Richard´s "MISS YOU NIGHTS". A lot of class on that project.

 

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
Beck, Jeff - Blow By Blow 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 Surrounded On Sundays - 5.1/quad reviews and summaries
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

REM - Green Surrounded On Sundays - 5.1/quad reviews and summaries
Roxy Music - Avalon Surrounded On Sundays - 5.1/quad reviews and summaries
Rush - Moving Pictures 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
Townsend, Pete/Lane, Ronnie - Rough Mix Surrounded On Sundays - 5.1/quad reviews and summaries
T Rex - Electric Warrior Surrounded On Sundays - 5.1/quad reviews and summaries

Wakeman, Rick - Six Wives Of Henry The Eighth 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

 

sorry i don't know but i doubt the multi's are held tbh. anecdotally the A&M masters are in a state of disarray and in a number of cases are said to no longer be held in the vault at all.
while i have no facts, i suspect the budget for those Deluxe Editions wouldn't have stretched to making a new mix even if they had access to the multitracks anyway. also, afaik its a minor miracle the releases happened at all and they really only came to pass because the Producer (or somebody else in an exec role involved in the sets, i forget who it was now) was a big Rick Wakeman fan and pushed to make them happen.