Surrounded On Sundays - 5.1/quad reviews and summaries

Discussion in 'Music Corner' started by mark winstanley, Jun 15, 2019.

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  1. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Toys in the Attic

    [​IMG]
    Studio album by
    Aerosmith
    Released
    April 8, 1975
    Recorded January – March 1975
    Studio The Record Plant, New York City
    Genre Hard rock
    Length 37:08
    Label Columbia
    Producer Jack Douglas

    Toys in the Attic is the third studio album by American rock band Aerosmith, released April 8, 1975 by Columbia Records.[2] Its first single, "Sweet Emotion," was released on May 19 and "Walk This Way" followed on August 28 in the same year.[1] The album is the band's most commercially successful studio LP in the United States, with eight million copies sold, according to the RIAA.[3]

    The album was ranked No. 229 on Rolling Stone's list of The 500 Greatest Albums of All Time.[4] The album's title track and Run–D.M.C.'s version of "Walk This Way" are part of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list.[5]

    Aerosmith
    Additional musicians
    • Scott Cushnie – piano on "Big Ten Inch Record", and "No More No More"
    • Jay Messina – bass marimba on "Sweet Emotion"
    • Mike Mainieri - orchestra conductor on "You See Me Crying"
    • Uncredited - horn section on "Big Ten Inch Record"


    Production
    1. "Toys in the Attic" Steven Tyler, Joe Perry 3:07
    2. "Uncle Salty" Tyler, Tom Hamilton 4:09
    3. "Adam's Apple" Tyler 4:33
    4. "Walk This Way" Tyler, Perry 3:40
    5. "Big Ten Inch Record" Fred Weismantel 2:16
    6. "Sweet Emotion" Tyler, Hamilton 4:34
    7. "No More No More" Tyler, Perry 4:34
    8. "Round and Round" Tyler, Brad Whitford 5:03
    9. "You See Me Crying" Tyler, Don Solomon 5:12
    ---------------------------------------------------------
    Aerosmith are a band I missed on the initial run. I guess in the seventies they didn't get much exposure in Australia. When the Dude Looks Like a Lady single came out I thought it was really good, and I liked the singers voice, so I checked them out. I was very familiar with Walk This Way, and thought it was great, but I wasn't aware who the singer and guitarist were. I guess this gave me a perspective where I actually liked both of the incarnations of the band. It seems a lot of folks like the seventies Aerosmith, but quite vocally don't like the reformed eighties and nineties version of the band. In both versions the band sold a lot of records. Pump and Get A Grip both having sold seven million copies each on their last certification in 1995, and Permanent Vacation five million, and in 2001/2002 Get Your Wings three million, Rocks four million and today's album Toys In The Attic eight million. They are some very good numbers, that any band would be really happy with.
    Back in the day my band used to play Sweet Emotion at our gigs, and it was one of my favourites, because I didn't have to sing, and it had a great groove.
    Aerosmith formed in 1970, and after a few line up changes got a recording contract in 1972. In 1973 their debut album came out, and it had gone gold by 1975, going on to sell two million by 1986.
    The band had a string of Platinum albums and then the excesses of rock and roll damaged them to the point of critical when in 1979 Joe Perry left after a backstage incident between his wife and Tom Hamilton's wife. this caused an argument between Perry and Tyler and Perry went on to form the Joe Perry Project.
    Steven Tyler's drug problem was really starting to mess things up and the album sales slowed, and gig attendances got smaller and smaller as the band moved back to smaller and smaller venues. Then in 1980 when Tyler collapsed onstage in Portland, and didn't get back up for the rest of the set, things looked dire.
    In 1981 Brad Whitford left, and ended up finding his way into The Joe Perry Project. Although they continued to have moderate success, things weren't well and something needed to change.
    In 1984 Perry and Whitford saw Aerosmith perform in Boston and shortly after discussions were held about "getting the band back together".
    In 85 the band signed to Geffen and released Done With Mirrors, and started to get some live attendances back, but there was still a problem with drugs.
    1986 the turn around came, Tyler went to rehab after an intervention by band members and management. Also in 1986, the most important thing that could happen for the band at the time did ... Tyler and Perry recorded and appeared in a video with RUN DMC performing their classic track Walk This Way, and the single and the video were huge hits. The single going to number four on the billboard chart, and the video still ingrained in my memory as one of the better videos of the mtv era.
    In 1987 the band recorded Permanent Vacation, had three top twenty singles and the star was back on the rise, and the band hasn't really looked back since.

    These guys are US rock legends and have given us some great albums over the years. I always thought of them as the US's version of the Stones, just a straight up rock band, that lived and played on the edge, it and seems now after all these years, they all just keep going and going also. I reckon Toys In the Attic, Rocks, Permanent Vacation and Pump, at least, are essential Aerosmith recordings, but if you love the band, there are certainly a few more than that worth getting. I saw them live on the Pump tour, and even during one of the most critical and cynical periods of my music listening life, I thought they were great, and Tyler's energy was something to behold. So I have very fond memories of the band, and this is one of my favourite albums of theirs.

    Well that is an absolute mindblower..... I guess this sacd is really rare now. There are two versions available.
    The first is a misprint, but the only issue with the disc is a barcode being incorrect, being the barcode for the regular cd.
    If you're feeling rich this is available from discogs for $299.99 Aerosmith - Toys In The Attic - It seems this is the one I have. start your bids guys ... Just joking.
    If you're still feeling rich, the corrected barcode version has four copies available from about $164 Aerosmith - Toys In The Attic
    Things are no better on ebay with a start price of about $250 aerosmith toys in the attic sacd | eBay
    There is one available on Amazon US for about $179 https://www.amazon.com/Toys-Attic-A...+the+attic+sacd&qid=1570968017&s=music&sr=1-1

    When I see prices like these, I just scratch my head and wonder where the repressing is. Perhaps in six years we will get a 50th anniversary box with a bluray and a bunch of outtakes .... who knows. These here are crazy times.

    Although it doesn't actually say who did the 5.1 mix, I am going to assume it is James Guthrie based on the fact that ...
    5.1 Mastered by Doug Sax and James Guthrie

    This is a great rock/hard rock record by a band on the rise and in their prime, and the mix, from memory is very good.

    Toys In The Attic
    Whitford and Perry either side. Really nice warm sub.
    I've always loved this song, from the first listen it just rocks, and also manages to step out of the standard chord progressions, plus some nice riffs.
    Great track

    Uncle Salty
    We get the guitars either sides again. Tyler gives us an "ahh" at the start that has a reverb slide back to the rears.
    The bass and kick inhabit the sub nicely.
    Another cool song.
    Lead break up front, with effects sends sliding to the rears.
    They have done a really nice balanced mix, and the bass sounds great through the sub.
    We get some really nice backing vocals playing off each other in the rears in the coda. Excellent mix.

    Adam's Apple
    We're holding a solid mix here for the most part. With the majority of the rhythm guitar action being either side. With bits of guitar used for punctuation up ftont.
    Prior to the lead break, some cool harmony guitars either side... this happens at the beginning, middle and end of the lead break, sounds great, and is very effective.
    Another great rock song, and another great mix.

    Walk This Way
    First guitar on the right, after the iconic drum intro with a really nice sub assist.
    Again the nice wide guitars.
    Some nice percussion left side during the verses. Cowbell on the right side... yes I know, more cowbell.
    Chorus vocals is in the front and rears.
    Excellent mix

    Big Ten Inch, Record
    Guitars either side. Horns in the rears and sides. Lead guitar up front.
    This mix really gives this album great clarity and is really very well balanced.
    This is an excellent example of how 5.1 can enhance a straight rock record

    Sweet Emotion
    The vocoder effect rolls around us beautifully, giving it a sort of eerie sound.
    Bvox in the rears, work really nicely.
    Rhythm guitar io front and with the prechorus riff comes in it is joined by guitars either side. The backwards claps effect is through the rears.
    Apparently if you play this backwards, you'll get a message to Frank, who I gather the band weren't happy with.
    Lead on the right side in the change.
    Great stuff.

    No More, No More
    Really nice arpeggio guitars on acoustic and electric, all round us.
    I love this song.
    Piano in the rears. It isn't super loud, but it is clearly there and gives the track some nice extra texture.
    Drums seem to be left side and front, but it doesn't interfere with the balance of the song at all, it sounds great.

    Round and Round
    Another great song, perhaps my favourite. Pick scrape slides across us.
    This is really fat sounding rock album.
    Again the gtrs are coming at us from the sides and some extra tracks added in the post verse change. We get bvox in the rears during the repeated round and round sections.
    We also get some nice subtle movement effects in the guitars on held notes.
    The final repeated round and round out chorus is moving around and round us nicely...
    The outro of this is a very cool bit of mixing work.

    You See Me Crying.
    Just to prove big ballads were pretty much something the band always did, we have the final song here. It is a beauty too.
    We have the piano getting the full soundfield.
    The strings are in the rears and sides.
    Nice drum fill rolls around the left side.
    Another really effective mix here.
    One lead break left, then another on the right.

    Firstly, thanks for voting for this, this week, I had forgotten what a fantastic record it is.
    I wish I could say that this is a crap mix, purely due to the price it now goes for, but this is a really solid, dare I even say fantastic mix of the album. For me it satisfies in every way. The whole album sounds superb, and the mix is solid and immersive. The producer did a great job of harnessing the band and getting their tracks down well, and this is emphasised in this great mix.
    What I will say is, if you don't have this album, and like seventies rock, I think you're missing out. It is criminal that the 5.1 is now so expensive, but even if that doesn't lure you, find out if there is a good sounding cd/lp, whatever your personal format preference, because this is a great record, and definitely worth owning.
     
    SinnerSaint, wrat, jeffreybh and 9 others like this.
  2. Ephi82

    Ephi82 Still have two ears working

    Location:
    S FL
    This is a great recording and production. It always sounded super whatever type of system you played it through. Being a teenager when it came out, most of my listening was in my car, with a 50 watt (holy cow!) amp and Jensen 6x9 coaxial speakers mounted in the package shelf.

    I really like the surround mix and it’s important to note that the music is still powerful and rocking. Some of the more discrete surround mixes rob the songs of the hard rock impact
     
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  3. Ephi82

    Ephi82 Still have two ears working

    Location:
    S FL
    I’ve got some Atmos speakers on order. Looking forward to trying out the ATMOS mix. I think the 5.1 is tremendous.
     
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  4. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Collideøscope

    [​IMG]
    Studio album by
    Living Colour
    Released
    October 7, 2003
    Genre Heavy metal, alternative metal
    Length 60:20
    Label Sanctuary
    Producer Living Colour
    Andy Stackpole

    Collideøscope is the fourth album by Living Colour. Released in 2003, it is the first studio album by the band in just under a decade. After they split in 1995, Living Colour returned in the middle of 2001 and began recording Collideøscope in late 2002. Similar to the previous effort, Stain, much of the album features aggressive lyrics, as many of the songs are about the September 11 attacks. It also contains cover versions of AC/DC's "Back in Black" and The Beatles' "Tomorrow Never Knows." While critically praised, Collideøscope is the band's first album that failed to chart.

    A version of "Sacred Ground" previously appeared on the 1995 Pride compilation.
    Living Colour
    Additional personnel
    1. "Song Without Sin" 4:07
    2. "A ? of When" 3:48
    3. "Operation: Mind Control" 3:09
    4. "Flying" 4:23
    5. "In Your Name" 4:22
    6. "Back in Black" 4:24
    7. "Nightmare City" 4:05
    8. "Lost Halo" 4:19
    9. "Holy Roller" 4:25
    10. "Great Expectation" 3:37
    11. "Choices Mash Up" 5:06
    12. "Pocket of Tears" 4:41
    13. "Sacred Ground" 4:10
    14. "Tomorrow Never Knows" 4:10
    15. "Nova" 1:35
    ---------------------------------------------
    When Living Colour burst onto the scene in 1988, they were right in my zone. The debut album was an excellent slice of hard rock (or whatever particular label you would care to apply) and the song Cult Of Personality was a favourite of the time, and also won the guys a grammy I believe. Vivid sold two million copies and probably deserved to sell more, it was an excellent debut.
    The band followed up Vivid in 1990 with Times Up, which was another excellent album, and it had a massive hit (in Australia at least) with Love Rears Its Ugly Head .... I don't know about chart positions, but is was constantly on the radio.
    In 1991 they released an EP called Biscuits. In 1992 original bass player Muzz Skillings left and was replaced by Doug Wimbish and released the album Stain, which to be honest I have never heard.
    In 95 the band broke up, and in 200 they got back together. In 2003 they released this album, and although it received very good critical response, apparently it didn't sell very well.
    I don't really know too much about the band really, but the draw for me initially was the Cult of Personality track, and the fact thatVernon Reid was an excellent guitarist. being a guitarist, I was always interested in who was about the place and what they were doing, and so in 1988 I was listening to Vernon via the Vivid album.
    I have heard this album once a long time ago, and couldn't possibly tell you what I thought of it. It was another dvd-a to stay in Australia. I reasonably recently picked it up, and this will be my first chance to give the album a proper listen. So thanks again for voting for it, because I have been waiting :).

    This album is still available new at amazon for about $13 https://www.amazon.ca/Collidescope-DVD-Audio-Living-Colour/dp/B0000EM6QQ
    It is about $10 on ebay living colour dvd audio | eBay
    There is a dualdisc version on discogs from about $12 Living Colour - Collideoscope
    and a straight dvd audio on discogs from about $7 https://www.discogs.com/Living-Colour-Collideøscope/release/5550522
    If you get free shipping from Amazon and this album interests you, it seems the Amazon copy would be the way to go.

    It is interesting that there are cover versions of Back In Black by Acdc, and Tomorrow Never Knows from the Beatles ...

    5.1 Mix James Stone
    Mix assistant Marc Lindenberg
    Mastering Adrian Van Velsen

    So lets see what the guys put down here, and more importantly in our context, what it sounds like.

    Song Without Sin
    We have a very bottom heavy mix here with the guitar and bass working together to give the sound a very fat bottom end sound. It starts off mainly in the front, but we get some action on the rears with the sitar laced change up.

    A ? Of When
    Here we start using the full 5.1 with some tape effects. The prevocal music has a nice 5.1 mix also.
    We get some DJ type scratching effects on the right, post chorus. With an effect guitar on the left.
    After the second chorus there are quite a few effects all around us, and it is very effective. Bvox on chorus in the rear.
    After the third chorus some very nice surround effects.

    Operation: Mind Control
    We get the distorted vocal effect. Bvox in the rears. The main vocal has effects sends going to the rears also.
    A lead break of sorts, gives us some nice surround movement.
    Some feedback fades out the song on the left.

    Flying
    We have a cleaner guitar starting us up here, and a nice clean ballad style vocal from Corey.
    In the chorus we get some nice synth on the sides.
    The lead break is in the rears, and sounds like Vernon may have been drawing some inspiration from his work with... I think it was Bill Frisell?
    There is some good sub presence here

    In your Name
    We start with a drum beat up front. And unusual sfx sliding in the rears.
    This is the basic setup of the track. Grinding bottom end grunge metal up front, with sfx in the rears.
    This is an interesting mix.
    The track breaks down to a drum and bass thing with the sfx in the rears and fades out.

    Back In Black
    This is interesting... it is fairly faithful to the original, with a little bit of Living Colours styling slid into it.
    The lead break starts off the same, Vernon gives us a variation on the rest of the lead break.
    We get some effects sends to the rears, and for the most part that seems to be about it, aside from some cymbals.

    Nightmare City
    This has a reggae feel and beat. We then break into a nice rock beat.
    Some nice fx in the rears. Bvox in the rears.
    The switch between the reggae and hard rock is actually very effective. The mix here works very well too.
    Some percussion on the left.
    This has a good mix and makes full use of the surround.

    Lost Halo
    Here we have a fairly straight rock feel.
    Cymbals pop up on the rears.
    Again we get a pretty nice mix.
    The lead break has Vernon doing some shredding.
    Some reverb effects on the vocal flow through to the rears in the coda of the song.

    Holy Roller
    A funky kind of rock song here. Some organ in here, and the guitar is left.

    Great Expectations
    Nice reverb/delay send to rears on the vocal.
    Some nice guitar fills at the end of the chorus on the left.
    Some extra guitar tracks on the sides also. Vernon tears it up on a concise lead break.
    Some nice bvox in the rears.

    Choices Mash Up
    Some cool sfx in the whole field.
    Cymbals in the rears.
    This mix makes good use of the surrounds via the effects.
    The sub is getting some work on this album. We get a public image Ltd quote in the lyrics - this is what you want this is what you get -

    Pocket Of Tears
    A somewhat more subdued, slinky groove here.
    Some nice guitars in the rears on the chorus. Some nice delay sends on the vocal near the end of the verses.

    Sacred Ground
    We get sound effects all around. Some cymbals, and either doubled guitars, or effect sends of the guitars either side.

    Tomorrow Never Knows
    Synth sfx in the rears.
    One will need to prepare themselves for the very different arrangement here.
    We start with a solid 4/4, and it breaks into a kind of offbeat type feel.
    The guitar replicates some if the original songs tape loops.
    Some nice vocal effects in the rears at the "of the beginning" repeat section.
    Kudos for the complete rearrangement here. It would probably take a few listens to absorb it properly. It moves without a breath into

    Nova
    This is a groove with sfx around the soundfield, and is essentially working as a coda to the album.

    This is a hard one to summarise ... It is really my first real listen to it, so I am going to run through a few things separately.
    I am not personally fond of guitar being so bassy. A lot of the album has a really low mid distorted guitar sound on the rhythm guitar tracks, that does gain a little bite during the lead breaks, but it sort of gives the sound a bit of a swampy muddy kind of sound. I can't remember which song, but one of the songs in the middle seems to be mixed a little lower in volume to the others, whether intentional or an oversight, I am not sure.
    The bulk of the mix is fairly up front, and working like an embellished stereo mix, but there are certainly some very nice surround moments and it is not by any means lacking in music coming through the rears. Predominantly we have sound effects, cymbals and some vocal effects and backing vocals giving us the surround immersion. It is very good in some parts, and a little ho hum in others.
    I think that a few listens would give these songs some more love, because most of the songs themselves are very good, and there is some nice variety in style, in a similar way that Vivid had some nice variations in style, that gave that album a really good type of hybrid rock feel.
    I am not going to make any big bold statements about whether this is a good one to get or not, because I feel it will appeal to some folks, and really won't appeal to some others. Mainly it seems to be, from my perspective, down to some sound choices at either the recording or mixing stage, that give the album a slightly sludgy type of sound, but having said that, there are moments of clarity, particularly in the tracks that aren't in the hard rock/metal mode.
    I kind of feel like someone that really likes the bands other albums may get into this, and at $8-13 it could be worth them looking into the album.
    This album does come out on through Silverline label, which does have some very poor examples of surround, sometimes using mono, and stereo mixes, and merely placing the mix in the middle of the 5.1 field, which is somewhat annoying, especially as they had some early releases that I am sure turned people off surround, particularly if those were the first they heard. That ISN"T the case here. this is definitely mixed for 5.1, and as I say some sections of the album are very effective from a 5.1 perspective.
    A very difficult one to assess. It is
    a) a new album to me
    b) the sound choices aren't necessarily ones I would pick
    c) the album isn't concerned with keeping the surround field part of the whole equation.
    BUT, as I say, there are some very good sections that given more listens, and a closer relationship with the songs, and an enjoyment of the sound they are going for, may make this work well for some folks.
     
    Last edited: Oct 13, 2019
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  5. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Hand. Cannot. Erase.
    [​IMG]
    Studio album by
    Steven Wilson
    Released
    27 February 2015
    Recorded September 2014 at AIR Studios, London, UK
    Genre Progressive rock[1]
    Length 65:44
    Label Kscope
    Producer Steven Wilson

    Hand. Cannot. Erase. is the fourth solo studio album by English musician Steven Wilson. The album was released on 27 February 2015 through Kscope.[2]

    The album was recorded in September 2014 at AIR Studios, London, UK.[3] All band members of the previous album are also featured on the new recording.[3] When discussing the lack of Theo Travis's input on the record, Steven Wilson described the album as less "jazzy" in comparison to the previous album, featuring only a few parts written for flutes and saxophones.[4] Wilson also described the album as more reflective of all of the different material in his back catalogue, featuring elements of electronic music and straightforward pop songs alongside long progressive-oriented tracks.[4] Alongside Wilson, the album features Ninet Tayeb on vocals, and the music is heavily inspired by The Dreaming, an album by Kate Bush.[5]

    Band
    Additional musicians
    Production
    • Steven Wilson – production, composition, arrangements, artwork design
    • Dave Stewart — arrangements, conducting, transcription
    • Steve Price – string engineer
    • Laurence Anslow – engineer
    • Steve Orchard – engineer
    • Lasse Hoile — artwork, photography, film director
    • Hajo Mueller — illustrations
    • Carl Glover – design, layout
    1. "First Regret" (instrumental) 2:01
    2. "3 Years Older" 10:18
    3. "Hand Cannot Erase" 4:17
    4. "Perfect Life" 4:46
    5. "Routine" 8:58
    6. "Home Invasion" 6:24
    7. "Regret #9" (instrumental) 5:00
    8. "Transience" 2:43
    9. "Ancestral" 13:30
    10. "Happy Returns" 6:00
    11. "Ascendant Here On..." (instrumental) 1:54
    Total length: 65:44
    ---------------------------------------------------------
    Ok, so - shock horror, as a surround lover, I have not listened to this album yet, and because a couple times folks have said we need to run through it, but it hasn't passed the poll stage, I figure this is a good one to slide in today.
    I have listened to The Raven That Refused To Sing, but I didn't have time to do this, and I didn't get all the way through, but the 4 Wilson bluray's I have are waiting for the due attention, that they will get eventually, and deserve.... Raven sounded very good from what I did hear.
    I am familiar with Porcupine Tree, and have and enjoy Stupid Dream, Lightbulb Sun and Fear Of A Blank Planet in their dvd-a formats, but for some reason I never got around to Wilson's solo albums. Wilson seems to get some very broad opinions from people on this board, and some folks really seem to dislike him ... I get the impression they are mainly folks that seem to be totally against the idea of surround sound though, from the perspective that they breathe their (apparent) hatred.
    I think Wilson has done some fabulous remixes for classic albums, and we have been through some, and have many more to go, but I thought it would be nice to go through one of his solo albums, and I really need to give this a listen, so here we are.
    As I say Wilson sort of rose to fame amongst prog fans via Porcupine Tree, and then rose to fame/notoriety as probably the most visible 5.1 mixer around, via work with Yes, King Crimson, Jethro Tull etc. For the most part I have enjoyed most of the work he has done a lot.

    Fortunately this album is still available on bluray new --- YAY ---
    Amazon has it for about $16 https://www.amazon.com/Hand-cannot-erase-Blu-ray-Steven-Wilson/dp/B00QW4R01K
    Ebay - new - from about $13 Hand. Cannot. Erase. [Blu-Ray] by Steven Wilson (CD, Mar-2015, Kscope) for sale online | eBay
    Burning Shed 14.99 pounds Hand. Cannot. Erase.

    Being Steven Wilson, he of course does his own 5.1 mixing and such.

    First Regret
    A swell starts in the rears and a spoken voice up front, very quiet.
    Pulsing synth in the rears piano up front. Nice sub.
    Some sfx scatter around us beautifully. String sounds... pretty sure it's a mellotron, either side.
    Rhythm guitar up front, and a really nice drum sound.

    3 Years Older
    Actually we are in track two already really smooth transition.
    Acoustic guitar right. Drums have a nice mix too, getting some space in the soundfield.
    As one expects this is a fabulous mix, and I love these opening tracks.
    Vocal comes in nice and clear up front.
    bvox in the rears.
    Piano left and front.
    Ok, well I love this song, and it is mixed wonderfully, and sounds fantastic. It is a little hard to keep up on my phone here lol
    Mellotron in the rears.
    The piano is left here.
    We get a brilliant instrumental section, that has a sort of Yes meets Deep Purple sound and feel.
    The entry of some percussive sounds in various spots around us.
    Nice guitars on either side to close out the track.
    Brilliant.

    Hand Cannot Erase
    Nice bed of guitar and keys up front. Kick drum sound in rears.
    Beautiful sounding guitar left rear. Another guitar right. There's an organ in there too.
    I am loving these songs.
    Really full and beautiful use of the 5.1 field.
    Frankly the folks hating on this guy can go suck a ... thumb.
    I reckon I can already recommend this, three songs in.

    Perfect Life
    Keys swell upfront. Some ethereal synth sounds in the rears. Nice drum groove comes in with a pleasant female vocal speaking a story up front.
    Some nice guitar in the sides adding texture.
    Also some nice effected drum sounds in the rears.
    Wilson's vocal comes in nicely.
    There is a swell in the musical density with some great layering, that warmly fills the whole soundfield.
    I have to say I am loving this mix, and the songs are excellent... I mean really well written, arranged and constructed, and the album has a great aesthetic.

    Routine'
    Piano and vocal intro.
    Synth pad swell in the rears. Percussive element in the left. Both rears have instruments come in, filling the field, with a really nice dynamic.
    We drop back, some really nice, subtly mixed backing vocals with the keys, fades out, and then we get a gentle reintroduction. Piano, gtr- bell harmonics, synths, and an arpeggio gtr, all getting nice surround placement.
    We move into a somewhat Floyd feel, though a little more technical perhaps, and get a really melodic lead break.
    Then back to the piano and vocal.
    This is another fantastic piece of writing, and mixing.
    Then a dynamic explosion of organ and power chords, that then moves into a really nice smooth section with a very good female vocal and string sounds all round.
    Another dynamic punch section that moves to arpeggio gtrs either side, and a reflective vocal and a choir of smooth gentle backing vocals. Female doubles the vocal next section
    Great great track.

    Home Invasion
    Eerie synth intro. Then some great staccato guitar and bass. Punchy drums. Slightly distorted keys/organ.
    The drum kit gets a great surround mix.
    The soundfield really opens up with a somewhat lead/effect gtr right rear. That organ is just left side.
    Too much to describe going on here, but it is excellent and effective.
    Then we get a groove and a vocal with the drums and that organ laying the bed.
    Then a change as the guitars give us an either side stabby rhythm
    Then another change as we move into a spacey mellow section.
    We move back into the groove and vocal with a very cool rhythm gtr added.
    Then we move into the floating section again.
    Nice bvox in the rears.
    A nice punchy snippet makes you think we're going back into the verse, but we get a halftime section with a really cool synth lead. Excellent effects sends to the rears. Mellotron swells gently in the rears.
    Balance and good taste abound in this album and mix so far.

    Regret #9
    At some point we moved to this song. Again too smooth to detect.
    A fantastic lead guitar, with great synth/lets backing rears and sides and a nice steady drum beat.
    We get schoolyard? Sfx in the rears and a gentle piano up front ....

    Transience
    The schoolyard? Sounds lead us in here, with a nice synth groan, and some clean gtrs creating a nice bed for the vocal to come in on top of.
    These arrangements really are so very good. Vocal comes out from front and rears. Not sure if it is layered, mixing, or effect. But sounds excellent.

    Ancestral
    Bass and drum rim shot. Rim shot right.
    More great layering around the soundfield.
    Another great song and mix here.
    I'm just listening at the moment.
    Nice lead break!
    A really nice instrumental section mildly reminiscent of some of Crimson's prettier moments. Then a nice edge added with the guitars and drums.
    Look the mix is fantastic.
    Nice ethereal section flutes and keys, and mellow drums then we punch back in with the guitars and drums.

    Happy Returns
    For the record there are some nice visuals across the course of the album.
    We have a pulsing synth and really nice piano. Then vocal comes in.
    I can really relate to these opening lyrics.
    Nice steady beat kicks in.
    Mellotron swells on the left.
    Gtr left rear. Another gtr right rear.
    More excellence

    Ascendant Here On....
    Nice gentle choir type arrangement/sound either side. A piano comes in.
    A nice gentle peaceful outro... a coda of sorts.

    Ok, well this is a truly magnificent piece of work, and should have sold millions of copies.
    I have often heard said on the forum that Wilson's work (and this is somewhat paraphrasing) is somewhat derivative and sounds like he is trying to copy his heroes .... I really don't get that from this album at all. I certainly can hear some stylistic influences, but I don't hear anything that sounds just like "..." ... What I do hear on this album is an original composer influenced by his musical inspirations, but creating a broad spectrum of music, that incorporates more than his inspirations. He has stuff on here that could almost be commercial type songs, but just have enough flavouring to keep them from fitting there. I hear a keen sense of melody and dynamics. A great ear for mixing ... 5.1 and levels ... it really is an immaculate mix.

    I would be stunned if someone that likes progressive type music wasn't blown away with how well written and executed this work is. It never, from my perspective rambles on. The melodic sensibilities are wonderful. The building of atmosphere is wonderful.

    I would super highly recommend this album to anyone that says they like progressive music, in the true sense of the word, and also in the seventies bands sense of the word.
    I would super highly recommend this album to anyone that loves a well balanced immersive 5.1 mix.

    I am very impressed with this album and I may perhaps step out of my field of expertise and suggest this is a top quality demo of what one can do with music and surround.

    Look, it is less than twenty bucks, goes for an hour and five minutes, and is flawless from start to finish, just buy the damn thing already.
     
    Sordel, drum_cas, Thorpy and 8 others like this.
  6. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Next weeks poll choices.
     
  7. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Motorhead Ace Of Spades
    Randy Newman Little Criminals
     
    footprintsinthesand likes this.
  8. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Marillion Misplaced Childhood
    Alan parsons project Eye In The Sky
     
    ti-triodes, albertop, Jimbino and 2 others like this.
  9. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Nick Drake A Treasury
    Oasis Morning Glory
     
  10. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    John Lennon Imagine box
     
  11. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Eric Clapton Give Me Strength 74/75
     
    ti-triodes and goodboyfred like this.
  12. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Van Morrison Moondance
    Wings Band On the run
     
  13. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Dave Gilmour Rattle That Lock
    Graham Nash Songs For Beginners
     
  14. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

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

    Reference to the albums

    Aerosmith - Toys In The Attic
    Alice Cooper - Welcome To My Nightmare
    Allman Brothers Band - Live At Fillmore East
    Allman Brother Band - Eat a Peach
    Anathema - We're Here Because We're Here
    Ayreon - The Source

    The Beatles - The Beatles (White Album)
    The Beatles - Abbey Road
    Beck, Jeff - Blow By Blow
    Be Bop Deluxe - Sunburst Finish
    Bjork - Vespertine
    Bowie, David - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars
    Browne, Jackson - Running On Empty

    Charles, Ray - Ray Sings, Basie Swings


    Davis, Miles - Bitches Brew
    Depeche Mode - Some Great Reward
    Dire Straits - Brothers In Arms
    Doobie Brothers - The Captain And Me
    Dream Theater - Distance Over Time
    Dylan, Bob - Blonde On Blonde

    Eagles - Hotel California
    ELO - debut album
    Emerson Lake And Palmer - Brain Salad Surgery

    Fagen, Donald - The Nightfly
    Flaming Lips - Yoshimi Battles the Pink Robots
    Fleetwood Mac - Rumours

    Gaye, Marvin - Lets Get It On
    Genesis - Selling England By The Pound
    Gentle Giant - The Power and The Glory

    Hendrix,
    Jimi - Electric Ladyland


    Inxs - Kick
    Iron Maiden - Dance Of Death

    Jethro Tull - Minstrel In The Gallery
    Joel, Billy - The Stranger

    John, Elton - Madman Across The Water

    King Crimson - Red

    Living Colour - Collideoscope
    Lynyrd Skynyrd - Southern Surroundings

    Moody Blues - A Question Of Balance


    Nick Cave And The Bad Seeds - Dig Lazarus Dig
    Nine Inch Nails - The Downward Spiral

    Oldfield, Mike - Five Miles Out
    Opeth Pale - Communion

    Pat Metheny Group - Imaginary Day
    Pineapple Thief - Dissolution
    Pink Floyd - Dark Side Of The Moon
    Pixies - Doolittle

    Queen - A Night At The Opera


    REM - Green
    Rich, Charlie Behind Closed Doors
    Roxy Music - Avalon
    Rush - Moving Pictures

    Sly And The Family Stone - Greatest Hits
    Steve Miller Band - Fly Like An Eagle

    Talking heads - Remain In Light
    Tangerine Dream - Phaedra

    Townsend, Pete/Lane, Ronnie - Rough Mix
    T Rex - Electric Warrior

    Uk - Night After Night

    Wakeman, Rick - Six Wives Of Henry The Eighth
    Waters, Roger - Amused to Death
    Who - Quadrophenia
    Wilson, Steven - Hand. Cannot. Erase.

    XTC - The Black Sea

    Yes - Close To The Edge

    Zappa - Quaudiophiliac


    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
     
  15. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Just for the record. Any of you folks that have Atmos.
    I would really like for somebody to give me an idea of what the ceiling speakers project, and how the depth pans out in the actual 3D mode that this format presents.
    I am in no position to get an atmos setup at the moment.... I am certainly very happy with my 5.1, and 2D is a big step up from 1D mono and stereo, but the 3D aspect interests me.
     
  16. Juggsnelson

    Juggsnelson Senior Member

    Location:
    Long Island
    Great review Mark! This disc sounds fantastic. The only track that is a slight letdown for me is No More No More. I love the added clarity with the guitars and Steven's crystal clear vocals but it loses a bit of its punch. Its almost a bit sterile.....but that's what the stereo mix is for I guess! Other than that one minor quibble, this disc is a winner and it makes you long for some more Aerosmith releases.
     
    mark winstanley likes this.
  17. riskylogic

    riskylogic Forum Resident

    Wilson, Steven -Hand.Cannot.Erase. I'm basically a Steven Wilson fanboi. Porcupine Tree was my first love. It was also my entry point into 5.1 - In Absentia was my first and Deadwing was the second. So, I snapped most if not all of the albums from his other projects (Bass Communion, Blackfield, No-Man, Storm Corrosion, solo), I also have most of the fifty or so albums that he has done 5.1 mixes of. Eighteen of those are his own work (6 PT, 6 solo, 6 other).

    While I like his more recent solo material, the fact that it's just not Porcupine Tree always makes it a bit of a disappointment to me. I like his more recent solo stuff - H.C.E., Four and a half, and To The Bone better. Even though H.C.E. is the first of the aforementioned eighteen albums get on this thread, based on the stereo versions I'd rate H.C.E. somewhere in the middle of the pack. However, the 5.1 mix of H.C.E> is especially good, so if you like Steven Wilson then by all means get it.

    That said, if you aren't familiar with Wilson at all, then I think the live album Home Invasion released last year is a better entry point. Although it is mostly drawn from his solo material, it also has eight PT tracks. The sound and video quality on the bluray are both fantastic and it sounds great in surround. There are four songs from H.C.E. - the live version of Ancestral is awesome.
     
  18. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    • Jeff Wayne's Musical Version of The War of the Worlds

    [​IMG]
    Studio album by
    Jeff Wayne
    Released
    9 June 1978[1]
    Recorded May 1976–July 1977
    Genre Progressive rock[2]
    Length 94:54
    Label Columbia/CBS Records
    Producer Jeff Wayne

    Jeff Wayne's Musical Version of The War of the Worlds is the debut album by Jeff Wayne, retelling the story of The War of the Worlds by H. G. Wells.[1] It was released in the UK on 9 June 1978. A concept album and a rock opera,[4][2] its main format is progressive rock and string orchestra, using narration and leitmotifs to carry the story and rhyming melodic lyrics that express the feelings of the various characters. The two-disc album remains a bestseller, having sold 15 million copies worldwide.[2] In 2018, it was named the 32nd best-selling studio album of all time in the UK.[5] It has spawned multiple versions including video games, DVDs, and live tours.

    Performers
    Black Smoke Band

    disc 1
    1. "The Eve of the War" Justin Hayward, Richard Burton 9:09
    2. "Horsell Common and the Heat Ray" Richard Burton 11:35
    3. "The Artilleryman and the Fighting Machine" David Essex, Richard Burton 10:36
    4. "Forever Autumn" (lyrics by Paul Vigrass and Gary Osborne) Justin Hayward, Richard Burton 7:41
    5. "Thunder Child" (lyrics by Gary Osborne) Chris Thompson, Richard Burton 6:16

    disc 2
    1. "The Red Weed (Part 1)" Richard Burton 5:55
    2. "The Spirit of Man" (lyrics by Gary Osborne) (incorporates LP track "Parson Nathaniel") Phil Lynott, Julie Covington, Richard Burton 11:37
    3. "The Red Weed (Part 2)" Richard Burton 5:24
    4. "The Artilleryman Returns" Richard Burton 1:27
    5. "Brave New World" (lyrics by Gary Osborne) David Essex, Richard Burton 12:14
    6. "Dead London" Richard Burton 8:35
    7. "Epilogue (Part 1)" Richard Burton 2:30
    8. "Epilogue (Part 2) NASA" Jerry Wayne 1:30
    ---------------------------------------------------------
    Ok, this isn't everyone's cup of tea, but when this came out ... I was 10 or 11, and I thought it was great. Back in the day I bought myself a vinyl copy, and it was like disappearing into a scifi book, via my favourite platform of music.When the sacd came out, I had to buy it, especially in 5.1
    Memory tells me that it is an excellent mix, and we'll see how that adds up.

    This album has literally an all star cast, with a bunch of musicians I am sure many of you recognise, and then we get JustinHayward (Moody Blues) David Essex, Chris Thompson (Manfred Mann's Earth Band), Phil Lynott (Thin Lizzy) and of course the wonderful narration of Richard Burton.
    I know nothing about Jeff Wayne, and if he ever did anything else, but this will do for me.
    Some tracks have some mild disco overtones, as was the big style of the day, but memory tells me not enough to dampen the integrity of the album all these years later.
    Anyhow, this is a Monty Python, "and now for something completely different" moment, and I thought I may just be in the mood for this album, and the MRs is taking a nap.

    discogs have copies from about $21 Jeff Wayne - Jeff Wayne's Musical Version Of The War Of The Worlds
    discogs has this version from abdout $85, but it is a 2sacd, 3cd, 1dvd set Jeff Wayne - Jeff Wayne's Musical Version Of The War Of The Worlds (Collector's Edition)
    and if you scroll down here, you will see quite a few other pressings/issues of the 5.1 sacd Jeff Wayne - Jeff Wayne's Musical Version Of The War Of The Worlds

    2005 restoration and mix by Gary Langan
    assisted by Gaiten Schrurrer
    Mastered by Emily Lazar

    So without further ado

    Eve Of The War
    Richard Burton starts off the narration and I have always loved the way he did this. I don't know how similar this is to the original Orson Wells play that terrified the world, but this is great.
    Then those strings come in, for me, just such a wonderful and memorable blast from the past.
    This has a bit of that disco beat, but I think the music is so well done that it renders that minor quibble redundant.
    This instrumental got plenty of airplay in Australia from memory.
    Strings all round.percussion left, synths either side. Nice swells, and brilliant layering. Strings come back in. Then a great sounding guitar.
    We go through another passage then the guitar comes back playing its melody line- front - then right then left.
    There are some excellent uses of left - right harmonies. Also some really nice counterpoint.
    The mix is as I remember, bloody brilliant.
    We get a bit of circular sfx action, then Burton continues the story... approx 5 mins. We get the synth flute main melody, with some laser sounds around us.
    Then Burton.
    Justin Hayward sings the refrain.
    Burton again.
    The music's dramatic and excellent writing doesn't stop
    Hayward again.
    Nice rears harmonies.
    Drum fill goes around the room.
    Excellent mix. 8 min
    Then we get what for us was the iconic synth riff, as iconic as the close encounters melody.
    Burton again.

    Horsell Common And The Heat Ray
    Slowly we get an ominous sounding bass rise up out of the synth magic we have going on.
    Left side we hear the lid screwing off, then it encompasses us. Then Burton comes in again.
    We get some vocoder guitar, sounding great.
    There are also many other little sfx and pieces of music popping up all over the soundfield.
    I love this piece of music too.
    Some groovy moog? sounds, nice acoustics either side, and a main effected guitar?.
    Burton keeps the story moving.
    Some great wah rhythm guitar. The great doubled gtr melody distorted and attention grabbing, left and right rears.
    Cool sfx everywhere.
    For me the music is so well written and executed.
    Full balanced mix, every bit as involving as Flaming Lips.
    Burton will keep coming in at appropriate moments continuing the story, with the music continuing and enveloping.
    Main synth theme comes in with a counter melody coming from different points and sfx all over the place. I love this, it's been too long. Chris Spedding tears it up. About 8min.
    They really made sure this mix was immersive and engrossing.
    Burton continues the story as the piece of music just keeps you right there.
    We have a slow fade, which was the end of the original side one

    The Artilleryman and The Fighting Machine
    We get some owl sounds. We get some sounds of distance fighting. The previous track's bass riff starts us off again. We get some variations.
    David Essex comes in as the artilleryman and explains what the Martian's machines are doing, talking to Burton as the news reporter (which is how he works essentially as the narrater). At this point the music has changed.
    We have little guitar, synth and string sections coming in on the interludes between dialog. There really is some wonderful mixing for 5.1 here.
    As one would hear with a movie, certain musical quotes represent certain facets of the story and characters.
    Wonderful mixing. " uuulllaaa".
    Another change of music, really cool synth for the day. Ray gun sounds all around. Guitar pieces punctuate the synth driven section of music, coming from different points on the field. Then a scorching guitar plays, either doubled or effected to be on both sides of us.
    Wonderful front and rear soundfield, working together to create a wonderful aural movie all of its own.
    Fade out

    Forever Autumn
    Church bell tolls as Burton speaks.
    This was a bit of a hit single if I remember rightly. Hayward singing.
    Acoustics either side, augmented by strings, and synth flutes. Wonderfully written ballad that could have worked well as a single even if this album didn't exist. A chorus of counterpoint synths and strings. Great mixing, again/still , however you want to interpret it.
    Burton as narrator and journalist is looking for his girlfriend, but her father has fled with her.
    A return to the main theme. Ferry horn right side.
    Heading to London to find Carrie, as the news reporter looks at the ferry we just heard, he sees her but the ferry pulls away, and they are left separated. Spedding plays some great acoustic guitar here, in this track

    Thunder Child
    We start with a return to the main musical theme, as a Martian Walker tries to attack the ferry as army boats try to fight it off.
    We move into a song, that has it's own identity, but fits in thematically with the main theme, and Chris Thompson sings a great vocal. We get distorted guitar slides between the rears, and some wonderful lead and synth counter melodies, this sounds great... cool I am not senile... yet.
    Burton is relieved that Carrie made it to the other side.
    A big crescendo drum roll moving around us. And part one fades out to sfx and the synth theme, bouncing around us.
    Beautiful stuff.

    Red Weed pt1
    We fade in with the synth theme, and a creepy droning kind of sound. Then we get Burton, and a change of musical theme, of earth enveloped in the red weed of the Martian invaders.
    Nice strings, synths and percussion fill all 5 channels, and it has somewhat of a creepy weird twist to the music.
    Effects from instruments ... a tinkle of a piano here ... the swell of a synth there. Great atmosphere setting music.
    By the way, we do have some nice sub action, with all the rest going on, I haven't mentioned it.
    Then we burst into an overture type section, and then we have a slightly less twisted return to the red weed theme. Little tinkling pianos in different spots.
    Burton describes the way the red weed is creeping.
    I reckon they got some great guitar sounds on here.
    Burton sees Parson Nathaniel (Phil Lynott) thinking him dead, but he isn't.

    The Spirit Of Man
    We get another different theme. Lynott plays a great part, but his character is delirious.
    More great sfx, delays on vocals.
    Lynott starts his great vocal for this album. Julie Covington plays Lynott's wife, and their duet here is excellent.
    Strings in the rears. Steady beat up front, Herbie Flowers plays some great bass on this album too.
    The song turns essentially into another song, as Covington and Lynott wrestle with each others interpretations of what is going on.
    Some more nice lead guitar.
    Back to the original theme of this song.
    Lynott loses his faith and hope, Covington tries to change his mind, and another change of musical theme in the song.
    Guitars, synths, strings share the whole soundfield.
    Lynott's scream explodes into reverb and swells around our heads.
    Covington pleads no Nathaniel.
    The sound of some sort of fire/laser, and the music changes again.
    Burton narrates.
    Covington is killed under rubble. Lynott takes us out. Some really cool synths in the rears and percussive guitar.
    Burton again.
    Great mix, and we move to a fade and the creepy red weed music rises again.

    Red Weed pt2
    Some nice rotating effects.
    Burton narrates. Lynott decides to confront the Martian they see injecting human blood into itself. Burton knocked Nathaniel out, but as they are hiding the martian drags Nathaniel, Lynott's character away. Wonderfully dynamic change in music. Again with great 5.1 mixing.
    Then we move back to the red weed theme. Synth flute up front strings around.
    Burton narrates, and notices the Martian's have left where he was.
    Crescendo synth theme and effects all round with nice speaker movement. This effortlessly slides into

    The Artilleryman Returns
    Burton narrates over the music.
    David Essex returns as the artilleryman. A conversation over some ambient sounds. Then a dramatic orchestral and synth opening.

    Brave New World
    Essex explains that they can live underground and hide and survive.
    More nice sound movement.
    Another completely different song, and Essex puts in a great vocal.
    Guitars all round, synth.
    An almost pinball wizard guitar sits under Essex description of what they need to do as synths and strings swell. We move to a nice piece of jubilant music and a nice guitar melody on electric lead.
    Great mixing.
    An excellent bridge comes in.
    Nice movement in the vocal to good effect.

    Dead London
    The news reporter moves on from the delusions of the artilleryman.
    We get a sort of musical reprise, with some excellent surround effects, and then the music changes completely again.
    Burton is in London, and aside from some dead bodies, all it still and quiet.
    Then a somewhat disturbed "uuulllaaa". Burton ponders these empty streets of death and moves toward the cry he heard.
    An excellent mix of synth and guitar pan around us.
    A dead stop, and silence. Burton speaks through this. The main theme comes in, slightly altered again. More swirling surround effects.
    We get a pumping synth beat and bass sound, any new wave/synth band would have loved to write.
    Bacteria that the Martian's weren't able to fight off had killed them..
    Crescendo to finish

    Epilogue pt1
    We get a cool snare, flanged, and then a swirl of victorious synths and strings.
    With nice acoustic chugging along either side.
    More nice moving synth swells.
    Burton essentially sums up where the mindset is. Will they return.
    Fade out to sfx

    Epilogue pt2
    Then we get a NASA controller speaking to a craft man has landed on Mars.... and they disappear, and there is a green flare, and the tracking stations go offline one by one. A wonderful crescendo of effects .... dead stop.

    I'm guessing I have always had a bit of a scifi dork inside me, and I always loved this story. I thought this musical adaptation was quite brilliant, and apparently I still love it.
    The mix has everything, and the kitchen sink. This has so many different styles of music, blended into the thematic telling of this story, and personally I love what they did with it. I believe some folks got tired of the return of themes throughout the album, but for me, that is like hearing Darth Vader's music when he enters the room. Or a cello as the shark gets closer.
    If you like scifi, i reckon this is essential. I reckon the mix is great. The dynamics are great. From a movie/play/rock opera point of view, the music is wonderful.
    I think this may interest some synth enthusiasts also, because there are a lot of old school synths getting a good workout on here.
    I love this.
     
  19. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

  20. weekendtoy

    weekendtoy Rejecting your reality and substituting my own.

    Location:
    Northern MN
    Sixteen years ago I bought this one on the rack at Best Buy for $16.50

    Those were the good 'ol days...

    But yes, a very well done surround mix of a Rock N Roll classic.
     
    mark winstanley likes this.
  21. dthomas850

    dthomas850 Forum Resident

    Location:
    Cleveland, Ohio
    First of all, if you are a fan of this band and have never heard Stain, you are missing out on an incredible album, and what I consider to be their absolute masterpiece. I really love these guys, and Stain is not just their best, IMO, it's also one of my favorite recordings of all time. Now Collideoscope, on the other hand, is probably my least favorite. Not that it's a bad album in any way, there are some real gems here. "Flying" really stands out as a great song and a really good mix here, and I absolutely love their take on "Tomorrow Never Knows". This is not the most adventurous surround mix, but still a very enjoyable listen.
     
    weekendtoy and mark winstanley like this.
  22. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    I probably need to give Stain a listen. I didn't even know about it until years later.
    I think my main issue with Collideoscope is more the sound.... it has a (general, not complete) focus on low mids and lows. When the guitar comes out of that mud, I like the sound of the album more.
    The mix is certainly adequate. I wasn't trying to bag the album or mix. Like you say, and I hope I managed to share, there are some very good mixes.
     
    dthomas850 likes this.
  23. Dillydipper

    Dillydipper Space-Age luddite

    Location:
    Central PA
    Thank God this is a long weekend in the States...it's getting harder and harder to keep up with Winstanley's reviews ("only" four this week, Mark? Slacker...)...maybe once I get through these, I can set aside some time to actually listen to a couple...! :eek:
     
    mark winstanley likes this.
  24. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Well if the wife could wake up on a Sunday lol.
    In a couple of weeks I am sure I will be listening to less, I have a ton of yard and house work to do. I've been waiting for the cool change :)
     
  25. Dillydipper

    Dillydipper Space-Age luddite

    Location:
    Central PA
    Two speakers on the patio, another pair in the azaleas, sub underneath the Weber grill. I don't see the problem. :tiphat:
    ("Waiting for the cool change", I can't help you with that...never was a Little River Band fan)
     
    mark winstanley likes this.
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