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Mark Powell and Paschal Byrne have quite masterfully "manipulated" (their words) the initial of-era 1972 quadraphonic mix done by original producer Tony Clarke and original engineer Derek Varnals into modern 5.1 royalty (and a full decade-plus following its 2006 release on SACD). of The Moody Blues, and their November 1967 collaboration with The London Festival Orchestra and conductor Peter Knight gave them their first opportunity to open the 360-degree hatch. Pushing beyond the stereo soundfield has always been part of the celestial-leaning M.O.
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The Moody Blues: "Nights in White Satin." Days of Future Passed UMe/Anthem/Mercury, 2018/1978 (Lifeson solos mightily down the middle, while Peart channels Gene Krupa and Lee divines Weather Report).ħ. Second takes: a) "Vital Signs." Moving Pictures (sine-wave synth and bass, staccato guitar riffs, and the tautest snare on record elevate the norm) b) "La Villa Strangiato." Hemispheres. "The Camera Eye" gives you access to the sense of all Rush 5.1 possibilities yet to come. Each half is accented by carefully chosen run-of-the-kit Neil Peart drum fills from right to left, while Lee's all-channel synth accents dissolve before and between each half as they wash across the waves of every channel. Meanwhile, the second half transitions to a moderately austere but still thriving London setting by sporting a slightly more reserved Lee lead vocal and Lifeson's somewhat cleaner yet still aggressive guitar tone. The first half of this two-part travelogue mirrors the hustle and bustle of New York City with Geddy Lee's vigorous, rumbling low end and firmly insistent vocals and Alex Lifeson's gritty, sustained guitar riffs. The cross-the-Pond continental flight plan of "The Camera Eye" puts it all into focus, ably aided and abetted by Richard Chycki's in-simpatico surround mix on the Deluxe Edition's Blu-ray. Rush music has always been bred for listeners with expansive ideas and proto-cosmic goals, and February 1981's Moving Pictures bridges their eager '70s adventurousness with their more streamlined-but no less complex-'80s output. Rhino/Atco, 2007/1976 (opening gambit for the band's Collins-led era is totally en fuego, via his layered, charismatic lead vocals and insistent hi-hat and cymbals).Ĩ.
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Rhino/Charisma/Atlantic, 2008/1972 (a pair of intergalactic Hackett solos lord over the left channel) b) "Dance on a Volcano," A Trick of the Tail. Second takes: a) "Watcher of the Skies." Foxtrot. The path is clear, for the progressive trajectory of the house of Genesis is linchpinned here. All 9:36 of "Firth of Fifth" fulfills the maxim "give everybody some," whether it's Tony Banks majestically bookended 1:08 classical piano intro and theme-reprised outro vocalist Peter Gabriel's wafting flute solo Banks, drummer Phil Collins, and bassist Mike Rutherford's in-tandem minute-long piano and rhythm section break (listen closely for Collins's oh-so-subtle gong) or guitarist Steve Hackett's 3-minute multilayered guitar clinic to close out the back half. Thankfully, Universal chose to reissue the album that best represents the band's collective strengths as a compositional force, October 1973's Selling England by the Pound, on Blu-ray in 2014. Longtime Genesis producer/engineer Nick Davis gave the 5.1 treatment to the entire Genesis catalog from stem to stern for both DVD-A and SACD in the mid/late 2000s, and his care, ingenuity, and instinct have served their cumulative studio and live canon quite well. Genesis: "Firth of Fifth." Selling England by the Pound