http://blogcritics.org/ A sinister cabal of superior bloggers on music, books, film, popular culture, politics, and technology - updated continuously. en Copyright 2005-2007 by the authors Fri, 21 Jan 2005 14:00:02 EST http://backend.userland.com/rss Blogcritics.org custom software http://blogcritics.org/ Phillip WinnSunday, August 26, 2007, marks the switch of all Blogcritics.org article feeds from full-content to short-content. This is the result of several converging factors, and is unfortunately a permanent decision (as permanent as any decision can be on the web, that is). We are aware of all of the reasons that this is a Bad Idea, and we are aware that some of you will be quite upset about having to click on something to read the free content, and we're sorry. Unfortunately, despite great effort, full-content feeds are not currently economically viable. Two other factors are involved: full-content feeds have resulted in an unprecedented level of content theft, with BC content appearing on many websites, usually spam sites, without attribution or permission. This duplicate content causes a cascading set of problems, not the least of which is that search engines generally aren't favorable to duplicate content, and don't always guess correctly. Finally, our RSS advertising partner is strongly in favor of short-content feeds. We hope that you'll continue to subscribe to BC via RSS, and when an article grabs your eye, it's only a click away, still free on the BC website. Thank you for your understanding. Administration0@blogcritics.org Sun, 26 Aug 2007 12:00:00 EDT http://blogcritics.org/archives/2005/01/21/140002.php Ron WheelerUK's Porcupine Tree are gearing up and laying down tracks for a new multi-channel release entitled "Dead Wing". It's coming at ya from Lava\Warner on March 21st. Their last album, "In Absentia", was recorded for cd and DVD-Audio by Grammy Award winning Producer Elliott Scheiner and won the "Best Mix: Non Orchestral" award at the 3rd annual Surround Music Awards ceremony. The new album will feature a guest appearance by Adrian Belew of King Crimson and David Bowie. The final track listing for "Dead Wing" is:1. Deadwing 2. Shallow 3. Lazarus 4. Halo 5. Arriving somewhere but not here 6. Mellotron scratch 7. Open car 8. The start of something beautiful 9. Glass arm shatteringThe band will release the first single, "Shallow", to radio in mid-February. The commercially available European single will include a couple of sneaky tracks not available on the album. A special super-secret package will also come encased in a book format with expanded alternate art as well as discs of the stereo and multi-channel mixes. Fans of the band should check out www.deadwing.com ...its got some trippy graphics and audio hints concerning the new release. For the uninitiated...Porcupine Tree is a UK progressive rock that has a sensibility towards structure and melody. Think Alice in Chains with a touch of Rush, Tool and The Mars Volta.....proternative.. Engaging to the ear and hey...your girlfriend will dig it too..They started out as a Spinal Tap joke. Their music was never intended to be released and the band's name itself was supposed to signify some fictional unknown band that never went anywhere 'cause they were too cool for the room. As it turns out, someone in the biz got a hold of their "long lost" recording and demanded more. Skip ahead 12 albums and Porcupine Tree is still a going concern.Check out this link to a review of Porcupine Tree's excellent DVD-Audio release, "In Absentia". It made me rush out and buy it...Ron WheelerEditor www.surroundablog.com Music24509@blogcritics.org Fri, 21 Jan 2005 14:00:02 EST http://blogcritics.org/archives/2004/12/29/092727.php Ron WheelerIn the next few weeks, all the major record labels will release their schedules for 2005. At this early stage, it seems that SACD and DVD Audio pressings are noticeably absent. To make matters worse, news arrived this morning of Sony\BMG's apparent ditching of a seminal surround sound reissue. In 1968, keyboardist extraordinaire Al Kooper joined forces with Dylan compadre, Michael Bloomfield and Buffalo Springfield's Stephen Stills to create a hippy-psychedelic-blues masterpiece. Their "Super Session" proved to be a landmark both in its performance and selection of songs. The highlight of this recording was the exceptional cover version of Donovan's "Season of the Witch". Alas...at some point someone from Sony Legacy decided that this album was worthy of a surround sound reissue. Al Kooper was dispatched to spend the better part of a year reworking the tapes and sifting through all the tracks to reconstruct both "Super Session" and his debut Blood Sweat and Tear's release for audiophile consumption. This morning Al Kooper issued the following.. "To the best of my knowledge, based on an unnamed source, the new head of SONY/BMG shut down the 5.1 SACD department and let everyone go. A year and a half ago I remixed Super Session and Child Is Father To The Man for them in 5.1 SACD. They both came out incredible and so I mastered them with Bob Ludwig.Now it seems they will languish on the shelves under the current administration of SONY/BMG.,........Typical, in soooo many waysAl Kooper"The future looked bright in 2003...the SACD format seemed to be capturing the market. Fresh off a springtime of Rolling Stones reissues dozens of us lined up to buy last year's Bob Dylan SACD reissues from Sony. This year slowed down some, but we still blew our allowance on muilti-channel reissues from Eric Clapton, The Animals, and the cream of Elton John. It's interesting to note that during these holidays, home theater has never been more economical. Instead of a pull back, shouldn't the labels be increasing their surround sound audio offerings?Over the last week, I've been surfing around trying to uncover any and all news, rumour and conjecture concerning surround sound audio. The results are troubling. Universal Music Group, seized by the outpouring of grief over the death of Johnny Cash, planned on reissuing his 4 American Recordings titles on SACD. An progress report inquiry posted to Johnny Cash's website yesterday went unanswered. And this in spite of Johnny's daughter Kathy posting her father's poetry all day. I can only assume that this project has become another reality of the season of the ditch. Also; a rumoured reissue of David Crosby's "If I Could Only Remember my Name" has fallen off the radar.In 2002, the Annual Surround Sound Awards named Pink Floyd's "Dark Side of the Moon" best multi-channel release of that year. How could Sony and the members of Pink Floyd drop the ball on the rest of their titles? If any band is worthy of studio blender remastering its Pink Floyd. Just think of the money that Sony could make or could have made from surround sound reissues of "The Wall", "Wish You Were Here" and "Animals".....not to mention the additional revenue from the sales of the players and home theater equipment to reproduce them.This February, the Grammy Awards ceremony will present its inaugural honour for the best in surround sound recordings. Alas...it may be their one and only pause to recognise this marvel of sonic technology. As an afterthought, this article must be post scripted as "the season of the bitch". In a day and age of soul-less, heartless, manufactured pop stars we once again shelve brilliance for the sake of the bottom line. I'm not saying that these reissues would have saved the music industry or appreciably improved Sony\BMG's 2005 revenues. Instead, it's simply disenchanting to me as a music critic and purveyor of surround sound recordings to write about upcoming Motley Crue 5.1 compilations and to get at all excited by a reissue of an AM-hell stalwart like the Carpenters..As a post script; I would strongly recommend that everyone who reads this to follow the link and purchase a piece of history that is the Mike Bloomfield-Al Kooper-Stephen Stills "Super Session" remaster on cd....you too will be the coolest kid on the block with music that truly rocked a generation..Ron Wheeler www.surroundablog.com Music23713@blogcritics.org Wed, 29 Dec 2004 09:27:27 EST http://blogcritics.org/archives/2004/12/19/153407.php Ron WheelerThis year saw a decline in the number of DVD-Audio releases and a tipping point for SACD. All in all...a strong high performance audio library could be built just by purchasing the following top 10 from Amazon...10. Buddy Guy - "DJ Play My Blues" A hitherto unknown recording from Blue's best guitarist. It was taped live in a UK studio in 1981 and transferred to SACD this year. It stands up as one of Guy's most honest and real performances. In 5.1, Guy slices up the livingroom with neat little stinging strat slashes.9. Everlast - "White Trash Beautiful" It wasn't as strong as his previous outings, but this one glowers with a ferocity and rumble that is better felt than heard. Standouts include "This Kind of Lonely" interpolated with Hank Williams' "I'm so Lonesome I Could Cry". The title track invokes visions of Lucy from the "hit" TV show, "The Trailer Park Boys"..8. Frank Zappa - "Quadiophiliac" Tapes for this album were discovered by Dweezil last year. After trying to audition them on reel to reel; the Dweez soon realized that these were the makings of father Frank's foray into quadrophonic sound. Dweezil completed the project with the help of DTS and transferred it to DVD-Audio. "Quadiophiliac" sounds every bit as freaky and unpredictable as the best of Frank in the '70's. Check out the guitar solo on "Rollo"...(available at dtsentertainment.com)7. Little Feat - "Kickin' it at the Barn" Here's yet another under the radar DVD-Audio release that is so satisfying that long time fans can finally put Lowell George to rest. The instrumental track, "Stomp", should be required listening for all the "so called" jam bands these days. Nevermind those Grateful Dead transfers of "American Beauty" and "Workingman's Dead"...get this one directly from littlefeat.com...6. Mark Knopfler - "Shangri-La" Take your pick...DVD-Audio or SACD...Knopfler has never sounded more emotive or played more fluid. It simply is "more". A masterpiece that begs the exclamation, "I want my MTV" on SACD....and "Telegraph Road" and makes you wanna swing your sultans all around and remaster them in surround.....(ahem)...5. The Allman Brothers - "Eat a Peach" This is an early '70's masterpiece that begged...nay; demanded to be remastered. The original analog release accurately interplayed the brilliance of Dickie Betts and Duane Allman. But in SACD... these spectacular performances are clearly defined and easily identified. "Filmore East" is fantastic...but "Peach" is jubilant and joyful..4. Albert King - "I'll Play The Blues For You" Another solid re-offering from the King library. Last year's "In Session" with Stevie Ray Vaughan was a guitarist's guitar album. This one recorded in 1972 featured the incredible Bar-Kays and Albert's phenomenal Flying V. The tones on this will warm the hearth of the most cold-hearted self-loathing toe-staring critic. Although this SACD release was a stereo-only remaster it certainly stands up with the best of 2004...3. The Animals - "Retrospective" You got yer Animals...and you got Eric Burdon and the Animals...and a little Eric Burdon and War too. Not only is this the best of the Animal's greatest hits collections, it's a close runner for my best of the year. The additions of "Monterrey" and "Spill the Wine" help to offset the haunting nature of "House of the Rising Sun" and "I'm Crying". Once again, "Retrospective" is a stereo-only release transferred to digital at Abbey Road Studios..2. Ray Charles - "Genius Loves Company" Given the timeliness of its release, "Genius Loves Company" is likely to be the runaway favorite at the Grammy's inaugural awarding of the best surround sound recording of 2004. It features the brilliant reworking of "Crazy Love" with your pal and mine Van Morrison. It; however, falls just short of #1...1. Elton John - "Honky Chateau" This is simply breathtaking. The first time I heard it, I dragged people into our home to listen to it. Last year's reissue of "Goodbye Yellowbrick Road" was great...terrific even...but suffered from being a little too bright. This year they got it right. I enjoyed all the 2004 Elton John reissues..but decided to include only 1 on this list. I had a tough time choosing between the giddiness of "Chateau" or the ethereal texture of "Madman Across the Water"....but one relisten to "Mona Lisas and Mad Hatters" sealed it... Honourable mentions Elton John - "Madman Across The Water" John Hiatt - "Bring The Family" Eric Clapton - "Slowhand" The Kinks - "Muswell Hillbillies" Uriah Heep - "Gold From The Byron Era" (available from acousticsounds.com) Nine Inch Nails - "Downward Spiral"Ron Wheeler Editor www.surroundablog.com Music23435@blogcritics.org Sun, 19 Dec 2004 15:34:07 EST http://blogcritics.org/archives/2004/12/08/084032.php Ron WheelerMahler's "Symphony No. 4" (SACD), Bonnie Raitt's "Nick of Time" (DVD-A), and Ladysmith Black Mambazo's "Raise Your Spirit Higher" (SACD) as surround sound recordings of 2004...The ceremony takes place on February the 13th, 2005. Unfortunately; I suspect this awarding will occur off camera and will only be mentioned on Grammy's captioning ticker...!Avalon Roxy Music Super Audio CD Surround Sound (Virgin CVIR 83871 SA) Surround Sound Producer: Rhett Davies Surround Sound Mix Engineer: Bob Clearmountain Surround Sound Mastering Engineer: Bob Ludwig Genius Loves Company Ray Charles with Norah Jones, James Taylor, Diana Krall, Elton John, Natalie Cole, Bonnie Raitt, Willie Nelson, Michael McDonald, B.B. King, Gladys Knight, Johnny Mathis & Van Morrison Super Audio CD Surround Sound (Concord Records/Hear Music SACD-1033-6) Surround Sound Producers: John Burk, Phil Ramone & Herbert Waltl Surround Sound Mix Engineer: Al Schmitt Surround Sound Mastering Engineers: Robert Hadley & Doug Sax Mahler: Symphony No. 4 Michael Tilson Thomas, Conductor & the San Francisco Symphony Orchestra Super Audio CD Surround Sound (SFS Media 821936-0004-2) Surround Sound Producer: Andreas Neubronner Surround Sound Mix Engineer: Markus Heiland Surround Sound Mastering Engineer: Markus Heiland Nick Of Time Bonnie Raitt DVD Audio Surround Sound (Capitol Records 99316) Surround Sound Mix Engineer: Ed Cherney Surround Sound Mastering Engineers: James Guthrie & Doug Sax Raise Your Spirit Higher Ladysmith Black Mambazo Super Audio CD Surround Sound (Heads Up HUSA-9083) Surround Sound Producer: Martin Walters Surround Sound Mix Engineer: Martin Walters Surround Sound Mastering Engineer: Paul Blakemore I myself am having a hard time understanding their criteria. I mean really; the only album on their list that I own is the Ray Charles. Next time I hope Grammy consults with some of us who are in the know....lol. As a sidebar; I reported on the 3rd annual Surround Sound Music Awards in August. You can compare Grammy's list with Surround Sound's best of 2003 nominees and winners here....or rather there...?Note: Amazon links for Bonnie Raitt and Ladysmith Black Mambazo are for the audio cds only. Keep checking back for new and used copies of these nominated albums...err dvd-audios....or sacd...what the?Ron Wheeler Editor Surroundablog ...your blogopedia of all things round and surround... Music23046@blogcritics.org Wed, 8 Dec 2004 08:40:32 EST http://blogcritics.org/archives/2004/07/15/155225.php Ron WheelerIn 1978, Martin Scorcese's ground breaking documentary on the Band was released. It showed not only the end of a band...but the end of a cultural phenomena. Last year, the film was reworked with bonus footage and was released with an accompanying remastered DVD-A version of the original soundtrack. So with that in mind, let's revisit the shape they were in... Everyone knows the story...The Band started as a backing group to Ronnie Hawkins. In the mid-60's, they were stolen by Bob Dylan becoming his sidemen and then branched off as the Canadian Squires. No longer happy to be the background; they chose to reinvent themselves as a main stage attraction. They simply became known as The Band...and became the backing band of an entire generation...Between the time of 1968 to 1978 the Band's solo recorded output consisted of 8 albums in which 3 were top 10's. During that time they also figured in prominently on Muddy Water's "Woodstock Album", and shared billing with Bob Dylan on a couple of top 5 albums. As 1976 approached, The Band became more concerned with solo efforts and collaborations than performing as a whole. As their interest in continuing together waned, The Band looked to film maker Martin Scorcese to document their last gig.It was on November the 25th, 1976, that the band would stage their "Last Waltz" together. As a tribute, many of their friends and associates turned up at Bill Graham's Winterland to participate in this farewell performance. Scorcese's camera caught that evenings events with a stark nakedness that has yet to be replicated. The actual concert extended over some 5 hours with dozens of hours set aside for candid interviews and monologues. The final package hit theaters and stores after some 16 months of editing. The film itself has become an art house staple and the soundtrack became a stand alone sensation peaking at #16... The Band's "Last Waltz" as a film and soundtrack is truly a study in contrasts. On the one hand, we hear the rapture of their recorded output...on the other, we bear witness to their sharp decline. One medium perpetuates the myth...the other glorifies the legend. It is with that contrast in mind that I'll give you my impressions of The Band's "Last Waltz" both as a documentary and as a stand alone soundtrack...The Band - "The Last Waltz" by Martin ScorceseThe documentary brought to film by Martin Scorcese thrusts a band of generic looking bit players uncomfortably into the spotlight. These guys seem completely out of their element - void of personality and chemistry. The in-concert segments are by and large stolen by the guest performers. The viewer is immediately drawn to the obvious superstars of the day...Bob Dylan, Van Morrison, Eric Clapton and Neil Diamond. Even the lesser knowns like Paul Butterfield and Dr. John stand out in stark contrast to the homogenous make-up of the band. Robbie Robertson tries for all the world to be a frontman but is dwarfed by the ease and laid back charm of Neil Young and Joni Mitchell. Muddy Waters makes love to the audience with sheer pelvic thrustin' boot-stompin' energy. In fact; every guest from Emmylou Harris to Ron Wood draws the spotlight away from the film's namesake showband. That's not to say that the Band is inept; on the contrary, their playing is more than capable...its fiery, soulful, and touching. They simply lack the stage presence to be the main characters. I can understand the appeal of the film and why all the critics have branded it as the best rock concert documentary ever filmed. For my money though, the soundtrack stands alone in its merit while the romanticism of the film belies a deeper, darker pessisism. In one offstage interview, Robertson talks candidly of getting drunk with a harmonica blowing blues musician so close to death that his spitoon is soon filled with blood. Robbie and the rest talk of their sadness with the bluesman's "surprisingly sudden" death when over Robertson's shoulder a stark gaunt-faced Richard Manuel foretells imminent disaster. It is this bleak presentation of Manuel's troubled existence that is unsettling and lasting. In the film we see the drug-addled genius stumble around stiltingly and sing with halting emotion. At one point, Scorcese does a 1 on 1 with Manuel that is both heartbreaking and confusing. How could the rest of The Band not see how close Manuel was to a complete and utter end? The unfair assumption of course is that everyone else was seemingly straight, caught up in their own affairs and in better shape. The truth of the matter is that all were suffering in deep dark recesses. This was afterall the mid '70's...a time of backstage white rooms of coke and riders of whiskey by the caseload. The enduring theme of the film is Manuel at death's door with Rick Danko slowly on his way. To further foreshadow, a forlorn Danko sings,It makes no difference how far I go Like a scar the hurt will always show It makes no difference who I meet They're just a face in the crowd on a dead end streetTo me, Scorcese's film reduces the legacy of the Band to a visual scar that will forever show the hurt of Manuel's and later Rick Danko's trip down that dead end street. Powerful imagery to be sure...but through it all the poignancy of the end stands out in stark contrast to the music.The Band - "The Last Waltz" DVD-AThe soundtrack to The Band's "The Last Waltz" is immediately gratifying and is a stand-alone gem. These remastered tracks on DVD-A are all rollicking barrel-house fun. In it we hear The Band in full free form flight rather than suffering the visual distraction of impending dissolution. No longer a gathering of sidemen; Robertson, Danko, Helm, Hudson and even Manuel shine through in every aspect of this recording. As a rhythm section, The Band plows a road straight through to the soul. Robertson's guitar work on "The Last Waltz" takes on a sensibility and depth that is forthright, captivating and endearing. Remastered in 5.1 surround, the listener is seated at the head table of a joyous occasion. Its truly an audiophile feast served up with generous helpings of ragtime, folk, boogie and even funk. As with most 5.1 live recordings , the soundtrack to "The Last Waltz" uses the rear channels sparingly thus saving them for the rebounding echo that comes from typical concert hall acoustics. On the original release, the acoustics are swallowed up by the spaciousness of the room. On the DVD-A version, Levon Helm's drum kit drives the subwoofer with sharp rapid punches of bass. Robertson's tone sparkles like burnished gold. All the nuances of Danko's vocals come through with the majesty of an entire gospel choir. If there's one failing, its in the keyboard mix. Garth Hudson's contribution is a little light in the mix and should've been eased up a little. This recording also comes in a high resolution stereo format just in case your system isn't capable of surround sound. Important to note: this is a DVD-A disc meaning it will NOT waltz in your cd player. Surprisingly enough; I rather enjoyed the still photographs included as a menu option. Where the film exploited stumbled failings and apparent discomfort....the photographs all captured moments of bliss and mutual respect... With that said; I prefer the music to the drama. The Band's legacy is best remembered through their music. As a film, "The Last Waltz" is best viewed as a documentary of excess and endearing discomfort. So there...for other suroound sound news, views and spews, visit surroundablog.com Music17478@blogcritics.org Thu, 15 Jul 2004 15:52:25 EDT http://blogcritics.org/archives/2004/07/15/153830.php Ron WheelerTrent Reznor of Nine Inch Nails has officially entered the ring of surrounda-goth. Coming to a store shelf this fall...a remastered DVD-A version of Nine Inch Nails' "The Downward Spiral". After that he will resume work on a new NIN album tentatively titled "Bleedthrough" which is expected early in the new year. NIN will promote it with an extensive world tour...For other surround sound related news, views and spews, visit surroundablog.comRon Wheeler Editor Music17476@blogcritics.org Thu, 15 Jul 2004 15:38:30 EDT http://blogcritics.org/archives/2004/07/14/094442.php Ron WheelerStudio City, CA (July 13, 2004)--Audioslave's Tom Morello (formerly of Rage Against The Machine) is hard at work on tracks for an unnamed movie soundtrack at Studio City Sound in California. The film itself will be directed by the little known Bobby Roth . Studio City Sound is on the cutting edge of technology as a full service recording studio, which now offers remote recording of live concerts both audio and video, concept music videos, award show production, 5.1 surround mixing and Final Cut Pro HD. Hey Tom...while yer busy building a 5.1 soundtrack, how's about a 5.1 transfer of Audioslave's debut...or a little surrounda-rage...?!For more surround sound sorta stuff, please visit surroundablog.com...the blogger's source for reviews, news and spews... Music17435@blogcritics.org Wed, 14 Jul 2004 09:44:42 EDT http://blogcritics.org/archives/2004/07/11/124615.php Ron WheelerIt all began in 1954 on a July day in a small recording studio in Memphis Tennessee. On that day, a young hillbilly walked into Sam Phillips' Sun Records and set in motion a cultural revolution. That song was "That's Alright"...the artist was Elvis Presley...and the phenomena known as Rock and Roll had its King... "As a mass phenomenon that changed American culture, Elvis Presley is a legitimate starting point for the beginning of rock 'n' roll," says Rolling Stone's deputy managing editor Joe Levy. "That's where the music became a phenomenon, and the phenomenon grew into a culture that would change the culture and the rest of the world." With that said, Surroundablog.com is proud to offer up a review on one of Elvis Presley's most cherished releases. In 2002, RCA dug through its extensive Presley catalogue and came up with a semi-definitive package of his #1 hits. These songs were either #1 hits in the U.S, #1's in the U.K or a combination of the two. This collection covers a period of some 30 years...from 1956 right through to just weeks before his death in 1977. It even includes the post-mortem JXL dance remix of "A Little Less Conversation".It's immediate impact is long lasting. The set begins where it ended...with the 2002 remix of "A Little Less Conversation". In actuality, the timeline is turned upside down. His first #1 for RCA was "Heartbreak Hotel" which was placed at the end of the disc. In between, we get all the #1's from "Don't be Cruel" to "Way Down" which was released just weeks before his death in August of 1977. Now then, on first glance this is a reasonable collection. Some critics are quick to dismiss this disc because it doesn't have Presley's Sun sides on it or the critic's own personal favorites. I for one would've liked to have heard "T-R-O-U-B-L-E", "Viva Las Vegas", "Moody Blue", "That's Alright", "I Want You, I Need You, I Love You" and "My Way" here. Oh well, I guess that's why it isn't called "Ron Wheeler's "#1"'s..."(As an aside, RCA put out a companion disc last year..."Elvis - Second to None", which covers the missing pieces..)I have to admit though...."Wooden Heart" is a pretty questionable choice. It was derived from a German children's song and features the big E singing in German...blecch. Although the song never charted in the U.S....it reached #1 in the UK and stayed there for a remarkable 6 weeks! What's the matter with you english...Others slam it because the album could've been....should've been titled "31 #1 Hits". And that's because JXL's bonus remake went to #1 as well...Minor quibbles aside; this disc is meant to be a starting point. It was designed and track-ordered to compete with the previous year's number one "#1" compilation from The Beatles. With that in mind, RCA decided to include his biggest hits from the most respected charts in the U.S. and the UK only. Here's an example of his chart impact and how confusing this compilation could've been...Elvis has had no less than 149 songs to appear on Billboard's Hot 100 Pop Chart in America. Of these, 114 were in the top forty, 40 were in the top ten, and 18 went to number one. His number one singles spent a total of 80 weeks at number one. He has also had over 90 charted albums with ten of them reaching number one. These figures are only for the pop charts, and only in America. He was also a leading artist in the American country, R&B, and gospel fields, and his chart success in other countries was substantial.From www.Elvis.comTHAT'S alright mama...In 2002, "Elvis Presley - 30 #1 Hits" was transferred and remastered to DVD-Audio. This recording can be played through a home theater set-up rigged for 5.1 surround sound or simple 2 channel stereo. Important to note: this is a dvd disc...therefore it will not play in your crappy shower stall cd player. Although its a "DVD-A" disc it does not come with any visual content...no set-up menus, no pictures, no lyrics, no liner notes. It does; however, come with the traditional pull-out jewel case liner notes...but no video info. How odd. Why release an album on dvd, which is specifically geared to provide visuals, and not include any visuals..As for the music itself, the set begins with the techno-ized "A Little Less Conversation". By adding synthesizers and drum machines, JXL revamped this little known song from 1968 into a #1 for all you rave-up, ecstacy dropping, glow-stick-waving kids out there....even old Elvis fans like me can appreciate its kick-up-it-ness. That is; unfortunately, the only true 5.1 mix on the album. All other tracks use the back channels too sparingly or too quietly. The sub-woofer too is only utilzed on this techno remake. More examples of its un-5.1-ness arise during "Burning Love" when from out of the rears all I hear is a very small woodblock going "tick tick tick". Wow...tick tick ticked off. On "Suspicious Minds", the strings and horn parts are saved for the rears...good...but the volume is too low for a center of the room experience...bad. The entire purpose of a surround sound recording is for all of the channels to be timed and "volumed" in such a way as to allow a listener, sitting in the center of the room, to get a sense of the entire soundfield all at once. For this reason, we got a major problem here Memphis...Other than the lack of a true 5.1 experience, the songs all sound, stereo-ee, lush and exceptionally audiophiled. Just to prove that point, the Producer included 3 extra tracks at the end that switch back and forth from the original master versions to the newly mixed and mastered stereo versions. The difference is really quite astonishing...As an aside, my first reaction to a clever A:B test "remaster-master" switch on the bonus version of "Burning Love" was to frisbee the disc off our balcony onto Blue Jays Way....but once I read the liner notes and discovered the purpose of this "A:B test" I decided to keep it. Afterall, there's enough Elvis-aided pollution on our city streets courtesy of impersonaters, Elvis Priestlys' and silverpaint-dipped statue-people-Presleys...really, I've seen him move...Back to the review...or rather the end of it.....this is quite an extraordinary collection representing most of the best of Elvis Presley. But given the absence of visual content and a mediocre 5.1 transfer, this collection would've been better represented as a stereo hybrid SACD disc...Thank you...thank you very much... Music17322@blogcritics.org Sun, 11 Jul 2004 12:46:15 EDT http://blogcritics.org/archives/2004/07/09/125802.php Ron WheelerAs 1967 faded into '68, Rock music was no longer restricted to A-sides and B-sides. Instead, musicians embraced the idea of LP expressionism. Some 6 months before, The Beatles released "Sgt. Pepper's Lonely Heart's Club Band", Brian Wilson had "Pet Sounds", Cream had "Disraeli Gears" and Jimi Hendrix asked "Are you Experienced". It was like psychedelic sunday everyday with rainbows all over your stars...And yet, from nowhere and everywhere a new sensibility based on all stylings was beginning to simmer like gumbo on a hot plate. It was counter-revolutionary to the revolution. It was the time of The Band...and the music world would be taken aback by their "Music from Big Pink"..Before I get ahead of things, you'll need to know that The Band grew out of an association with Ronnie Hawkins. They quickly caught the attention of Bob Dylan and wound up touring with him in England. They were soundly booed every night. Aye, when it came to Dylan's electric to acoustic conversion, you could say that the English weren't exactly "ready teddys". Ahem...Now then, after that tour the whole works of them retired to a small rented house in West Saugerties New York. They affectionately called it "Big Pink". They collaborated day and night creating, fusing, amalgamating and blending. Their collective hope was to assemble a new alchemy of sound. Alas; Dylan had his motorcycle accident and retreated from all things music. The Band however was left with little less than their collective chemistry.Shortly after, a disillusioned Eric Clapton turned up on Big Pink's doorstep. Eric had just attained super status with the rather dysfunctional Cream and was seeking some sort of grounding. On a spiritual level, he immediately tapped into their tribal sensitivity; but nonetheless, felt like a stranger in a stranger land. For here were the five of them locked in an embrace as they passed instruments back and forth, freely associated melody and exchanged encouragement. Clapton jammed with them that day but quickly realized that this was no place for his "Cream"-ey guitar heroics. The Band would persist and persevere eventually releasing their debut masterpiece, "Music from Big Pink", in July of 1968. It was evident from the start, that Bob Dylan had left his fingerprint on it. He was credited with co-writing 2 tracks, the tracklist included a Dylan cover and the album's artwork was painted by Dylan himself. Although it was cooly received..Dylan fans took to it right away. Soon after, radio added "The Weight" and album sales blossomed. The Band's "Music from Big Pink" would eventually scratch at Billboard's Top 30. They would follow it up with several efforts including the noteworthy "Stagefright" and a couple of additional projects with Dylan. Their classic line-up would call it quits in 1976 in a very public austere sort of way. Their "Last Waltz" captured on film would influence a generation of musicians and film makers alike. Wow...I can really go on and on...Last year, Robbie Robertson revisited this gem and personally remastered it for surround sound. This "Music From Big Pink" DVD-A is another one of these sneaky high resolution 5.1 audiophile extravaganzas. Instruments and voices work in a call and response fashion subtlely appearing and dissipating throughout all areas of the soundscape. Right from the start, this album startles with an unspoken warmth and sensitivity. Through it all, accordions mysteriously appear, guitars and keyboards perform hand-to-channel combat and a horn section blares bright right through your frontal lobe.In particular, The Manuel and Dylan penned "Tears of Rage" has a fragile beauty haunted by Manuel's wavering vocals. This ponderous ballad seems like an odd choice to kick off an album yet it speaks of rage and dismissal. It's backed by point-counterpoint instrumentation and reaches a level of wavering beauty. On 2nd and 3rd listens, this opening track foretells an impending collision of bluegrass, country, rock, gospel, blues, jazz and even broadway. Robertson's only lead vocal would come on the eccentric "To Kingdom Come". It's oddly stirring and seems to come not so much from him as through him. Its structure showcases him and Garth reflecting melody back and forth through their respective instruments. By the 3rd track, it becomes quite apparent that there will be no pitch-perfect Tom Jones crooning on this album. Instead we get a rustic "straight out of Arkansas" drawl from Helm, a downhome charm from Danko...and that hair-raising, insistent, goosebump chill from Manuel. Such sweet pain..With it's opening chords, "The Weight" immediately brings to mind that famous opening sequence from "Easy Rider". You know the one, Dennis Hopper and Peter Fonda hurtle their bikes through deserts of Arizona in search of America. The 5.1 transfer is spectacular. Levon Helm's heavy stick pounds out more pavement than any peace signed twin could ever manage. Take that you dope smuggling hippies...Throughout "Music from Big Pink" it is readily apparent that Garth Hudson left his fingerprint on it as well. It's a masterpiece of layered organs, opposing pianos, seasoned accordion and orchestrations of horns, saxophones and clarinets. And thanks to Robertson's production...Hudson's contributions all come through with jaw-dropping precision ie. clean, clear and remarkably uncluttered.Its interesting to note that Hudson was reluctant to join up with Ronnie Hawkins and his band. He felt that his talents and classical training would go to waste in the confines of a backbeat restricted "2 and 4" rockabilly band. So to reconcile the negative; Garth charged each member of the band $10.00 a week to tutor them. In this way he could effect instrumentation and affect the final product. Affect it he did...just listen to Hudson's signature song "Chest Fever". Phil Collins, on an obscure "Desert Island disc" radio special, placed The Band's "Chest Fever" at the top of his list. He went on to describe an awe-inspiring image of a church organ sitting astride a mountain top while a possessed Garth Hudson coaxes pure magic out its pipes. Collins would love this track in surround sound. In 5.1, Hudson's hammond seems to do battle with itself. It begins with opposing tracks straining out of the front and rear channels colliding in the center of the room. Soon after, collision dissolves into collusion with a slow build to glass-shattering intensity! Other instruments then enter the room to foster further chaos and texture. It ain't no "You can't hurry love"...The end of the album arrives with an incredible rendition of Dylan's "I Shall Be Released". On this version, Manuel handles the high falsetto, Danko covers the tenor and Helm takes over the bottom. The result is pure orchestrated majesty...Alas.."Music from Big Pink" would indeed influence a generation copycats. Witness the catalogues of the Grateful Dead, The Flying Burrito Brothers, Dave Matthews, The String Cheese Incident and Wilco....all can be traced back to this debut masterpiece from The Band.Ron Wheeler Editor surroundablog.com Music17278@blogcritics.org Fri, 9 Jul 2004 12:58:02 EDT http://blogcritics.org/archives/2004/07/09/120826.php Ron WheelerYesterday, a man was busted, in Hamilton, Ontario, with a car load of illegal recordings. I won't dispute the man's guilt or innocence...he was a dumb*** who got caught selling home-made stuff at a flea market. See Toronto SunInstead; maybe he should've been selling thousands of titles right in the public eye...After all, anyone can buy virtually any concert these days directly from Ebay.In this day and age, how does one guy at a flea market warrant such attention?There was a time when I used to go to a cool store in Edmonton, Alberta, that had a small collection of "rare" lps hidden away in full view. [I won't name the place]. In it were all the wonders of concerts from musicians who wouldn't bother to play our little town....or played it way too little. Sure, Led Zeppelin appeared in Edmonton once...in 1969...opening for Vanilla Fudge...or was it Iron Butterfly? The Who played too...in 1975...one time. Our options were quite limited. "Hey Wheeler, pretty weak arguement you felony-fool you.."...Bootlegs, in the late '70's, were a huge disappointment. I had a dozen or so of which only 2 were barely listenable: Led Zeppelin's "Destroyer", a 3 album set with an extra 45rpm, and a Van Halen show from 1978. Maybe you've got a great bootleg story...mine were all lousy....including this one...Nowadays, you can literally buy thousands of great sounding properly mixed live recordings on cd and live in-concert dvds legitimately. And yet...bootlegs still continue. To beat the boot; bands like Pearl Jam have gone so far as to release each and every one of their live concerts . Others are investigating technology that would allow a band to sell an in-concert recording immediately after the encore. Others like Dave Matthews and the Grateful Dead...simply gave up years ago. All I can really add is don't waste your money on "rare" recordings of inherent poor quality and production...buy the legitimate live recordings instead...As an aside, now that I live in Toronto...I'm suffering from acute concert burnout...a condition well-known to small-town people like me who move to the big city. Its that kid in a candy story thing. Since 1999; the wife and I have seen: Red Hot Chili Peppers with Stone Temple Pilots, Black Crowes with Oasis, Counting Crows with Live, Dave Matthews twice, Ben Harper twice, BB King with Jeff Beck, The Allman Brothers, The Rolling Stones twice, The White Stripes, The Who, AC\DC, Fleetwood Mac, Linkin Park, Limp Bizkit, Metallica, Mudvayne, The Deftones, Roger Waters, Eric Clapton, Alanis Morissette, Ian Moore, Santana, Audioslave, Chris Cornell and Bon Jovi (my step-son digs them). Therefore; bootlegs of these or any other show are redundant and have little appeal in our household.To wrap this up, why go after the little guy anyways? He is probably reselling bootlegs that he purchased online. With that said; why not target the real lawbreakers..like a select number of Ebay sellers who list thousands of illegals daily. hmmm...I'll bet there's an opportunity out there for an enterprising listing-scanning bootleg-bustin'-sub-contractin'-businessman.."Hello Sony...have I've got an idea for you.."(First posted on surroundablog.com) Music17274@blogcritics.org Fri, 9 Jul 2004 12:08:26 EDT