This track left me cold in stereo, but now it really comes alive, sort of like a 5.1 mini-musical. Other standout tracks: Silence and I - a huge orchestral opus, and Psychobabble. Still recognizable, yet much more contemporary. With this release, Parsons has carried these same drum tracks into the 21st century. It's not so much a case of passing years being unkind - I thought likewise back in the day. 'Wimpy' is the word I'd use, with a wispy high end. Confession: I've never really cared for his drum sound, at least on Pyramid through Ammonia Avenue. There's a lot going on here, and as with The Beach Boys' track I found a new appreciation - and wonder. Like a magic trick, you now wonder how it was done. The chorus envelops you, and forces analysis: You've been here before - yet you have not. Here in multichannel, the vocal deconstructs in a way that is simply impossible in two channel. Today's a capella mixes provide a vocal companion to this phenomenon.Ĭan anything be done about this? Like the Beach Boys' track (although a far better recording), Eye in the Sky has a gorgeous vocal that is far less gorgeous the further down you go on the playback hierarchy (the one ending in a single 3' speaker). Doug Sax put out a record years ago to demonstrate this - The Sheffield Drum/Track Record. This unpleasant fact of multi-track recording - the tendency to lose the stark deliciousness of basic tracks under further layers - is well-known among engineers.
What a revelation! I'd simply had no idea, none at all, of the sheer beauty and nuance of what I'd been listening to all those years, buried under so many layers of mono. But what really fried my brain cells was the new stereo a capella mix - just Brian Wilson and a couple others (not including Mike Love) putting in the master take. But in 1997, before it burned a hole in my wool work pants, eighty dollars went for the new box set that contained the first stereo mix of the track. On a fine system, the original mono never did much for me, nor did it inspire any particular appreciation for the group. Wouldn't It be Nice, one of their most well-known hits, sounded nice on AM radio. To explain, allow me a one-paragraph stopover with The Beach Boys. As it turns out, even more than I thought. I nearly wish that Eric had helmed every track, though I am fully aware Mr. The Alan Parsons sound was never more fully realized than when he sang lead. Breathy, choir-like harmonies adorn thick, breathy leads - at least, when Mr. If there's a singular feature of his work that is instantly recognizable it's his vocal sound. The title track and its instrumental overture make for a great demo of the possibilities awaiting. I only bought the set for that disc and don't care about anything else. NOTE: This review ONLY covers the new 5.1 surround sound mix found on the Blu-Ray.
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