Sundry Surround Sound Recordings

Planned Obsolescence

At the time of purchase in May 2015, my current universal (DTS/SACD/DVD-A/Blu-ray) player, a Pioneer BDP450, cost me a featherweight £159. Just over a year later it's "unavailable", unless I'm willing to settle for a refurbished model from Ebay. Reasonably priced multichannel DTS/SACD and DVD-Audio players are becoming really hard to find, even from the manufacturers who invented these formats. At present the best available options appear to be:

• PIONEER BDPLX58 (£449 at Richer Sounds)
• CAMBRIDGE CXU (£799.95)
• OPPO BDP105D (£1,099)
• PIONEER BDPLX88 (£1,099)

No wonder then that collectors of surround sound DVD-Audio recordings, and even more so those of multichannel DTS media or SACDs, are feeling increasingly under siege these days. For how much longer will we be able to play these purchases? How many more times will we be able to afford a new player, when the last one packs in and its perishing rubber wheels and belts and lasers can't be replaced?

This is a partial list of my surround sound recordings by format. It will let me sit and grieve as first DTS, then SACD, then DVD-A, and finally (sooner than you'd think!) Blu-ray playback become impossible. Then I will at least be able to see at a glance each month, exactly what fraction of my collection has now become permanently unavailable to me. It's also a work in progress, since I have no intention of losing the bad habit of buying these wonderful recordings; currently I'm looking forward to the much-delayed Steven Wilson remixes of the early Roxy Music albums.

Top 100+ Speciality Multichannel Studio Mixes

This first table lists recordings where a studio engineer (usually Steven Wilson or Jakko Jakszyk ;-) has carefully pored over the source material, and arranged things in space to produce a curated, meticulously arranged, surround sound experience.

Artist or Composer	Album Title	Year	Physical Media
			SACD	DVD‑A	Blu‑ray
Ian Anderson	Homo Erraticus	2014		✓
Bach	Bach Classics	17xx		✓
Bass Communion	Loss	2006		✓
The Beatles	Love	2006		✓
Beethoven	Beethoven Classics	18xx		✓
	Symphony No. 6 "Pastorale"	1808		✓
Blackfield	Blackfield V	2017			✓
David Bowie	The Rise and Fall of Ziggy Stardust...	1972	✓
Caravan	In the Land of Grey and Pink	1971		✓
Eagles	Hotel California	1976		✓
	Hell Freezes Over	1994	✓
ELP	Tarkus	1971		✓
	Trilogy	1972		✓
	Brain Salad Surgery	1973		✓
Flaming Lips	Yoshimi Battles the Pink Robots	2002		✓
Fleetwood Mac	Rumours	1977		✓
Genesis	Trespass	1970	✓	✓
	Nursery Cryme	1971	✓	✓
	Foxtrot	1972	✓	✓
	Selling England By The Pound	1973	✓	✓
	The Lamb Lies Down on Broadway	1974	✓	✓
	A Trick of the Tail	1976	✓	✓
	Wind & Wuthering		✓	✓
	...And Then There Were Three...	1978	✓	✓
	Duke	1980	✓	✓
	Abacab	1981	✓	✓
	Genesis	1983	✓	✓
	Invisible Touch	1986	✓	✓
	We Can't Dance	1991	✓	✓
Gentle Giant	Three Piece Suite	1970-2			✓
	Octopus	1972			✓
	The Power and the Glory	1974			✓
Handel	Handel's Water Garden	17xx		✓
Gavin Harrison	Cheating the Polygraph	2015		✓
Jethro Tull	Stand Up (The Elevated Edition)	1969		✓
	Benefit (A Collector's Edition)	1970		✓
	Aqualung	1971		✓
	Thick as a Brick	1972		✓
	A Passion Play	1973		✓
	War Child	1974		✓
	Minstrel in the Gallery	1975		✓
	Too Old to Rock'n'Roll: Too Young to Die!	1976		✓
	Songs from the Wood	1977		✓
	Heavy Horses	1978		✓
King Crimson	In the Court of the Crimson King	1969		✓
	In the Wake of Poseidon	1970		✓
	Lizard			✓
	Islands	1971		✓
	Larks' Tongues in Aspic	1973		✓
	Starless and Bible Black	1974		✓
	Red			✓
	Discipline	1981		✓
	Beat	1982		✓
	Three of a Perfect Pair	1984		✓
	THRAK	1995		✓
	Radical Action (To Unseat The Hold...)	2016			✓
Marillion	Misplaced Childhood	1985			✓
The Moody Blues	Days of Future Passed	1967	✓
	On the Threshold of a Dream	1969	✓
	To Our Children's Children's Children		✓
	Seventh Sojourn	1972	✓
Mozart	Mozart Classics	17xx		✓
Mike Oldfield	Tubular Bells	1973		✓
	Hergest Ridge	1974		✓
	Ommadawn	1975		✓
	Five Miles Out	1982		✓
Opeth	Still Life	1999		✓
	Deliverance & Damnation	2002/3		✓
	Watershed	2008		✓
	Heritage	2011		✓
Anthony Phillips	The Geese & the Ghost	1977		✓
	Wise After the Event	1978		✓
	Slow Dance	1990		✓
Pink Floyd	Atom Heart Mother (Devi/Ation, quad)	1970		✓	✓
	Echoes (Reverber/Ation, quad)	1971		✓	✓
	Meddle (Reverber/Ation, 5.1)	1971			✓
	The Dark Side of the Moon	1973		✓	✓
	Wish You Were Here	1975		✓	✓
Porcupine Tree	Stupid Dream	1999		✓
	Lightbulb Sun	2000		✓
	Deadwing (2 copies, 1 signed)	2005		✓
	Fear of a Blank Planet	2007		✓
	The Incident	2009		✓
Riverside	Love, Fear and the Time Machine	2015		✓
Roxy Music	Roxy Music	1972		✓
	Avalon	1982	✓
Schubert	Schubert Classics	18xx		✓
Simple Minds	New Gold Dream (81-82-83-84)	1982		✓
	Sparkle in the Rain	1984		✓
	Once Upon a Time	1985		✓
Steely Dan	Gaucho	1980	✓
	Everything Must Go	2003		✓
T. Rex	Electric Warrior	1971	✓
Tchaikovsky	Tchaikovsky Classics	18xx		✓
	The Nutcracker	1892		✓
Tears for Fears	Songs from the Big Chair	1985			✓
Trondheim Solistene	Divertimenti	2008	✓		✓
	In Folk Style	2010	✓		✓
Rick Wakeman	The Six Wives of Henry VIII	1973		✓
	The Myths and Legends of King Arthur...	1975		✓
The Who	Tommy	1969	✓
	Quadrophenia	1973			✓
Steven Wilson	Insurgentes	2009		✓
	Grace for Drowning	2011			✓
	The Raven that Refused to Sing	2013		✓	✓
	Drive Home				✓
	Hand. Cannot. Erase.	2015		✓	✓
	4½	2016			✓
	To The Bone	2017		✓	✓
XTC	Drums and Wires	1979			✓
	Skylarking	1986			✓
	Oranges & Lemons	1989			✓
	Nonsuch	1992			✓
Yes	The Yes Album	1971		✓	✓
	Fragile (2002 - Rhino)			✓
	Fragile (2015 - Panegyric)			✓	✓
	Close to the Edge	1972		✓	✓
	Tales from Topographic Oceans	1973		✓	✓
	Relayer	1974		✓	✓

Notice that most of the Yes titles are double entries (in fact Fragile is a triple): the DVD-Audio and Blu-ray editions of these are of course equally essential.

The Loneliness of the Long Interval Musicologist

The Year column is problematic. Every recording has its place on multiple chronologies; for example, the life and development of its composer, its conductor, and its performing artist(s). The difficulty is that different performances naturally emphasise disparate chronologies, and a single date field in a table or database struggles to accommodate these variations.

For the historical study of musical development, the time stamp of primary interest is the date of composition. Sadly this is not recorded in typical media metadata, such as the ID3 tags on MP3 files. The "Year" recorded there represents the release date - when the particular edition was issued. Now, for most "popular" music (in the strict Amazon.com sense of "anything non-classical"), this is close enough to the date of composition; but for all of the recordings listed here, without exception, the release date for the multichannel edition is many years later than that of first publication of the original material, and the problem is only worse in the case of classical works.

Generally I've tried to get as close as possible to the date of composition. That means for popular works using the year of first issue, and for classical, the historical year (or century, for compilations) of composition. Still there remain intractable inconsistencies. For example, all of the material on the Beatles' "Love" album was recorded and issued long before Cirque du Soleil went shopping for a soundtrack in 2006. Finally, there's Daniel Barenboim. When the focus of a classical recording is neither composer nor performer, but instead a famous conductor, then I use the performance date.

Live Surround Sound Music Videos

This second table lists live video recordings of musical performances that just happen to have a surround sound component, often limited to a feeling of ambience in the hall where the recording was made. These are the second class citizens of the surround sound community, and this collection listing will be incomplete.

Artist or Composer	Album Title	Year	Physical Media
			DVD	Blu‑ray
Ash	Tokyo Blitz	2001	✓
Daniel Barenboim	Knowledge is the Beginning / The Ramallah Concert	2008	✓
	Neujahrskoncert 2009	2009	✓
	Europakonzert 10	2010		✓
	Mahler Symphony No. 9		✓
	The Salzburg Concerts	2011		✓
Blackfield	NYC - Blackfield Live In New York City	2007	✓
Dream Theater	Live at Budokan	2004	✓
	Score	2006	✓
David Gilmour	Remember That Night	2007	✓
Led Zeppelin	The Song Remains the Same	1999	✓
	Led Zeppelin	2003	✓
Opeth	Lamentations	2006	✓
	The Roundhouse Tapes	2007	✓
	Live at the Royal Albert Hall	2010	✓
Orphaned Land	The Road to Or Shalem	2011	✓
Porcupine Tree	Arriving Somewhere...	2006	✓
	Anesthetize	2010	✓	✓
Steven Wilson	Get All You Deserve	2012	✓	✓
Yes	Symphonic Live	2002	✓
	YesSpeak	2003	✓
	Acoustic	2004	✓
	Live at Montreux 2003	2007	✓
Youssou N'Dour	Live at Montreux 1989	2005	✓

This is Addressed to Geoff Taylor

Of The BPI (British Recorded Music Industry)

Still in his job [sigh].

Everything is a Remix

New York-based film writer, director and editor Kirby Ferguson's brilliant little set of four 10-minute videos, Everything is a Remix, produced over the course of two years, reminds us of the original motivation behind copyright and patent law. Namely, to create a short period of controlled monopoly, allowing inventors and creators to recoup their development costs. And emphatically not to allow those rights holders to continue to profit almost indefinitely from their creations, while preventing others from doing anything similar or related.









Hat tip: Neurobonkers.

A Plea For Perspective

This started out as a reasoned argument about the benefits of good copyright law, the nature of infringement, the relation of preventative measures to criminal penalties and civil reparations, proportionality, and human rights. Then the words started moving around the screen, crossing lines and joining up in ways I never intended. Rhymes and rhythms appeared from nowhere. Now all that remains of my rational critique is the title. Everything else has somehow morphed into an old fashioned protest song. It's irrational, unreasonable and untidy. Worse, it's no longer even aimed at the correct target. I'm just glad I didn't write it.

Horse theft was once a hanging offence, for the arguably excellent reason that in pioneering days, taking a man's method of transport was precisely equivalent to taking away his right to life. Today's inner cities throughout the world harbour rings of corruption and vice, with similarly protective and extreme codes of retribution. And then there are those in the entertainment industry, who view copyright infringement as on a par with horse theft. Their livelihood is threatened; they smell blood; no penalty is too severe. Internet access might by now be a basic human right, but no matter. They'll continue to press for ultimate power over their victims, to demand disconnection from all aspects of life, for an act precisely as innocuous as lending a friend a book.

Anyway, here's the song, clean version. The original as mentioned above more or less writes itself; you should have no trouble reconstituting it with a packet of F-bombs. It's dedicated to all the music and other entertainment industry lobbyists out there, who lobbied hard and lobbied in secret, paid in gold and silver, to get the dreadful Digital Economy Bill forced through its crucial third reading in the House of Commons. You are a parcel of rogues.

Entertainers!

You're entertainers!
You're an actor or a singer or you maybe play guitar
You're entertainers!
But you've got some big ideas of who the hell you think you are

For you would kick us off internet if ever we're accused
Of taking copies of your work from sites we've never even used
And you would love to see our innocents and families deprived
Of their resources and of services that are their human rights

You are not teachers!
Not a surgeon nor a doctor nor a fireman nor a cop
You're entertainers!
But your sense of self importance has no notion where to stop

And the power you demand's like disconnecting our supply
Of electricity or air or making water taps run dry
You'd prevent us online shopping you'd disrupt our education
And our private mail and messages and all communication

You're entertainers!
Or you push the pens and count the beans of those who make that claim
You're entertainers!
And you're a little bit deranged if you believe you're not to blame

Just as voters are responsible for all their countries' wars
So you're every bit as guilty as the suits who fight your cause
Did you ever stop to think the prosecutions you pursue
Are all against the very people who contribute most to you

You're entertainers!
You're a dancer or a writer or you make computer games
You're entertainers!
But it looks like you forgot the very streets from which you came

Did you seriously think we'd all lie down while you unfurled
Our basic fundamental rights to interact with all the world
Well if copyright infringement disconnects us through the courts
I'll tell you I can dance and I can sing and you can eat my shorts

Licensed under a Creative Commons Attribution Non-Commercial 2.5 licence. This means you're free to copy and share the song but not to sell it.

In Bad Faith

An Open Letter To Ruth Gledhill

In a week when the BBC's iPhone apps for news and sport are put on hold, due to complaints by the Newspaper Publishers Association, whose director David Newell has demanded they be blocked...

In a week when the Rupert Murdoch minion army announces its intention to have the Times and Sunday Times websites disappear behind a paywall...

In a week appropriately containing an April Fools' Day, this woman has been busying herself with the paste and the scissors, composing an ensemble piece all about the hands being wrung, and souls searched, today throughout one particular Church.

Ruth Gledhill is The Times Religion Correspondent. In this blog she offers her views on the issues of the day. So runs the blurb beside her mugshot. Her views? Would that it were true! And it continues: Your responses are invited.

Ah, good.

The subject of today's lesson shall be: the twin evils of plagiarism and copyright infringement. Ruth, from a total of 827 words in the forementioned article, fully 166, or 20%, are your own, and these are mostly of the type "She says...", "He writes...", "She said...". Particularly irksome, however, is your block transcription of the highly platitudinous 458 word Thought for the Day piece by Tablet editor Catherine Pepinster.

Normally of course, I would have time for neither your writing, nor Pepinster's, and still less for the worldwide organisation of kiddie fiddlers you write about. However, you really must get someone to explain copyright law to you, or else perhaps find a job that you can do. It is scarcely enough merely to note that it "...was so profoundly moving that I hope the BBC won't mind if I reproduce it..." and then pinching your nose, pull down the big fat Ctrl-V.

Did you also find the new Lily Allen album so profoundly moving, that you hope she won't mind if you tear off a few free copies to share with sell to your friends?

Is this the standard of journalism that we are to expect from The Times Online, when it starts charging daily for access to recycled content, blagged from the BBC where we have already paid for it once (and even then, not without a great deal of protest at the Thought for the Day show's exclusion of secular humanists)? In a publication which calls publicly for the dismantling of the BBC, the blocking of its technological development, the scrapping of its license fee "to create a level playing field", where its journalists can get down in the mud, rutting beside the likes of you?

I was very sorely tempted to repurpose your own headline, actually an India Knight quote, You can't take lessons in morality from people who disgust you, for this item; but that would have gone too far. Please, just try to remember that you're paid to write, not to compile scrapbooks of stolen trinkets.

Your photo was so profoundly moving, that I hope © Times Online won't mind if I reproduce it.