Here's what "grazing in the grass' looks like.
Just an observation:
That weak-looking FL track contains bass and drums, and little else to my ears.
what a weird mix.. no idea exactly what they were going for with it but this is what I'm hearing on the SACD;
FL = bass, drums
FR = lead vocals, backing vocals, congas, tambourine, strings.
SL = lead vocals, backing vocals, strings, reverb of congas.
SR = lead vocals, backing vocals, strings, bass (lower in mix), rhythm guitar, reverb of congas, fuzz guitar solo.
Fixed it for you, fred.
Good catch on the bass element in RR, I had missed that.
Thanks for the thoughtful analysis, gents.
:worthy
If I might direct your attention to the instrumental break after “Can you dig it, baby…” from 1:30 - 1:45:
To me that is a legitimate mix that doesn’t sound like a mistake.
[Edit: meant to attach this slice of sully's audio grab]
I mean, be fair. This tune was recorded in Hollywood in 1968.
No idea when it was mixed for surround, by whom, or what kind of multi-tracks they had to work with.
Possibly the FL was mixed to one track on the fly, as this couldn’t possibly have been intended for surround release at the time.
Very close to the time period of Sgt Pepper.
Folks slag off Giles Martin for not getting adventurous enough with the 2017 surround.
Well, here you go then. Creativity in vintage quad.
Not fair to apply today’s standards to fifty-year old recordings.
For a bit of perspective, I humbly suggest listening to some 60s soul in stereo, then switching directly to this track.
Without listening to a Wilson prog mix or any of the newer Collection tracks along the way.
The orchestra and vocals FR are certainly hot to my ears, perhaps a bit, what, overdriven, compressed?
But again, Pop recorded in the 60s for mono jukeboxes and car radios, not audiophiles.
Kindly note the mastering for SACD was by Steve Hoffman.
If one doesn't appreciate discrete bass / drum in a front channel, hot voc. / orch. opposite front, so be it, but to me it doesn’t sound broken, just different.
If one can manage to stand up from his chair in the sweet spot and walk a step or two toward the FL, turn and face the RR, that is another interesting way to hear the vocals spread out before you with the rhythm section at your back.
Do I recall correctly that this "diamond" speaker arrangement [ L, R, Frt Ctr, Rear Ctr] was an early quad experiment, rotated 90 degrees from the standard "square" speakers on the corners configuration that became standard?
[Edit: deleted repeating myself]
From Wiki:
The Friends of Distinction recorded a vocal cover version of the tune in 1969 on RCA Victor, which was also a Top Ten pop and R&B hit, reaching no. 3 on the former and no. 5 on the latter.
One of the group's members, Harry Elston, wrote lyrics for the song and sang lead on the Friends Of Distinction's version of it.
The Friends of Distinction - vocals
Max Bennett - electric bass
Johnny Guthrie - drums
Al Casey and Arthur Wright - guitars
Gene Cipriano - piccolo flute
John Audino, Anthony Terran, Bud Childers, Dalton Smith - trumpets
King Errisson - congas
Douglas Davis - cello
Jim Horn - tenor saxophone,
Garry Nuttycombe - viola
Harry Bluestone, Jimmy Getzoff - violins
Jack Arnold - percussion
Larry Knechtel - piano
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