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  • Or, the forum for the old vinyl and quad 8's and reels. It's far from complete--there are many hundreds of non-classical titles yet to post--but a few hundred are here with more to come; I pretty much add 'em when I'm in the mood, or one of you good folks PM me with a request to add something. The best way to use this forum is to go to the bottom of the page and look for something alphabetically by title. The last name of an artist is first where applicable, as in Simon, Paul. The Guess Who are listed as Guess Who, The, to facilitate finding them easily. Soundtracks, Original Cast, and Various Artists are listed as such first, then the album title. A few classical titles are here, with Classical as a header (or will be if I ever weed them in). The idea is to be able to alphabetize and then click, page by page, an A-Z (forward or backward) of what it up at the moment. To do this effectively, remember to click 'Beginning' in the left box, 'Thread title' to its right, so that all titles will list. No titles are ever removed, and all are accessible, and nothing (to date) has been lost in the ether. Just as vinyl lasts a lot longer than its creators could have imagined, so has this board, so far. We're small but we ain't goin' anywhere! FWIW, most of these mixes are long out of print, and only available digitally through like-minded audiophiles--some easy to find, some tough, some perhaps impossible at this time due to rarity or someone just hasn't gotten around to making a transfer from the original sources. That's too bad, but the record companies in the new millennium have no interest in reissuing these even as DTS titles. The exceptions are the QS albums, which if you have the equipment, should decode on CD as they did on vinyl, since for most only a QS master was made. Some SQ titles do exist on CD as well, but not a lot, and less of those were SQ only. As for CD-4 discrete, some titles have made their way onto DVD-Audio, DVD or SACD formats and some OOP DTS titles, but the majority are still commercially unavailable, alas. Only vintage albums are spotlighted here, although there is nothing wrong with discussing the alternate 5.1 or quad mixes that have come along since the 1971-76 'golden age' of quadraphonic sound which, thanks to the three major competing formats (CD-4, SQ, QS), inferior decoding equipment, and consumer confusion and misunderstanding and major label incompetence, rendered the format all but dead by the end of '76. Anyone curious about what quad titles from this time frame exist should click here for Mark Anderson's discography listings. Final note: If there is a title you want to see here that I haven't gotten to as yet, shoot me a PM and I'll see what I can do. There are still many hundreds left to go, and we're here to stay.... ED

Quad LP/Tape Poll Essex. David: Rock On [SQ/Q8]

Help Support QuadraphonicQuad:

Rate "Rock On"

  • 7

    Votes: 0 0.0%
  • 6

    Votes: 0 0.0%
  • 5: Mediocre

    Votes: 0 0.0%
  • 4

    Votes: 0 0.0%
  • 3

    Votes: 0 0.0%
  • 2

    Votes: 0 0.0%
  • 1: Utter crap

    Votes: 0 0.0%

  • Total voters
    9

EMB

2K Club - QQ Super Nova
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Columbia CQ/MAQ 32560 from 1974.


Side 1:

Lamplight
Turn Me Loose
On and On
Streetfight
Rock On

Side 2:

Ocean Girl
Bring in the Sun
For Emily, Whenever I May Find Her
We All Insane
Tell Him No
September 15th


ED :)
 

JonUrban

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The title track, from the Q8 version, is one of the most amazing quad mixes of the quadraphonic era. It really has to be heard to be believed. And the fact that it was created in a world with no Pro Tools/Desktop/Software is a testament to the job those early quad mixers did.

I remember suggesting to Marshall that this track should be on that "Collection" SACD before the track list was released. He was quite enthusiastic with that thought, but apparently obtaining it was a different story.
 

LuvMyQuad

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The title track, from the Q8 version, is one of the most amazing quad mixes of the quadraphonic era. It really has to be heard to be believed. And the fact that it was created in a world with no Pro Tools/Desktop/Software is a testament to the job those early quad mixers did.
Agreed. When I heard it for the first time it sounded so different from the stereo mix. I thought there was no way all those sounds and echoes could be on the stereo mix, but they are all there, buried in the two channels. When opened up in quad it truly comes alive and is one of the most over the top mixes I can think of. I still use it as a demo track.

I gave it a 10. No other voters on this?

EDIT: After coming upon this post I did a bit of research. I was surprised to learn the following facts.

The track was produced by Jeff Wayne... the same Jeff Wayne responsible for War of the Worlds.

There are no guitars or keyboards in the song. There are no chords. Only three musicians were used to create the music.

Interesting story here
 

fredblue

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Jeff Wayne also did the Quad mix of the whole album iirc its the only Quad mix i could find accredited to him.
 

fizzywiggs41

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Never picked up this quad disc, back in the day. Passed on it a couple times.

OK, NOW IT'S ON MY LIST. (y)
 

LuvMyQuad

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Jeff Wayne also did the Quad mix of the whole album iirc its the only Quad mix i could find accredited to him.
So did he mix the WOTW 5.1 reissue? Meaning this is his only quad mix, but not his only MC mix? Damn fine job for a first timer I'd say.
 

fredblue

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So did he mix the WOTW 5.1 reissue? Meaning this is his only quad mix, but not his only MC mix? Damn fine job for a first timer I'd say.
i'll have to double check but pretty sure he mixed WOTW in 5.1 also.
he did a great job on this Quad for sure!
 

DuncanS

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Back in '73 David Essex was the girls pop star pin-up at school :)yikes was it really 44 years ago) so us lads rubbished him, its was Hendrix, Sabbath, Purple, Floyd etc. only for us. But a few years ago I heard some of his tracks off Rock On and thought that's not bad at all!
 

fizzywiggs41

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Back in '73 David Essex was the girls pop star pin-up at school :)yikes was it really 44 years ago) so us lads rubbished him, its was Hendrix, Sabbath, Purple, Floyd etc. only for us. But a few years ago I heard some of his tracks off Rock On and thought that's not bad at all!
Yeah, maybe that was part of the reason I passed on the disc way back when. That and the" one hit wonder " factor.
 

Quadzilla

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Yeah, maybe that was part of the reason I passed on the disc way back when. That and the" one hit wonder " factor.
That is exactly what I thought about 'Bread'. 'Baby I'm a Want You'? Yuck! :mad:

My little sister bought the Quadradisc LP thinking that she could play it on my quad system. :rolleyes:

She was mistaken ... but she might still have it, and it is probably unplayed ... maybe even sealed. :D

She liked the 'Partridge Family' too.
 

sjcorne

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Recently acquired on both SQ and Q8. Awesome mix, but pretty weird album overall. I'm not sure I'll revisit, but as others have stated the mix on the title track is totally worth the price of admission.

Interestingly it's not your standard Columbia Q8 fare: The vocals are kind of everywhere and there's lots of delay/reverb, yet it is extremely discrete. It's hard to describe the effect, but it's sort of like the surround image is constantly in motion. The vocals seem to shift back-and-forth from front center to the rears, while all the other effects and voices pop out of different corners. You may not realize it at first but it actually does honor the stereo version, sort of giving it an extra dimension and expanding it to the extreme. Demo material for sure.
 
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willothewisp

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Jul 5, 2014
Messages
100
have to agree, this is truly one of the lost demo albums of the quad era. and strangely it doesn't appear to have aged, compared to many other albums. it sounds as fresh now as it did then, which i put down to the superb quad mix and the lack of sounds that pin it to the 1970's.

i give it 10/10
 

PodCat

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The title track, from the Q8 version, is one of the most amazing quad mixes of the quadraphonic era. It really has to be heard to be believed. And the fact that it was created in a world with no Pro Tools/Desktop/Software is a testament to the job those early quad mixers did.
True that.

One of the first quad mixes I heard, along with "All I Know" from Angel Clare, both of whose sonic perfection led me to the mistaken belief that all quad mixes would be equally satisfying (and boy oh boy, was I wrong.). I now realize just how difficult a mix like this was -- singers, a band, and half an orchestra through sixteen tracks, all channeled through different levels of reverb and other effects. And all recreating the balance of the original mix perfectly. It was almost impossible, and only Roy Halee or one of his Columbia ilk could have pulled that off. Rather than be faced with the usual Hobson's choice, for most CBS quad, of poor sound auality (Q8) or poor separation (SQ), it would be nice to have an SACD release. I listen mostly to the SQ which does decode nicely.

Frankly, the mix on the other tracks is not so great. I find the differences from the stereo mix, such as overloud background vocals in Lamplight and We All Insane, irritating -- with one notable exception. Tell Him No replaces the stereo version's cheesy wah guitar with a much more fitting set of horns -- a rare case of the quad mix content being clearly superior to the stereo release.
 

The Auroran

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A great mix with plenty of space, it's a real shame the quad mix isn't better known as there's great use of the four channel stage with just the occasional bouncing/moving sounds. A great listen and recommended for all, you just need to forget his pop image of the time.
 

chas9496

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How does an SQ LP decode well ? My Monster Sansui receiver never decoded anything. There is "Decode" settings but did nothing, it still played in stereo. That should have had a Built-In Decoder. Sorry to revive an old thread.
 

humprof

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Sound: 8 (with allowances for the format). I haven't heard the SQLP, but even the immaculate conversion I came by might benefit from a slight a low-end boost. Otherwise excellent fidelity, especially for a Q8. I agree with all those above stumping for an SACD release. (Paging Mr. Dutton?)

Mix: 10. As everyone else has said, the title track is an indisputable showcase. But unlike PodCat, I think most of the rest of the album is good fun, too: uber-discrete, with lots of playful, subtle touches, particularly in the use of the rears. Kudos to producer/composer/moog player/impresario/Essex collaborator Jeff Wayne, who supervised the mix, but also to fellow first-(and only?)timer Jeff Young, who engineered it.

Content: 9. This is an acquired taste, for sure. I really like the trippier, glammier stuff that makes up most the album. The last couple of tracks, where Essex shows his musical-theatre roots, are comparative yawners.

9 overall.
 
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