HiRez Poll Fahl, Mary - FROM THE DARK SIDE OF THE MOON [Blu-Ray Audio]

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Rate the BDA of Mary Fahl - FROM THE DARK SIDE OF THE MOON


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rtbluray

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Please post your thoughts and comments on this 2020 Blu-Ray release of the album "From the Dark Side of the Moon", a re-interpretation of the classic Pink Floyd album recorded by Mary Fahl.
Mixed in 5.1 surround by Bob Clearmountain!

(y) :) (n)


 

elinter

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I don't hate it. It is very immersive and discrete, which I love. Very well done surround mastering. I'm generally a fan of atmospheric electronica, and this recording strikes that chord too. The problem is I've been listening to the original DSOTM since it was released, know, love, and still play it often, so why would I want this recording? It's different...not better mind you...but different. Just enough like the original that it is familiar but also just enough different to keep me from being contemptuous. I will say that the second half starting with Money is much better and my favorite part of the recording. I voted 8 overall: surround mix: - 10; Fidelity - 9; and enjoyability (keeps me interested) - 7.
 

4-earredwonder

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Call me THE FAHL GUY. I too grew up on the original DSOTM and it's forever etched in my memory and also have the Cheksy 5.0 disc JAZZ SIDE OF THE MOON another PF 'tribute' album.

I think Mary and Company did a yeoman's job reinterpreting the PF classic and Bob Clearmountains spectacular 5.1 HI RES Remix is fabulous.

Only hope Mary revisits some of her prior albums and re~releases them in 5.1.

I voted a 9.
 

sjcorne

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I had never heard of this album prior to the announcement back in October, but the release of a long-lost surround version mixed by Bob Clearmountain was enough to pique my interest.

How much this re-interpretation of a classic ends up working for you is probably dependent on how familiar you are with the original album. I'll be the first to admit that I've gotten a bit tired of the original and haven't listened to it in a long time, so it really surprised me how much I ended up enjoying this version. The production here often evokes the original, but sometimes goes in unexpected new directions. It works for me, but if you're a longtime fan and consider the original to be sacred ground, maybe you won't be as enthusiastic.

Anyway, the Blu-Ray arrived at my doorstep a few days ago and I'm completely blown away. Wow! This might be my favorite out of all of Bob Clearmountain’s 5.1 mixes. It’s so complex, intricate, and mesmerizing that it would probably take a mini-essay to explain exactly what's happening in each song! This is no “set-it-and-forget-it” ordeal - he put everything and the kitchen sink into this one and it shows.

Like the best surround mixes, it’s incredibly effective in revealing the complexity and depth of the production - and Mary’s vocal is so forward and clear that it sounds like she’s in the room with you.

There's too many highlights to mention, but one of my favorite moments has to be the bass guitar blasting from the center channel in "Any Colour You Like”. Hope you have a big center speaker!

It won’t appeal to everyone, but for me this is a clear "10" - I can't remember the last time I played the same disc four nights in a row.

"Breathe"/"On The Run":
Breathe_Run_FDSOTM.jpg

"Us And Them"/"Any Colour You Like":
FDSOTM_6_7.jpg
 
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JonUrban

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So I went ahead and got this due to the great reception it got from members here on the forum. And hey, how much other stuff is coming out anyway?

So it arrived and I put it on. Remember, I was around when the original was new, so I've lived with this material for almost 50 years. Obviously, I know it well.

Right out of the gate the sound is incredible. Clear, clean and oh, what a great surround experience. Really, this is demo quality audio and surround. On first listen I was just going to spot check it but I ended up listening to the whole thing just because it sounded so good.

Of course it's not the original, but it does not pretend to be. That's what I like. It's one of the reasons I am not a big "Tribute Band" type of person. If I want to hear the original, I will play the original. This recording does not try and be the original, which is a great thing! Consequently, you should not immediately compare it to the original.

If you distance yourself from the original and just listen, it's going to be a personal thing. There are moments to me that are wondrous - I just sat there and absorbed the sound and the mix, thinking how great this would be with the lights out, or on the road at night. There were other times where I felt uncomfortable with the take on a song. It wasn't that it was bad, it just didn't sound right. Again, it's the old man thing.

On the whole, I can see how this could be loved, liked, and not liked. I personally am going to listen to it in its entirety a few more times before I vote, but I can already tell you without hesitation that for surround it's a 10, for audio quality it's a 10. No debate there. I just think that it will take multiple listens to digest it completely.

I am not being negative here. Far from it. If this was not a historic piece of music it would be a 10 all of the way with me. There is just no way to completely detach my brain cells from the original when I am listening to this new take. I think elinter above feels the same way.

It's more than a worthy effort and I would absolutely recommend this disc to surround fans. However, don't expect it to be a clone of the original. If you do, you will probably be disappointed.

Great job by Mary and her team. This is a breath of fresh air in the surround music marketplace.
 

Infomas

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I love Mary's interpretation of the album. To me, it is important when someone reinterprets work, that if they take out hooks that made the song great, they need to put some of their own in. Holly Cole does this really well. A lot of jazz performers don't. They just take out the hooks and change the phrasing. I think Mary did a good job of finding that balance. It is really enjoyable to listen to. The fidelity and the mix are both excellent. It is hard to find a weakness in this album. Happy to give it a 10.
 

edisonbaggins

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I'm coming to realize, after sitting with this album a while, that it really isn't just Mary's album, but also Mark Doyle's to a very significant extent.
He did almost all the instrumentation and arranging. That is damned impressive. I love Mary's work on this, but I think Mark's has been overshadowed a little.
Just putting in my $0.02 to try to correct that some!
 

Elad

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I have followed Mary since she was in October Project and her solo career. I love her voice there is something hauntingly beautiful about it. I was thrilled to see her interview with Mike on Life in Surround made me understand the approach they took with DSOTM so was anxious to hear it.
For me DSOTM by Pink Floyd was the first surround sound Sacd I bought so it has a special place with me. Mary interpretation of DSOTM is just that and for me it worked her chanting made the hair on my arms stand up. This is an amazing recorded discreet surround sound cd from an artist that I feel is underrated who took a chance on a beloved album and made it her own.
 

Dillydipper

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I'm coming to realize, after sitting with this album a while, that it really isn't just Mary's album, but also Mark Doyle's to a very significant extent.
He did almost all the instrumentation and arranging. That is damned impressive. I love Mary's work on this, but I think Mark's has been overshadowed a little.
Just putting in my $0.02 to try to correct that some!
I thought the interview was very good - and respectful - but Mark didn't get nearly enough time to answer the technical side of things Mary doesn't really deal with in her side of equation. And it's plain that Mary's going to get a lot of deserved kudos for this project that will get her better known, despite not even being all that involved with the surround part of the project to begin with. It's no fault of hers, she was pursuing an album she was invested in thoroughly. And, it soars. That the significance of the mix was made plain to her after the fact, is something we can all be grateful for. It's just not as close to her skillset...but you can be damned sure, she's paying attention now! Couldn't believe she admits, surround isn't even a part of her day-to-day listening life by now. Brave and honest, Mary!

It makes me wonder, how involved Jonatha Brooke was with the DVD-A phase of her Steady Pull album she did with Clearmountain. She is also more than just a performer, but a label owner as well; I think it is also a shame that the way the mainstream marketplace missed-out on that stunning redbook album, the surround marketplace didn't really get the resulting push to turn their attention to that packed-with-features surround flipper disc, either. 5.1; stereo; hi-res; videos; making-of videos; extras extras extras...that thing is stuffed to the gills!
 

Guitmark

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I thought the interview was very good - and respectful - but Mark didn't get nearly enough time to answer the technical side of things Mary doesn't really deal with in her side of equation. And it's plain that Mary's going to get a lot of deserved kudos for this project that will get her better known, despite not even being all that involved with the surround part of the project to begin with. It's no fault of hers, she was pursuing an album she was invested in thoroughly. And, it soars. That the significance of the mix was made plain to her after the fact, is something we can all be grateful for. It's just not as close to her skillset...but you can be damned sure, she's paying attention now! Couldn't believe she admits, surround isn't even a part of her day-to-day listening life by now. Brave and honest, Mary!

It makes me wonder, how involved Jonatha Brooke was with the DVD-A phase of her Steady Pull album she did with Clearmountain. She is also more than just a performer, but a label owner as well; I think it is also a shame that the way the mainstream marketplace missed-out on that stunning redbook album, the surround marketplace didn't really get the resulting push to turn their attention to that packed-with-features surround flipper disc, either. 5.1; stereo; hi-res; videos; making-of videos; extras extras extras...that thing is stuffed to the gills!
I appreciate all the positive feedback about the album and I’m also grateful for being singled out for my contribution. Although my instinct tells me to recuse myself, I don’t want to be a lurker, haha. So I would be happy to field any technical questions anyone might have.
Mark Doyle
 

Clement

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I appreciate all the positive feedback about the album and I’m also grateful for being singled out for my contribution. Although my instinct tells me to recuse myself, I don’t want to be a lurker, haha. So I would be happy to field any technical questions anyone might have.
Mark Doyle
Wow! Welcome! So exciting to see you here! This release is FAST becoming one of my favorites! I can't get enough of your wonderful stuff.
 

edisonbaggins

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I appreciate all the positive feedback about the album and I’m also grateful for being singled out for my contribution. Although my instinct tells me to recuse myself, I don’t want to be a lurker, haha. So I would be happy to field any technical questions anyone might have.
Mark Doyle
A very warm welcome, Mark. I think it was watching your Guitar Noir DVD that really got me thinking about your bravery and skill at arranging very classic material.
I don't think I'd have the guts to do that. And you pull it off extremely well. I can see even more clearly why you were a natural choice for David Werner and Mary to team up with.
 

Clement

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Awhile ago, I promised a review. This is why I vote a 10

The first word that comes to mind is transcendent. forilla GODzilla--one of the great revisions (re-envisionings) of one of the greats.

I stopped drinking and drugging a tad over six years ago. I found surround to try and replicate some of what I felt I had lost. Tout se retrouve à nouvelle, indeed! Vraiment!

Some of the most mind-bending and engaging surround I have ever heard has me sonically submerged feeling like I and Eye are reading the Word--a spiritual trip toward Truth.

As a settler on stolen land, I am initially struck by the indigenous beat--for Turtle Islanders, the drum carries the heartbeat of our Mother, giving life rhythm and meaning. Mary’s voice careening, established with chanting and layers and layers of sound . . . Dante’s Inferno profound: I found myself in a forest dark for the straightforward path will be lost. What to do? All we can do is breathe and run and dig another one . . .

Each track takes the concept to the next level. Racing toward an early grave--clockwise whine of 17 17 17 17 blows my mind (a favorite prime? Military time? End of the 9-5 grind?) What a wonderful update of “Time” to include car alarms and apocalyptic intrusions compounding confusions and sonic infusions salve sole/soul contusions soaring guitar tolling between the iron division bells swells as the faithful driven to our knees listen to whispered magic spells of Mary’s instrument soaring and imploring restoring gliding eliding--i heard the Word in the reverb set free by the mystery turning and turning in the widening gyre toward “The Great Gig in the Sky” . . .

And then, from the surrealistic swirl, all is made clear by the “Money” till filling the soundstage finally making cents--as others have noted, “Money” is the weak link in the original for me (and as Mike Viera pointed out, not the bluesy kind of spoken word thing Waters had originally planned). Fahl’s leering jet set delivery makes “Money” the indictment it was always meant to be--and so damn true in the 21st century last throes of exploitative capitalism!

Whaaa . . . ?! From Doyle’s driven guitar riven jism schism comes "Us and Them"!? The morphing majesty anchored by Oppenheimer’s Bhagavad Gita recitation (Fahl’s interview interjection explaining this direction) chanted until my spine is reconfigured by Doyle’s bassline strike in “Any Colour You Like” the industrial march continuing through the pain hemorrhage as “Brain Damage” waves stave off the Luna see you on the dark side of the sun is eclipsed by the moon as--for this listener--this Clearmountain stream of Doyle’s foil to the Fahl of man bests the original by reconfiguring it for the new millenium covid 19 scene . . . know what I’m saying; know what I mean?
 
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humprof

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Awhile ago, I promised a review. This is why I vote a 10

The first word that comes to mind is transcendent. forilla GODzilla--one of the great revisions (re-envisionings) of one of the greats.

I stopped drinking and drugging a tad over six years ago. I found surround to try and replicate some of what I felt I had lost. Tout se retrouve à nouvelle, indeed! Vraiment!

Some of the most mind-bending and engaging surround I have ever heard has me sonically submerged feeling like I and Eye are reading the Word--a spiritual trip toward Truth.

As a settler on stolen land, I am initially struck by the indigenous beat--for Turtle Islanders, the drum carries the heartbeat of our Mother, giving life rhythm and meaning. Mary’s voice careening, established with chanting and layers and layers of sound . . . Dante’s Inferno profound: I found myself in a forest dark for the straightforward path will be lost. What to do? All we can do is breathe and run and dig another one . . .

Each track takes the concept to the next level. Racing toward an early grave--clockwise grind of 17 17 17 17 blows my mind (a favorite prime? Military time? End of the 9-5 grind?) What a wonderful update of “Time” to include car alarms and apocalyptic intrusions compounding confusions and sonic infusions salve sole/soul contusions soaring guitar tolling between the iron division bells swells as the faithful driven to our knees listen to whispered magic spells of Mary’s instrument soaring and imploring restoring gliding eliding--i heard the Word in the reverb set free by the mystery turning and turning in the widening gyre toward “The Great Gig in the Sky” . . .

And then, from the surrealistic swirl, all is made clear by the “Money” till filling the soundstage finally making cents--as others have noted, “Money” is the weak link in the original for me (and as Mike Viera pointed out, not the bluesy kind of spoken word thing Waters had originally planned). Fahl’s leering jet set delivery makes “Money” the indictment it was always meant to be--and so damn true in the 21st century last throes of exploitative capitalism!

Whaaa . . . ?! From Doyle’s driven guitar riven jism schism comes "Us and Them"!? The morphing majesty anchored by Oppenheimer’s Bhagavad Gita recitation (Fahl’s interview interjection explaining this direction) chanted until my spine is reconfigured by Doyle’s bassline strike in “Any Colour You Like” the industrial march continuing through the pain hemorrhage as “Brain Damage” waves stave off the Luna see you on the dark side of the sun is eclipsed by the moon as--for this listener--this Clearmountain stream of Doyle’s foil to the Fahl of man bests the original by reconfiguring it for the new millenium covid 19 scene . . . know what I’m saying; know what I mean?
No emoji can convey my response to your oracular review, @Clement . Who needs drug and drink? Like Rimbaud, like Joyce, like Ginsburg, like the Last Poets, you're high on words!
 
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