Just to dispense with some ******** and have it out of the way:
1. This is simply an exceptional, well considered mix: playful but doesn't go out of its way to impress you--that is, those involved assume you're going to know the album very well to start with! That's always good, and with the percussive second part of "Moonchild"--important, since it doesn't need to go buggering about, just needs to frolic about and play and it does! :banana:
2. One thing that strikes me is the nicely defined, clear bass and harmonics. If there is one thing surround SHOULD do but sometimes does not, is make clear what's separate in an active, layered mix like "21st Century," "Epitaph" and the title track. Here we get some real subtlety when not being bombarded (as we should be) by the sonic assaults we're familiar with in stereo.
3. Speaking of which....over the years, this album has gone through many, many masterings. I must have at least six vinyl copies, and an original Polydor red label CD, and three EG editions (now including this one, maybe four?). Ok, that's a lotta masterings and crap to go over a not-so-modest, late 1969 prog-rock album, more than most other bands' Lp's go through. Well worth it, I must say! My wife is by now I'm sure very tired of hearing this one in 5.1, but what can I tell ya? :alienrob:
4. Unlike some folks here, I grew up with this one, and was fourteen when I bought my first copy (which was a crappy sounding US Atlantic pressing. Nice cover is all I can say about it now). From which I graduated to a red label Canadian and, in the late '70s, a really, REALLY NICE Polydor/EG import slab that was so quiet and clear it might as well have been a Mo-Fi! Very nice indeed, played the hell out of that one...
5. Then there is the Moody Blues connection. None, you say? Well....Mike Pinder and Ian McDonald were using the Mellotron in similar ways for their respective bands, though Pinder would not burn out as quickly as Ian, fortunately...and if the Moodies were never quite as erudite and adventurous as Fripp or Sinfield as writers, they were exploring themes and ideological/romantic journeys not dissimiliar at all. The Moodies problem would eventually be that their fans thought they were on some 'cosmic' journey; Crimson's nature--and their interest in jazz and improvisation--made them seem less ordinary, and sometimes more challenging (which they would of course prove to be).
6. Finally, the digital work that went into this remix was something no one connected to the Moodies seemed to want to do--they were satisfied with very good (but not crystal clear) quad mixes made back in the '70s. Here, new clarity has been achieved but not at the expense of the original experience.
Yep, it's really fine!
ED