Ordered the blu ray
Thin Lizzy "1976" (SDE exclusive Blu-Ray with surround mixes of "Jailbreak" and Johnny the Fox")
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The Rang
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Yah, got the SDE email about 5 minutes after posting here.
Ordered immediately
Just ordered the stand alone Blu-ray from SDE. What a great surprise this release is.
I wish I could be excited about this, as I admire both albums, but it’s the same engineer as Vagabonds… 
himey
2K Club - QQ Super Nova
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Rock music like this rarely get great mixes and that guy doesn't have a great track record. My expectations are low, but hopefully we get a nice surprise.I wish I could be excited about this, as I admire both albums, but it’s the same engineer as Vagabonds…
Ordered. Hell yes! 
Richard Whittaker may not be a Wilson or a Scheiner but his more recent rock remixes including Lizzy's Vagabonds of the Western World and Robin Trower's Bridge of Sighs have showed promise. He's certainly leagues above some of the hacks like Richard Chycki and Jeff Glixman that have foisted mixes on us over the years that it feels to me would be generous to call "big stereo" as they sometimes even approach sounding something like 'enormous mono.'
Even if these mixes are more like a 7 out of 10 than a 10 out of 10, I still think this represents a great value with two albums on one disc. I've also always felt like these two records could be improved upon sonically - while you can't argue with the end result as they (especially Jailbreak) propelled the band into mainstream popularity, the original mixes feel like hard rock albums mixed like soft rock albums. I think some of the acclaim for Live & Dangerous (some of which was recorded on the tours for these albums) comes from the fact that it was the first time that the band sounded really raw, powerful, and well...dangerous - I'm hoping that these new mixes will reveal more of the visceral impact of one of the great rock acts of the '70s.
There have been numerous examples of surround remixes over the years where the sonic improvements end up being a bigger draw than the actual surround mix, like Paul Klingberg's Chicago II DVD-A remix, and James Guthrie's more recent remix of Pink Floyd's Animals, and if Whittaker's "1976" remixes end up being in that camp, that's still a win in my book. Phil Lynott was one of the great songwriters of the '70s - I think calling Thin Lizzy simply a 'rock band' is missing out on so much of that, even The Boys Are Back in Town, once you get past the chords for the chorus, it's all kinds of jazzy inversions in the verses - and hopefully more people will get turned on to the music he made thanks to releases like this. To get two of Thin Lizzy's very best albums in a set like this is a dream come true.
Even if these mixes are more like a 7 out of 10 than a 10 out of 10, I still think this represents a great value with two albums on one disc. I've also always felt like these two records could be improved upon sonically - while you can't argue with the end result as they (especially Jailbreak) propelled the band into mainstream popularity, the original mixes feel like hard rock albums mixed like soft rock albums. I think some of the acclaim for Live & Dangerous (some of which was recorded on the tours for these albums) comes from the fact that it was the first time that the band sounded really raw, powerful, and well...dangerous - I'm hoping that these new mixes will reveal more of the visceral impact of one of the great rock acts of the '70s.
There have been numerous examples of surround remixes over the years where the sonic improvements end up being a bigger draw than the actual surround mix, like Paul Klingberg's Chicago II DVD-A remix, and James Guthrie's more recent remix of Pink Floyd's Animals, and if Whittaker's "1976" remixes end up being in that camp, that's still a win in my book. Phil Lynott was one of the great songwriters of the '70s - I think calling Thin Lizzy simply a 'rock band' is missing out on so much of that, even The Boys Are Back in Town, once you get past the chords for the chorus, it's all kinds of jazzy inversions in the verses - and hopefully more people will get turned on to the music he made thanks to releases like this. To get two of Thin Lizzy's very best albums in a set like this is a dream come true.
Here the advantage of the rock genre comes to the fore. CRANK IT TO THE POINT OF EAR DAMAGE! <Pete Townsend approves this message>
If I'm gonna hear rock, has to be loud.
Your wait is over.
Check SDE
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Instant purchase for the stand alone, would it be too much to hope for Bad Reputation & Black Rose?
Victor Bisio
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Always my feeling these days, too!
Maybe you missed it, but there is a standalone from SDE, a Blu-ray with both albums on it.
Yep, which I've ordered.
Like me some Tin Lizzy
I’m so excited about this release. I love both of these albums. I expect these will be better surround mixes than the last Lizzy release since there are more elements to work with (that release sounded great, but the surround mix was hit or miss)
I am a lifelong (ok, first 64 yrs of my life; last 6 been in Denver area) Cleveland native, and have seen a ton of shows at the Agora, many of whom WMMS recorded. Shows like Springsteen, The Police, Robert Palmer, Thin Lizzy, etc. The WMMS/Belkin/Agora team were paramount in Cleveland getting the Rock Hall. I look forward to this release. 
Indeed, and it would be nice if the surround mixes were done by Tony Visconti, who produced these albums originally, and has done some superb surround remix work since then, most notably (for me) David Bowie's Young Americans, which is almost as discrete and directional as a vintage quad mix.
(Also hoping that Nightlife and Fighting, the 1974/1975 albums have been passed over for surround release simply because the 1976 multitracks turned up first and not because those tapes are missing, but that's another story.)
Or - as is more likely IMO - since Atmos is really the main draw these days, they made a conscious decision to transfer the multis and do all new mixing at 24/48 rather than 24/96. As long as it's at 24 bits, the difference between 48kHz and 96kHz is negligible.
Thats a fair point but I would have still had the multis transfered at 96k anyway for preservation reasons even if they were to be downsampled to 48k after.
All consumer Atmos is limited to 48kHz, so the majority of mixing engineers seem to work at that native resolution. Since all those new mixes are derived from those sessions, they're also likewise limited to 48kHz - the only person I've seen who delivers 96kHz PCM files of non-Atmos remixes alongside Atmos mixes is Steven Wilson, but he seems to be the rare exception to the rule.
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