RAM 2012 Archive Collection - Could be better

Originally released in 1971, Paul McCartney's "RAM" is one of my favorite albums. I love the loose, bluesy, 50s' rock & roll feel of it, the melodies and harmonies, and all the radical changes McCartney puts in his music that seem to work out as if mother nature were in charge. Another non-band effort, RAM is credited only to Paul and Linda, who went to New York in the fall of 1970 to record some written songs with the idea of forming a band. They auditioned many drummers, selected Denny Seiwell, and added some session players Hugh McCracken, Dave Spinozza, strings, horns, etc. Recorded (at least mostly) at Columbia Studios, New York, there are no less than six sound engineers credited on the album, including the famous Phil Ramone (Phil and I were on a panel together several years ago). The album was mixed by Erik Wangberg.

The 2012 re-issue is about 7 dB louder than the 1993 Japanese EMI/Odeon Cat: TOCP-3125 (The Paul McCartney Collection series). The dynamic range found in "Uncle Albert/Admiral Halsey" was 25.8 dB on the 1993 cd, and only 18.4 dB on the 2012. This is a 7.4 dB loss. In addition, the sound is different. When playing back the two discs at the same loudness level (see graphs below), the 2012 (Paul McCartney Archive Collection series) is edgy and fatiguing at the top end and has less body in many of the voices. Note the vocal and acoustic guitar in "3 Legs", the vibraphone in "Uncle Albert/Admiral Halsey", the cowbell in "Too Many People". In addition, the 2012 release sounds a little flatter in the depth of the sound stage, not quite the delineation in the layering of the recordings. The 1993 "Digitally Remastered" cd sounds more like what I imagine the master tape would sound like, smoother and more present. And even though it sounds easier on the ears, the rock and roll grit and gut cuts through more. I thought that I had read somewhere at the time that Geoff Emerick did the remastering for this collection, but I have not been able to verify this anywhere, and non of my "Paul McCartney Collection" cds credit anyone for remastering.

The 2012 re-inssue is available in 12, count 'em, twelve versions, including 180 gram vinyl LP in stereo and the mono mix (different mix). All of these (when ordered online at paulmccartney.com) come with two digital only bonus tracks:

1. "Eat at Home" / "Smile Away (Live in Groningen, 1972)" – 8:24
2. "Uncle Albert Jam" – 2:17

All versions (except the "standard" single cd version) come with a disc that includes eight bonus tracks (33:06 minutes). This bonus material adds three more sound engineers, including Geoff Emerick to the mix. "Another Day", Oh, Woman, Oh Why" and "Little Woman Love" have been previously issued, but five tracks have not: "A Love For You", Hey Diddle", Great Cock and Seagull Race", "Rode All Night", and "Sunshine Sometime". These five tracks are not "must have" recordings in my opinion. I would have really enjoyed some alternate takes of the original material instead!

The version I have reviewed here is the 2 CD Digipak. I don't like the way you have to handle the cds to get them in and out. It's hard to avoid pulling them out by placing your thumb on one side and your index finger on the "read" side of the disc. I also feel like I'm going to scratch the discs as I remove and return them to their cardboard sleeves. The Digipak also includes song lyrics and a booklet that contains thirteen new photographs taken by Linda McCartney, many of which were taken during the recording sessions.

 

Cat: Hear Music B007L96VCY
Format: Stereo CD
Re-mastereded by: Guy Massey, Steve Rooke and Simon Gibson at Abbey Road

Sound Quality: 3 of 5  Should be better
Content: 4 of 5  Classic rock
Extras: 2 of 5  Was hoping for more

Yellow Submarine Blu-ray 2012 Reissue

The Beatles, having just completed their monumental recording of "Sgt. Pepper's Lonely Hearts Club Band" in early April and started recording for the "Magical Mystery Tour" film project in late April of 1967, signed contracts in early May for the making of a full-length animated film based around their 1966 song "Yellow Submarine". They were to provide at least three new songs and allow use of others previously released for the soundtrack. The Yellow Submarine film was theatrically released by United Artists (in mono) in UK theaters premiering on 7/17/68 (the following day they worked on recording "Cry Baby Cry" and "Helter Skelter") and in the US on 11/13/68. The album of the same name however, wasn't released until UK 1/17/69 and US 1/13/69. There were two reasons for the delay. One was that the band felt the November 1968 release of "The Beatles" should take precedence, the other was that George Martin wanted to re-record his orchestral score for side two of the LP, which he did in two three hour sessions on Oct. 22 and 23. The first "new" song for the film was "Only A Northern Song", which was originally George Harrison's first offering for the Sgt. Pepper album, and began life in the studio on 2/13/67. This track was mixed mono for the film, mock stereo for LP, and never mixed stereo or 5.1 until 1999. The second contribution was Lennon/McCartney's "Baby You're A Rich Man", the first song recorded especially for the film. It was recorded and mixed mono on 5/11/67 in less than six hours. Though it was used in the film, it was released as the B-side of "All You Need Is Love" on 7/7/67, just prior to the film's release. It too was mono on film, and mock stereo until 1999 (except for The Beatles Box, Parlophone 1971). The next evening brought McCartney's "All Together Now". It also was recorded and mixed mono in less than six hours. May 25 began another Harrison number, "It's All Too Much". Finally,  Lennon's "Hey Bulldog", making it four new songs, was recorded. The song's lyrics were completed, music composed, recorded and mixed in a single ten hour session on 2/11/68.  According to engineer Geoff Emerick, everyone was especially pleased with that tune. They were filmed recording it, but the footage was actually used to promote "Lady Madonna". The happy mood seen on that footage might be because they knew it was their last recording session before leaving for their long holiday in India. The "Hey Bulldog" animated film segment was only seen theatrically in Europe and not available in the US until the 1999 DVD. 

Video tape and LaserDisc was released for home use in 1987 by MGM/UA in the 1.33:1 aspect ratio and simulated stereo. After a couple of years, it went out of print.

Then, after cleaning the original film negative and rejuvenating the color in 1999, MGM/Apple released the widescreen DVD, 5.1 Dolby Digital, restoring the "Hey Bulldog" sequence and adding several special features.This version also went out of print.

Finally, we have the the 2012 Apple Blu-ray and DVD released in June, after the May theatrical release. Compared to the MGM 1999 DVD, the Apple 2012 reissue is a welcomed improvement. Both the audio and video are better.

Video: This is the major improvement of this new release. The film has been restored in 4K digital resolution for the first time by Paul Rutan Jr. and his team at Triage Motion Picture Services and Eque Inc. Because of the delicacy of the hand-drawn original artwork, no automated software was employed in the digital clean-up, it was all done by hand, frame by frame, over a four month period. I can't imagine the man hours involved, but the results are spectacular, clean and vivid! Though the 1999 DVD  release says "widescreen" and the new blu-ray says 1.66:1, there is more picture information visible on the blu-ray. I have not yet verified their true aspect ratios. 

Audio: I am happy to say that the same 1999 5.1 remix by Pete Cobbin is incorporated here. He did an exceptional job! Messing with the Beatle's soundtracks is a delicate task, especially when "enhancing". Keep in mind that these new mixes originated from 4 track analog tapes, often having several separately recorded instruments overlaid on the same track and running though boards all intended for mono. The sound here is as if the master tape is being played back.  These recordings were made by Norman Smith and Geoff Emerick back in 1965-68, yet they sound better than most recordings made today. Listen for example to the vocals and the strings in "Eleanor Rigby" or the clarinets and tubular bells in "When I'm Sixty Four".  The surround enhancement is done very tastefully, especially during the songs. The songs don't sound pulled apart as some engineers would do. I especially like the surround effects done for "Lucy In The Sky With Diamonds". Throughout the well known songs you hear more distinction between instruments and harmonies.

For the first time, we have it in DTS at home. The theatrical re-release of the film in 1999 included a new 5.1 remix in the DTS audio format, however, the subsequent 1999 DVD was released only in 5.1  Dolby Digital. We now have it in DTS-HD Master Audio (English only), which sounds better than in Dolby Digital.

There are however, two audio caveats. The first being that the output level is about 11.5 dB too loud (see graphs below). Though the dynamic range is actually improved by 2.0 dB over the Dolby Digital DVD, the over-all level is set way above reference level, so be cautious. Note that in the dynamic range graphs below, the new Blu-ray disc was played back 10 dB below the old DVD in order to nearly match output levels. The dynamic range graphs shown plotted the entire 90 minute movie every 0.5 seconds.

There is the orchestral climax about 23 minutes into the movie. I thought it would be interesting to capture the peak of the crescendo, do a spectrum analysis of it and compare the two versions (see graph below). I captured 94 frequencies from 50 Hz. through 11.2 kHz.  Both discs were played at the calibrated reference level (-20dBFS input = 75 dB SPL/C Slow output at listening position). Note that the Blu-ray disc plays about 11.5 dB louder than the DVD at this output. Both the dynamic range chart above and the spectrum chart below confirm this. In the spectrum analysis, the sum of all frequencies peaked at 96 dBC for the DVD, with an average frequency output of 70.0 dBC, while the Blu-ray peaked at 106 dBC and averaged at 81.6 dBC.

The second caveat is the omission of the music-only option, which allowed you to listen to the film's score only (no dialog or sound effects) on the 1999 DVD. I found it interesting, but I suppose most didn't.

Bonus features: Both the Yellow Submarine DVD and Blu-ray include a short making-of documentary titled Mod Odyssey" (TRT: 7:30), the film's original theatrical trailer, audio commentary by producer John Coates and art director Heinz Edelmann, several brief interview clips with others involved with the film, storyboard sequences, 29 original pencil drawings and 30 behind-the-scenes photos. Both Digipaks include reproductions of 4 animation film cells, 10 collectible stickers, and a 16-page booklet (same text as 1999 insert) with a new essay by Yellow Submarine aficionado John Lasseter (Chief Creative Officer, Walt Disney and Pixar Animation Studios). Note that there is no new A/V material over the 1999 DVD.

Cat: Apple 5099962146098
Format: video 1080p, audio 5.1 DTS-HD MA, PCM stereo, mono
Remixed by: Pete Cobbin
Mastered by: Mike Minkler, Ted Hall & Pete Cobbin at Abby Road Studios
Sound Quality: 3.5 of 5  Nothing better
Content: 4 of 5  Nothing is real.
Extras: 2 of 5  Nothing new

Reissue of Jethro Tull's "Aqualung" 40th Anniversary Special Edition

For the 40th anniversary, Jethro Tull's "Aqualung" gets a face lift. The cover artwork looks like it has been sitting on a shelf undisturbed for forty years with aged discoloring, but the sound is new. Previous CD releases of this classic have suffered sonically being thin and edgy, much tape hiss, an incomplete track, added reverberation, etc. Most of what is heard here is from 16 track analog tapes circa 1970, which were transferred to 96k/24 bit at Abbey Road by Kris Burton, then remixed by Steven Wilson (of Porcupine Tree fame) via Logic Audio 9.1.4. Steven did a great job! The new mixes really don't sound new, just revived. By using emulators of original period equipment, reducing tape hiss and paying close attention to the original mix, many, many veils have been removed. The sound is much fuller, present and personal. For example, the drums have more "whack". In general, everything has more body and better dynamics. In spite of these improvements, you'd be hard-pressed to notice many changes in individual instrument levels, effects or pans from the original '71 vinyl release. Great work for a great work!

Note the 62.4dBC dynamic range of the new mix of the title track, an improvement of 2.9dB. On average the song is louder (82.5dB vs, 79.6dB), yet still offers more range. The song's quietest passage is 30.2dB, while it's loudest is 92.6dB, versus the 1984 version of 32.2dB and 91.7dB respectively (see chart below plotting SPL every 1/10th of a second).

Included in the 40th anniversary edition is a 32 page booklet with many color photos of the band, etc., and interviews with Ian Anderson and Steven Wilson.

The second CD contains fourteen 1970 and 1971 recordings made just before and after Aqualung. Five of these tracks have not previously been released, and another three of them have been remastered. This double cd* is a steal for the $17.95 retail price!

*There is also a deluxe 40th Anniversary Collector's Edition, which includes; a 12'x12' 48 page booklet, a 180 gram vinyl pressing, the two cds, a DVD and a Blu-ray. The DVD and Blu-ray have the two cds plus a few extra tracks in 96/24 LPCM stereo, plus a 5.1 remix by Steven Wilson, and the original Quad mix, both in DTS-HD Master Audio and Dolby Digital..

Cat: Chrysalis 5099908799920
Format: 2 channel, 16/44.1k
Remixed by: Steve Wilson
Mastered by: Peter Mew at Abby Road
Sound Quality: 3 of 5  This blows all the other CD  versions away!
Content: 4 of 5  Classic rock album.
Extras: 4 of 5  An informative booklet and 14 extra tracks, all worthwhile.

Band on the Run Archive Collection

After a couple of just "okay" albums ("Wild Life" and "Red Rose Speedway"), Paul McCartney and Wings released "Band on the Run" in December of 1973. I remember "Bluebird" and "Mamunia" being good recordings for checking out hi-fi at the time. Bluebird had several percussion instruments and a very breathy sax solo, and Mamunia had very distinct bass guitar and great overtones in the congas. It wasn't until recently that I learned about how poor the recording conditions were in Lagos, Nigeria, where most of the album was recorded over a seven week period. The EMI studio had an 8 track recorder with only 4 tracks with working "sync" amps (so you can hear pre-recorded tracks from the record head for over-dubbing), a few dozen inexpensive microphones and only a couple of Neumanns, no drum or vocal booth, poor isolation, heat and humidity, etc. Geoff Emerick's recording engineering talents really triumphed over the many challenges he had to deal with on this project. The record won two Grammy Awards, one for Best Contemporary Pop/Vocal and the other for Best Engineered Album.

The first decent sounding CD of Band on the Run came out as an import in 1993 in The Paul  McCartney Collection of CDs simply saying "Digitaly Remastered". If I remember right Geoff Emerick did the remastering for those, though the CD does not credit anyone.  The CD also includes "Country Dreamer" and "Helen Wheels" as bonus tracks. The loudest passage on this version is found about in "Bluebird" around 3:15.

The next remaster for Band on the Run was the 25th Anniversary Edition in 1999. Re-mastering done by Greg Calbi and Geoff Emerick. The sound is better still and it came in a box with a miniture of the LP's full size poster and second CD containing containing various interviews and previously unreleased versions of some of the album's songs. It is about 2.5 dB louder than the 1993 CD.  The loudest passage on this version is found on the title track about 3:00 in.

The newest remaster, Archive Collection, was released November 2010 and in many forms; LP, CD, double CD, with DVD, with book, download, etc., etc. Remastered at Abby Road by Sam Okell, Steve Rooke and Allan Rouse, it also is about 2.5 dB louder than the 1993 remaster and sounds even better. There is more bloom in the instruments. They sound fuller, more individual, articulate and present. I know of at least one noise that has been removed; 10 seconds into track one there used to be a clicking noise for a couple of seconds on the right channel that is now gone. Other similar noises seem to have been left intact. It seems that there is some sweetening around 3-5 kHz. and some low frequency limiting added with great finesse. For example; the 12 string in "Mamunia" rings more, the bass guitar and kick drum are quicker to stop and there is more punch now to the beater striking the bass drum head. The loudest passage on this version is found in "Nineteen Hundred and Eighty Five" at about 4:45.

I wondered again why "Jet" doesn't sound as good. I turned to the book "Here, There and Everywhere" by the recording engineer Geoff Emerick to see if there was any mention (I haven't read that far yet) and sure enough, there was. It turns out that it was a new song recorded at AIR Studios in London, and while doing overdubs, the 16 track recorder began to shred oxide off of the tape, reducing the high frequency content, so quite a bit of equalization was added to save the performance of the backing tracks.

The second CD contains 9 tracks at about 34 min. and starts off with "Helen Wheels" and "Country Dreamer". The first recorded in Lagos, the second recorded and mixed by Alan Parsons at Abby Road. There are 7 live tracks from the "One Hand Clapping" movie session. The last track is "Zoo Gang" recorded by Alan Parsons and mixed by Geoff Emerick.

The DVD of 85 min.contains the videos for "Band On the Run", "Mamunia" and "Helen Wheels", 3 min of home movies of  "Wings in Lagos", the 15 min. film footage of the album's cover shoot, and the 50 min. "One Hand Clapping" movie shot live in the EMI studios in Fall of 1974 that includes 16 additional tunes from that session, only four of which are from "Band on the Run".

In addition, the version I bought (at a big box store) came with an extra DVD (24 min.), with Paul's reasons for this reissue and video of 3 live Band on the Run tunes from last year's New York CTI Field DVD.

For about $15, this is a great value; good music, good sound and lots of live versions, videos, etc.

Cat: Hear Music HRM-32564-00
Format: 2 channel 16/44.1k CD, DVD.
Remastered by: Sam Okell, Steve Rooke and Allan Rouse at Abbey Road Studios, London.
Sound Quality: 4 of 5  The best yet
Content: 4 of 5  Classic "must have" rock
Extras: 4 of 5  Mainly interesting for major fans

Reissue Review of Grateful Dead "American Beauty" CD/DVD

The Grateful Dead's "American Beauty" was their sixth release, but arguably their first really professionally recorded album. The album was recorded at Wally Heider's new studio in San Francisco in August and September 1970 by Steve Barncard. Garcia liked the sound of the studio when he recorded steel guitar on Crosby, Still, Nash & Young's "Deja Vu". Steve was especially good at capturing acoustic instruments of which there is plenty of, and this album was certainly a second installment of "Wokingman's Dead", with again, no experimenting or jamming. Though not your typical Dead presentation, it is full of great tunes and performances, and many consider it their favorite Dead album. It is one of mine.

In 2004 Rhino issued this remastered version that contains a two sided disc. The CD side is your regular 44.1kHz/16 bit release of the album. The DVD side has the entire album in 5.1 surround sound and in higher 96kHz/24 bit resolution. It also has the entire album in stereo 192kHz./24 bit resolution.

Though not remixed, the CD side does not sound nearly as good as the regular CD issue and box issues from Rhino that were remastered in HDCD by Joe Gastwirt and contain bonus tracks. On the DVD side, both the 5.1 and stereo versions credit Mickey Hart (yes, their drummer) as Surround Sound and Stereo Remix Producer, Sound Design, Engineer and Mixer, with Tom Flye as Chief engineer and Mastering Supervisor.  The remix will be interesting to serious Dead Heads as there are many new things to listen for. For example; it seems that with the new mix, faders were often left up so you can hear instrument and vocal parts that were originally removed. This is fun stuff to hear, no doubt. There are also many song intros and outros to hear for the first time.

The problem with the DVD side is the very poor fidelity. Even with the higher bit words and sampling rates, it sounds very flat and congested in the sense of soundstage, dynamics and timbre.  Even with the separation of surround sound, the instruments are not as individualized as they should be. For example, the emotion of Garcia's pedal steel and Wales' organ solos on "Candyman" are buried. There is also an added  reverberation effect to the entire work that makes the remix sound like you are listening to the band doing a sound check in a small auditorium. This changes the entire feel of the album for the worse in my opinion. The original recording is studio dry and sounds like the band came over and are playing in my home as if we were friends. It is much more intimate with more presence, detail and better tonal balance than this remix. My favorite issue is still the MFSL analog LP.

The DVD includes a photo gallery (thirteen photos) and two short interviews; one with Mickey Hart about his remix approach, and one with Bob Weir about writing "Sugar Magnolia".
















Cat: Warner Bros./Rhino R2-74385
Format: 2 channel 16/44.1k CD, 5.1 Dolby Digital 24/96k and 24/192k 2 channel DVD.
Remastered by: Steve Hall at Futuredisc, Los Angeles, CA.
Sound Quality: 2.5 of 5  Should be better
Content: 4 of 5  Classic "must have" rock
Extras: 2.5 of 5  Interesting for Dead Heads

The Band "Music From Big Pink"

In 1967, after backing up Dylan on his rough "electric" tour, The Band retreated to a rented house called "Big Pink"  in Woodstock, NY where they wrote and recorded over 100 songs with Dylan, which produced the eventual release called the  "Basement Tapes" in 1975. The music written for Music From Big Pink was also from that period.

When this album came out in '68, I remember being taken aback with it's un-pretentiousness and honesty. The Band sounded as though they were musicians from the late 19th century, often with a Salvation Army band supporting. Everything about this album was different for the times: the music, the lyrics, the dress, the jacket photos, the sound, etc. Even when using modern instruments like the electric keyboards and guitar with effects, their sound is earthy and early America. The songs mix country, folk, blues, jazz, rock, gospel and even classical elements. There was soul in the lyrics, in the playing, in the singing, in the groove of the drums, and in the solos. Clapton has often referred to this album as being a favorite of his. In his recent biography he states "It stopped me in my tracks...".

Most of the album was recorded on four tracks at A&R in NY where two tracks were used to record the band live. Track three was used for horns, and track four for vocals and tambourine. These two recording sessions included the hit "The Weight" and a classic turn it up tune "Chest Fever".

This 2000 Capitol Records CD re-issue was 24 bit digitally remastered by Dan Hersch and Andrew Sandoval. It includes an 18 page booklet with additional photos and liner notes by Rob Bowman. It also includes nine bonus tracks totaling 32 minutes of music from the period. Only two of these tracks are alternate versions of songs on the album; "Tears of Rage", which is maybe just below the original, and "Lonesome Suzie", which is given a shuffle/swing style arrangement.

The other original bonus tracks include the very strong "Yazoo Street Scandal", Dylan's "Long Distance Operator" with an excellent drum groove by Helm, "Kattie's Been Gone", "Orange Juice Blues" a great song demo with just bass, piano and vocal by Manual, and "Ferdinand The Imposter", another good tune. but in mono. There are two covers: Poole's "If I Lose" and Big Bill Broonzy's "Key to the Highway", which takes my vote as the weakest track on the compilation.


As far as the sound quality goes, a few of the bonus tracks suffer, but are worth having regardless. Some of the outtakes sound very good. The original album tracks sound totally acceptable with good depth, dynamics, timbre and balance. Though I prefer the MFSL vinyl pressing, this CD is definitely worth buying.



Cat: Capitol 72435-25390-2-4
Format: 2 channel CD, 16/44.1k
Remastered by: Dan Hersch and Andrew Sandoval at DigiPrep, Hollywood, CA,  with bonus material by Andrew Sandoval at Penguin Recording in May 2000.
Sound Quality: 3.5 of 5  Respectable
Content: 4 of 5  Classic "must have" rock
Extras: 3 of 5  Makes you want more.

Reissue Review of Fleetwood Mac "Tusk"

Originally released on October 12, 1979 as a $16.98 double vinyl LP, "Tusk" was released as a "2 record set on 1 specially-priced disc" on October 25, 1990. Recorded primarily by Ken Caillat and Richard Dashut at The Village Recorders in West LA, it was one of the earlier rock albums to be digitally mixed down. It is a very nice sounding LP mastered by Ken Perry. It sounded even better when released on CD with remastering for CD by Ken Caillat. Crisp, quiet and dynamic.

On March 23, 2004, Warner Bros. released "Tusk" remastered and with a second CD containing bonus material at $24.98. Being a fan of the album and loving to hear alternate takes, etc., I was, as before, the first on the block to buy the new version.

The sound is not as good and the extra material is just ok. This "Deluxe Edition" was remastered by Bill Inglot and Dan Hersch at Digiprep. The sound is noticeably louder (about 5dB) than the original CD. It is also not nearly as crisp in the highs, tight in the lows, or dynamic in range as the 1990 CD. It sounds compressed and re-eq'd. The loudest peak on the the 1990 CD is found in "The Ledge". The loudest peak on the 2004 disc is found in "Sisters of the Moon". The practice of increasing the loudness and reducing the dynamic range is a very common one these days I'm sorry to say. Especially silly to do when you are using a medium which offers more range than previously available for home use. But the public insists that louder sounds better! So much for preservation of artistic intent. When the recording industry crushes dynamics, it crushes emotion. The topic is worthy of a separate blog for A/V RoomService.

The second disc contains previously unreleased versions of nearly all 20 original tracks. These 21 tracks are laid down using the same running order as "Tusk", with the exceptions of shuffling in three different versions of "I Know I'm Not Wrong", and two new songs, "Kiss and Run" and the Beach Boys "Farmer's Daughter", and the single versions of "Think About Me" and "Sisters of the Moon". Except for the last two, all these songs are either "demos, roughs, or outakes". They are not that interesting, and not "must have" tracks. No great vocal renditions or guitar solos, no super different versions, etc.You can easily understand why each of them was not selected for release back in '79.


Cat: Warner Bros. 3350-2
Format: 2 channel, 16/44.1k
Remastered by: Ken Caillat
Sound Quality: 4 of 5  Very intimate, well recorded and mixed multi-track album. Great sound layering.
Content: 4 of 5  Most every track is strong.
Extras: 0 of 5  N/A.

Cat: Warner Bros. RS 73883
Format: 2 channel, 16/44.1k
Remastered by: Bill Inglot and Dan Hersch at Digiprep.
Sound Quality: 3 of 5  Definitely inferior to the original.
Content: 4 of 5  You know it.
Extras: 2.5 of 5  A lot, but not all that interesting.