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Steven Wilson: Remixing Yes, Jethro Tull & XTC

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While 2013 has largely been occupied by a world tour in support of his recent The Raven That Refused to Sing (And Other Stories) (Kscope, 2013), Steven Wilson has, as he said he would in his 2012 All About Jazz interview, certainly kept up with the run of stereo and surround sound remix projects that have turned into a significant sideline to his own musical career. Since becoming involved with King Crimson's 40th Anniversary Series, beginning with the release of Lizard (1970), In the Court of the Crimson King (1969) and Red (1975)—all issued by DGM Live in 2009— in addition to surround mixes of his own recordings as a solo artist and with Porcupine Tree, Wilson has built a reputation for renovating albums from other classic groups including Hawkwind, Caravan, Jethro Tull and Emerson, Lake & Palmer, as well as providing stereo and/or surround sound mixes for contemporary groups like Opeth, Anathema and KTU.

But if it appears that Wilson's tastes run strictly along progressive, space rock and psychedelic lines, a recent batch of remix/reissues, all released in the fall of 2013, demonstrate a broader purview. Yes, Wilson has provided a new stereo and surround sound mix for Yes
Yes
Yes
' progressive rock epic Close to the Edge (Atlantic, 1972)—the first of a number of planned reissues from the group's glory days—but he's also been stepping back in the Jethro Tull catalog, in this case to Benefit, a time when Ian Anderson's group was making progressive music by dictionary definition to be sure, but not progressive rock as many people define it. The same might even be said of XTC, a British group that first entered the world during the emergence of New Wave but, by the time the early '80s had rolled around, was beyond definition other, perhaps, than a kind of music that could be called intelligent pop music. It certainly possessed elements of progression but, again, was not what most would call progressive rock. Nonsuch (Virgin, 1992) represented, however, the ongoing progression of remaining members Andy Partridge, Colin Moulding and Dave Gregory in their approach to songwriting and production, but the more cemented definition that progressive rock had, by that time, largely—and sadly— assumed most certainly did not apply.

There are those who find Wilson's remixes sterile, who feel that his taking the original analog multi-tracks and digitizing them into his computer, and from there creating his new mixes, sucks the life out of the music. To each their own, but reading a variety of bulletin boards, one conclusion might be that this is, in at least some cases, a combination of personal bias (analog good; digital bad) and the feeling that what was originally released was what the artists wanted to be released and therefore should be considered sacrosanct. The truth, however, is much different in at least some cases, as it turns out a variety of factors often forced bands to either rush through mixes or have them done by less than adequate engineers or on less than adequate equipment. That, in almost every case, Wilson has done his work with either the approval of the original artists or, as is the case with the Crimson reissues, the involvement of the original artists would suggest otherwise.

What is undeniable, like them or not, is that Wilson's new mixes create much greater transparency in the instrumental layers, revealing previously unheard detail. There's a more expansive feel to his stereo mixes, a broader soundscape, while his surround mixes create a real feeling of being inside the music, without resorting to gimmickry of any kind. In fact, comparing Wilson's mixes to the originals—almost all of his reissued work includes the original mixes, sometimes even flat transfers from vinyl so it's possible to compare, at least as closely as possible, original pressings with his revised versions—reveal a respect and reverence for the original mix while, at the same time, looking to improve upon it.

Yes, it's a controversial issue; some see his work as valuable, others as nothing more than a money grab. Looking at most of these artists, the number of expected sales and the state of the industry today, it should be realized that nobody is getting rich off these reissues. Instead, Wilson is trying to refresh some classic recordings that mean a lot to him, with technology that was simply unavailable at the time. Like them or not, that's the listener's choice; but for those who feel less than proprietary about the music, any reissue with which Wilson has been associated has ultimately revealed more about the music. If that isn't validation enough for this work, it's hard to imagine what is.


Yes
Close to the Edge
Panegyric
1972 (reissued 2013)

Close to the Edge was not just Yes' most fully realized album to date—the inevitable conclusion of a triptych that began with The Yes Album (Atlantic, 1971) and the replacement of guitarist Peter Banks with the more broad- scoped Steve Howe, followed by the group's real commercial breakthrough, Fragile (Atlantic, 1972), which saw both the virtuosic Rick Wakeman take over from keyboardist Tony Kaye to complete its "classic" lineup and the group's first big radio hit, "Roundabout." It was also, for most fans, its absolute pinnacle, never again—well, for some, almost never—to be reached. It was also a swan song of sorts, as drummer Bill Bruford
Bill Bruford
Bill Bruford
b.1949
drums
, a founding member of the group, left the band, on the cusp of its biggest commercial success, for more improvisation-heavy territory in the revamped lineup of King Crimson that debuted with Larks' Tongues in Aspic (Island; reissued DGM Live, 2012) the following year. His replacement, Alan White, while far from a bad drummer has, to this day, rarely demonstrated the kind of instant personality felt in Bruford's work with Yes (or anything else, for that matter). The only possible exception was the anomalous Relayer (Atlantic, 1974), an album that, with the departing Wakeman replaced by the more fusion-centric Patrick Moraz, was almost as good as Close to the Edge and might have signaled a creative rebirth for the group, had it not been waylaid by the many personnel problems that continue to plague the group to this day, its current lineup a pale shadow of its former self.

A 40-minute album with just three tracks—the side-long, epic and episodic title track, and a second side with two 10-minute tracks, the majestic "And You And I" and more hard-rocking but still utterly complex "Siberian Khatru"—Close to the Edge is almost over-brimming with ideas, and yet each piece feels complete, beautifully constructed and far more than the sum of its multitudinous parts. Jon Anderson's lyrics were never so oblique, his soaring voice never so pure, with an upper limit yet to be discovered. Howe's various guitars—from 12-string acoustics and pedal steel to hollow-body electric—are played with absolute precision, his solos some of the most unexpected to come from what was still considered a rock band, with the possible exception of Crimson's Fripp. Wakeman's plethora of keyboards, from multiple mellotrons to synthesizers, pianos and organs, facilitate rich underpinnings and searing solos. Bassist Chris Squire's treble-heavy Rickenbacker bass was far more than a mere anchor, instead managing to both serve that function and act as a contrapuntal foil to everything going on around him. And Bruford? One of the most recognizable snare drums in rock history, a drummer with an interest in jazz but capable of creating challenging polyrhythms, where left and right hands and feet played individual parts that coalesced into grooves of mathematical logic and precision, meeting sometimes only after many bars had passed.

Simply put: Close to the Edge was the best of what progressive rock could be, but also pointed to less admirable possibilities; while there was nothing excessive or bloated about this record, its massive success led to what some consider the group's magnum opus, others its biggest mistake: Tales from Topographic Oceans (Atlantic, 1974), a two-LP concept album with four tracks all clocking in around the 20-minute mark. It was everything Close to the Edge wasn't: over-considered, overblown, overstated. The album also created yet another personnel rift, leading to Wakeman's departure, though he was quickly re-recruited after Relayer failed to catch on. If only Yes has realized that the problem was not the record or the people on it (specifically Moraz, who was summarily dismissed for the returning Wakeman) but the times—as progressive rock began to fall from grace, to be replaced by punk and new wave. Perhaps, had it stuck with that lineup a little longer, who knows where the new ground broken with Relayer might have led?

But that's all supposition. In the meantime, this remix/reissue of Close to the Edge contains a wealth of bonus material: beyond the multiple remix versions (stereo, surround, 24/96 LPCM, 24/192 LPCM, DTS HD 24/48 etc) including, on the DVD or Blu-Ray (and congrats to Panegyric for offering both options) an alternate version of the album constructed from an early assembly/rough mix of the title track; an alternate version of "And You And I" that, while clearly the lesser take, was not just another run at the same arrangement, but in many places a quite different one; and a studio run-through of Siberian Khatru called "Siberia" that, together with the rest, reveal much about Yes' process of making Close to the Edge.

While it was included on the Rhino reissue of Fragile a few years back, a Wilson remix of Yes' superb 10-minute arrangement of Paul Simon's "America" is also included here (on both the CD and video media); single versions/edits can be found on the DVD/Blu-Ray as well, along with the original stereo mix to hear just how much Wilson has opened up the recording. The Blu-Ray also includes instrumental versions of Wilson's 2013 stereo mix and a transfer from the original UK vinyl, so that further comparisons can be made.

At the end of the day, will most of these extras be visited more than a couple times? Probably not. But the enduring album, plus "America" makes for fifty exhilarating, career-defining minutes from a group that, through the rest of the '70s, came close but never eclipsed the creativity charted on this enduring progressive rock classic. Beautifully replicated as a mini-gatefold, with the two discs in their own paper sleeves (more of this please!) and a booklet with photos, Roger Dean's artwork and tremendous liners from King Crimson historian Sid Smith, this edition of Close to the Edge is as definitive as it gets.


Jethro Tull
Benefit
Chrysalis
1970 (reissued 2013)

While Jethro Tull would soon become the very thing it was, in fact, parodying when it released the concept album Thick as a Brick (Chrysalis, 1972), in 1970 it was still trying to figure out exactly what it wanted to be. Starting life as a blues-rock band with jazz tinges on 1968's This Was (Chrysalis), it was only when original guitarist Mick Abrahams left to continue that direction with Blodwyn Pig that the group's lead singer, flautist, occasional guitarist and primary songwriter, Ian Anderson, not only assumed full leadership, but forged a relationship with replacement guitarist Martin Barre that would last well into the new millennium, ending very recently with the unexpected release, under Anderson's name and with a completely different group, of Thick as a Brick 2 (Chrysalis, 2012). Stand Up (Chrysalis, 1969), Tull's second release, was also the beginning of a three-record run with the same lineup, including Anderson, Barre, bassist Glenn Cornick, drummer Clive Bunker and pianist/organist John Evan—who, for some reason, was not listed as an official member of the group until Aqualung (Chrysalis, 1971), which followed Benefit and, on the heels of songs like the title track, "Locomotive Breath" and "Cross-Eyed Mary," became the group's first mega hit.

But if Stand Up managed to retain some of This Was' bluesy predilections, it also began to move in a more folk-oriented direction that was also somehow unmistakably British and would define Benefit. It was a quality that would remain fundamental to the group throughout its subsequent life, albeit more vividly on records like Songs from the Wood (Chrysalis, 1978) and to a much lesser extent on others such as Crest of a Knave (Chrysalis, 1987), the record which curiously won a Grammy for Best Hard Rock/Metal Performance Vocal or Instrumental the following year. If Stand Up was Anderson's first child as Tull's full leader, then Benefit (Chrysalis, 1970) was the difficult middle child of this initial triptych.

Still, there is plenty to recommend on the record itself, and with this three- disc, eight-paneled digipak set that, in addition to Steven Wilson's new stereo and surround sound remixes (on CD and DVD only—for shame, Chrysalis/EMI!), also includes not just a pile of extra tracks on the first CD, but an entire second disc of others. What that second CD turns out to be, however, is multiple versions (stereo, mono, US and UK single and album versions) of just a small handful of songs, making it largely of interest to completists only, or to those who want to construct their own "favorite" alternate version of the album. Do we really need six different but similar versions of "Teacher," which only appeared on the US version of the album, three versions of "Sweet Dream" (still, a great track) or the less-successful "17"—the latter two already included, curiously, on the three-disc reissue of Stand Up?

What really recommends this edition of Benefit and makes it definitive, in addition to all the expected extras—on the DVD, flat transfers of both the US and UK vinyl versions of the album, with different track sequences and, in some cases, different tracks, period, with "Teacher" only on the US edition and "Alive and Well and Living In" only on the UK version, but both tracks included here in various spots—is Wilson's work. More than Close to the Edge and Nonsuch, Wilson's remixes of Benefit really reveal what went into the construction of the record. From the opening of "With You There to Help Me," with every part more immediate, more clear, more present than they've ever been before, Wilson's remix of Benefit is a revelation. Comparing it to the original mix, everything is pretty much where it always was; it's just considerably clearer.

While Cornick and Bunker have ultimately been overlooked in favor of bassist Jeffrey Hammond and Barriemore Barlow as Tull's most memorable rhythm section— and they were certainly not as flamboyant or busy—they sure knew how to hold things together and Bunker, in particular, demonstrates some flair that might have been exploited further...ah, but for the things that might have been.

Benefit may have been the difficult middle child of Tull Mark II, but it still has some memorable tunes: the strange blend of folklore and psychedelia on "With You There to Help Me" and "To Cry You a Song," with Barre's heavily distorted electric guitars contrasting, on the first track, with Anderson's echo-laden flute and powerfully strummed acoustic guitars; the marriage of mediaeval concerns with rock inflections on "Nothing to Say"; and the quirky two-songs-in-one of "Son," one a plodding, near-metal rocker, the other a piece of curious chamber music where the only thing that ties its piano and gently plucked acoustic guitar to its schizophrenic other half is Barre's still-overdriven guitar, albeit buried much farther in the mix.

Barre also becomes irreplaceable with Benefit. It's easy to lose count of just how many tracks the guitarist overdubs on "To Cry You a Song," perhaps his single greatest moment of the set—made all the clearer with Wilson's mix—and the best demonstration of his importance to come as Anderson's only permanent sidekick from 1969 through to the new millennium. Anderson's stage presence may have been increasingly flamboyant—and even greater excesses were to come, but all with tongue firmly planted in cheek, just as something else was planted firmly in a codpiece by the time of War Child (Chrysalis, 1974)—but he was also capable of writing truly poignant songs, such as the album-closer, "Sossity; You're a Woman" or "The Witch's Promise," which blends pastoral folkloric influences with a near-swinging middle section that suggests Cornick and Bunker have been even more unfairly overlooked.

If their greatest moments, from a popular perspective, were on the more commercially and critically successful Aqualung, Wilson's work on Benefit reveals Cornick and Bunker as truly essential parts of what Tull was at that point in time, even if they would not get to stick around as essential to what Jethro Tull would soon become.


XTC
Nonsuch
Panegyric
1992 (reissued 2013)

By the time Nonsuch (Virgin) was released in1992, XTC had been off the road for a decade, thanks to Andy Partridge's stage fright, and was a drummer-less trio that brought in different players for each successive album, beginning with 1983's Mummer (Virgin). But if three years had passed since Oranges and Lemons (Virgin, 1989), a further three years out from the particularly successful Skylarking (Virgin, 1986), Nonsuch consolidated the many influences that had turned this group from an clever New Wave band on early albums including the self-effacingly titled White Music and follow-up Go 2 (Both Virgin, 1978), into an increasingly quirky pop group with touchstones ranging from Beatles-esque psychedelia to Beach Boys-driven harmonies.

Each successive album represented a leap forward, in particular for emerging primary songwriter Andy Partridge and occasional (but superb) compositional contributor Colin Moulding; Nonsuch's 17 tracks may have come largely from Partridge's pen, but Moulding's five contributions were equally strong, in particular "The Smartest Monkey," though it was Partridge's poppier "The Disappointed," rocking "The Ballad of Peter Pumpkinhead" and balladic "Wrapped in Grey" that were the chosen singles. Too bad; hindsight being what it is, "The Smartest Monkey" might well have made a smashing hit. But we'll never know.

Meanwhile, after playing with a variety of fine drummers, XTC recruited Dave Mattacks for Nonsuch, and couldn't have made a better choice. First coming to attention with British folk-rockers Fairport Convention (an on-again/off-again relationship that was, at this point, on), here—as was pretty much the case with any context he in which he would subsequently find himself—he acted as the unshakable anchor around which everything else swirled. That said, Mattacks was a deceptively simple drummer; deceptive, because he may have seemed to play very little when compared to many of his contemporaries, but every single hit of a stick—every pump of his foot—counted, and there was never anything superfluous. His tone was huge; few drummers can get the kind of natural tom tom sound Mattacks does when he hits them—just once—at the start of each chorus on "The Smartest Monkeys." And few drummers can build a song the way Mattacks does— again, on "The Smartest Monkeys," a simple move from quarter-note ride cymbal to quarter-note high hat completely altering its complexion.

But it's not just Mattacks that makes "The Smartest Monkey" work so well; Moulding's bass playing is impressive, too, his syncopated lines intimately locked in with the drummer's bass drum. Dave Gregory may often be overlooked since he doesn't contribute any writing to the group, but his brief keyboard solo mid-song smacks of Canterbury keyboardists like David Sinclair and Dave Stewart. XTC wasn't anywhere near being a progressive rock band but, based on structural undercurrents, there's no denying that its members were fans, at least to some extent; from a textural perspective, as well, XTC had long graduated to a far broad palette than heard on its early recordings. It's no surprise that Wilson is a fan (he only remixes projects that have personal appeal); looking at XTC's career, it's clear that this a group possessed of no boundaries or constraints, and if it's not a progressive rock band, it sure is a band familiar with the concept of progression, as each member became not just a better player over the years, but a better conceptualist as well.

Wilson's surround mix is, perhaps, more appealing here than the stereo remix if only because the original sounded very good to start with. Still, Wilson's stereo remix reveals greater clarity, revealing more small details, but the surround mix is a perfect example of how Wilson uses It to place the listener inside the music.

More than either Close to the Edge or Benefit, Nonsuch is loaded down with bonus features. First, there's an eighteenth track, Moulding's previously unreleased 12-string-driven, country-tinged "It Didn't Hurt a Bit"—included on both the CD and DVD or Blu-Ray, depending on the version (again, great going, Panegyric!). But It's the DVD/Blu-Ray that holds the biggest treasure in a box that is modeled, design-wise, on the double-disc Crimson 40th Anniversary Series , with a slip-cased, four-panel digipak and included booklet of photos and reminiscences from band members (including Mattacks).

Partridge fans who've indulged in his eight-volume Fuzzy Warbles series of demos and other curios—released on his Ape House label between 2002 and 2006, with a ninth disc included in the Fuzzy Warbles Collection box from 2006—will already have most of the demos included here, but there are still seven appearing here for the first time, including some actual songs that never made the cut to the finished record, including "Always Winter, Never Christmas," "Rip Van Reuben" and "I'm the Man Who Murdered Love," along with demos for included tracks like "The Ballad of Peter Pumpkinhead," which reveal just how complete his demos were before turning them over to the band. And while Moulding hasn't been so forthcoming with his demos, here there are eight of his work tapes here, revealing a similarly complete composer; even the programmed drum beats driving the demo of "My Bird Performs" are already defined signatures, but with Mattacks ultimately playing them, they assume considerably more weight.

A promo film for "Peter Pumpkinhead," while not live, is the closest we'll come to having an idea what XTC circa 1992 would have looked like, if only Partridge— clearly a man with a warped sense of humor when removed from the concert stage— could have gotten over his stage fright. though the group would ultimately make one live appearance on The Late Show, performing "Books are Burning." But some things are simply, and sadly, not to be. A similar film for "The Disappointed" is more cinematic, without any faux-live footage.

But the most revealing feature on the video disc is the 50-minute Gus Dudgeon's Home Movies, filmed by the record producer of the Nonsuch sessions, and who would die tragically in a car accident with his wife in 2002. From working with a computer to map the drum groove to "Then She Appeared" to the part finally played, unshakable and in-the-pocket, by Mattacks, and with Partridge laying down an electric guitar part, it's an 18-minute window into the recording process that's rarely seen...and certainly not with XTC. From the lengthy construction of "Then She Appeared," the film moves to another day where the band is laying down bed tracks for "The Disappointed" live off the floor. It's as enlightening as the earlier segment, as it demonstrates that the group uses whatever approach best suits the song, There's also footage of the group running through "Didn't Hurt a Bit," as well as rehearsals and a tempo reset for the strangely dark and idiosyncratic "That Wave," initially taken at a much faster pace before being slowed down for the version that ultimately appears on the album.


And so, three completely different recordings, three completely different remixes and three completely different reasons for recommendation: Close to the Edge, for the remixes and an alternate version of "And You And I" that reveals plenty about Yes' approach to songwriting and arrangement; Benefit, which, well, benefits significantly from the clarity of Wilson's touch; and Nonsuch, a terrific album now sounding subtly improved in stereo but revealing even more in surround, with a bevy of extras that reveal much about a group that, since leaving the concert stage, enigmatically did most of its work behind the scenes. With more Wilson remixes due from all three groups, there's plenty to look forward to in the coming year.


Tracks and Personnel

Close to the Edge

Tracks: CD (2013 Stereo Mix): Close to the Edge (The Solid Time of Change; Total Mass Retain; I Get Up I Get Down; Seasons of Man); And You And I (Cord of Life; Eclipse; The Preacher the Teacher; The Apocalypse); Siberian Khatru; America (bonus track); Close to the Edge (early assembly/rough mix). Blu-Ray: 2013 Stereo Mixes 24/96 LPCM: Close to the Edge; And You And I; Siberian Khatru. 5.1 Surround Mixes: 24/96 LPCM, DTS HD 24/48: Close to the Edge; And You And I; Siberian Khatru. Original Stereo Mix, flat transfer from original master, 24/192 LPCM: Close to the Edge; And You And I; Siberian Khatru. America: America (5.1 Surround mix, 24/96 LPCM DTS HD 24/48); America (2013 Stereo Mix, 24/96 LPCM); America (original mix, flat transfer from original master, 24/192LPCM). Additional Material: Alternate Album (24/96 LPCM): Close to the Edge (early assembly/rough mix); And You And I (Alt. Version); Siberia (studio run-through of Siberian Khatru). Single Versions and Edits (24/192 LPCM): Total Mass Retain (single edit); And You And I (promo single edit, mono); And You And I (promo single edit, stereo); America (single version). Blu-Ray Exclusive: 2013 Stereo Instrumental Mixes (24/96 LPCM) : Close to the Edge; And You And I; Siberian Khatru; America. UK Vinyl Transfer (A1/B1 UK vinyl transfer 24/96 LPCM): Close to the Edge; And You And I; Siberian Khatru.

Personnel: Jon Anderson: vocals; Bill Bruford: percussion; Steve Howe: guitars, vocals; Chris Squire: bass, vocals; Rick Wakeman: keyboards.

Benefit

CD (2013 Steven Wilson Stereo Mixes): With You There to Help Me; Nothing to Say; Alive and Well and Living In; Son; For Michael Collins, Jeffrey and Me; To Cry You a Song; A Time for Everything; Inside; Play in Time; Sossity, You're a Woman; Singing All Day (extra track); Sweet Dream (extra track); 17 (extra track); Teacher (UK single version, extra track); Teacher (US album version, extra track). CD2 (Associated Recordings 1969-1970): Singing All Day (mono, previously unreleased mix); Sweet Dream (mono); 17 (mono); Sweet Dream (stereo, previously unreleased mix); 17 (stereo, previously unreleased mix); The Witch's Promise (mono); Teacher (UK single version, mono); Teacher (US album version, mono); The Witch's Promise (stereo); Teacher (UK single version, stereo); Teacher (US album version, stereo); Inside (single edit, mono); Alive and Well and Living In (mono); A Time for Everything (mono); Reprise AM Radio Spot 1 (mono); Reprise FM Radio Spot 1 (stereo). DVD: 2013 Steven Wilson Mixes DTS and Dolby AC3 5.1 Surround, stereo 96/24 LPCM: With You There to Help Me; Nothing to Say; Alive and Well and Living In; Son; For Michael Collins, Jeffrey and Me; To Cry You a Song; A Time for Everything; Inside; Play in Time; Sossity, You're a Woman; Singing All Day (extra track); Sweet Dream (extra track); 17 (extra track); Teacher (UK single version, extra track); Teacher (US album version, extra track). Flat Transfer, Original UK LP Master, 96/24 LPCM: With You There to Help Me; Nothing to Say; Alive and Well and Living In; Son; For Michael Collins, Jeffrey and Me; To Cry You a Song; A Time for Everything; Inside; Play in Time; Sossity, You're a Woman. Flat Transfer, Original US LP Master, 96/24 LPCM: With You There to Help Me; Nothing to Say; Inside; Son; For Michael Collins, Jeffrey and Me; To Cry You a Song; A Time for Everything; Teacher; Play in Time; Sossity, You're a Woman. Flat Transfer, 96/24 LPCM: Sweet Dream; 17; The Witch's Promise.

Personnel: Benefit LP: Ian Anderson: vocals, flute, guitar, balalaika; Martin Barre: guitar; Glenn Cornick: bass; Clive Bunker; drums; John Evan: piano, organ. Additional Singles Credits: Singing All Day: Ian Anderson: vocals, flute, balalaika, Hammond organ; Martin Barre: guitasr; Glenn Cornick: bass, Hammond organ; Clive Bunker: drums. Sweet Dream: Ian Anderson: vocals, flute, 12- string guitar; Martin Barre: guitar; Glenn Cornick: bass; Clive Bunker: drums; David Palmer: strings and brass arrangements. 17: Ian Anderson: vocals, flute, guitar, piano; Martin Barre: guitar; Glenn Cornick: bass; Clive Bunker: drums. The Witch's Promise; Ian Anderson: vocals, flute; Martin Barre: guitar; Glenn Cornick: bass; Clive Bunker: drums; John Evan: piano, mellotron. Teacher (UK single version): Ian Anderson: vocals, flute, guitar; Martin Barre: guitar; Glenn Cornick: bass; Clive Bunker: drums; John Evan: organ.

Nonsuch

Tracks: CD (2013 Stereo Mix, flat master transfer): The Ballad of Peter Pumpkinhead ;My Bird Performs; Dear Madam Barnum; Humble Daisy; The Smartest Monkeys; The Disappointed; Holly Up on Poppy; Crocodile; Rook; Omnibus; That Wave; Then She Appeared; War Dance; Wrapped in Grey; The Ugly Underneath; Bungalow; Books are Burning; Didn't Hurt a Bit (bonus track). Blu-Ray: Original Stereo Mix: The Ballad of Peter Pumpkinhead ;My Bird Performs; Dear Madam Barnum; Humble Daisy; The Smartest Monkeys; The Disappointed; Holly Up on Poppy; Crocodile; Rook; Omnibus; That Wave; Then She Appeared; War Dance; Wrapped in Grey; The Ugly Underneath; Bungalow; Books are Burning. 2013 Stereo Mix, flat master transfer 24/96 LPCM: The Ballad of Peter Pumpkinhead ;My Bird Performs; Dear Madam Barnum; Humble Daisy; The Smartest Monkeys; The Disappointed; Holly Up on Poppy; Crocodile; Rook; Omnibus; That Wave; Then She Appeared; War Dance; Wrapped in Grey; The Ugly Underneath; Bungalow; Books are Burning; Didn't Hurt a Bit (bonus track). 2013 5.1 Surround Mix, 24/96 LPCM, DTS-HD : The Ballad of Peter Pumpkinhead ;My Bird Performs; Dear Madam Barnum; Humble Daisy; The Smartest Monkeys; The Disappointed; Holly Up on Poppy; Crocodile; Rook; Omnibus; That Wave; Then She Appeared; War Dance; Wrapped in Grey; The Ugly Underneath; Bungalow; Books are Burning; Didn't Hurt a Bit (bonus track). Andy's Home Demos: Always Winter, Never Christmas; Books are Burning; Goosey Goosey; Wrapped in Grey; That Wave; Goodbye Humanosaurus; Dear Madam Barnum; Crocodile; Difficult Age; The Ugly Underneath; Holly Up On Poppy; The Ballad of Peter Pumpkinhead; Then She Appeared; It's Snowing Angels; Rook; Humble Daisy; Rip Van Reuben; I'm the Man Who Murdered Love; Omnibusl The Disappointed (first reference recording); The Disappointed (second reference recording); The Disappointed; Wonder Annual. Colin's Work Tapes: My Bird Performs; Didn't Hurt a Bit; The Smartest Monkeys; Down a Peg; Bungalow; War Dance; Car Out of Control; Where Did the Ordinary People Go?.

Personnel: Andy Partridge: vocals, electric guitar, acoustic guitar, harmonica, tambourine, percussion, shaker, keyboard programming, bell tree, brass and string arrangements; Colin Moulding: vocals, bass guitar, electric guitar, acoustic guitar, brass and string arrangements; Dave Gregory: electric guitar, electric 12-string guitar, acoustic guitar, piano, synthesizers, Hammond organ, backing vocals, church bell, brass and string arrangements; Dave Mattacks: drums, tambourine, drum and sitar samples, shaker, percussion; Gus Dudgeon: tambourine, backing vocals; Guy Barker: flugelhorn, trumpet; Florence Lovegrove: viola; Rose Hull: cello; Stuart Gordon: violin; Gina Griffin: violin; Neville Farmer: backing vocals.


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