Album: Turn! Turn!
Turn!
·
Original Stereo LP (vinyl): Columbia CS 9254
(Released 12/6/1965)
·
Original Stereo CD: Columbia CK 9254 (1987;
hereafter referred to as ‘Columbia’)
·
Remixed (partially) and Remastered CD:
Columbia/Legacy CK 64846 (4/30/1996; hereafter referred to as ‘Legacy.’)
·
“Original Album Mono Version” with “Mono Bonus
Tracks” (4) and “Original Album Stereo Version” with “Stereo Bonus Track.” Sony
Music Japan International Inc. SICP 20373 (Blu-Spec CD. Made In Japan. 2012)
Number of Remixed Tracks on the
Legacy CD, CK 64846: 6 (out of 11 total; 9 actual total-see below)
Remixed Track Numbers: #2, #3, #4,
#6, #8, and #9.
Background
As the title track (Track #1) used
a monaural mix, and “He Was A Friend
Of Mine” (Track #5) utilized a very narrow stereo (virtual mono) mix on the
original stereo album, these two songs will be discussed separately, under the
“Notes” section.
After careful listening
comparisons between the vinyl LP and the Columbia CD, it was determined that
the latter was sourced from a rather worn safety copy of the master tape- most
likely a 3rd/4th-generation copy. In this writer’s
opinion, the Turn! Turn! Turn! album was deliberately mixed for stereo with
less lower bass output than its predecessor, with the electric 12-string lead
and rhythm guitars and vocals emphasized, giving it a pronounced trebly,
mid-range sound. Thus, a 2nd-generation cutting master probably was
never made- it would have been unnecessary. As a result, the monaural mix of
this album- with the drums riding higher and with stronger bass output- offered
a relatively more focused, energetic sonic presentation. In addition, the mono
mixes from this album were quite consistent and well executed, unlike those
from the first album, which had noticeable variability and uneven, questionable
results. Nevertheless, the original 1965 stereo mix of this album offered
revealing delineation between the guitars.
Whereas the Mr. Tambourine Man album
had a fair amount of unpredictability with the original stereo mix, in terms of
where instruments were located across the soundstage, this album had less
variety with the 1965 stereo mix. On eight songs, the Rickenbacker was paired
up with the drums in the RC, while Crosby’s Gretsch and Hillman’s bass guitar
were mixed hard left (LC). It was almost as if this album’s stereo mixing
engineer had a deliberate, convenient approach, and stuck to it.
Remixed Tracks
·
It Won’t Be Wrong (Track #2)- The original
stereo mix of this excellent, well-recorded up-tempo tune, written earlier by
McGuinn and his friend Harvey Gerst, featured an arresting dual guitar intro
(Rickenbacker, RC; Gretsch, LC), with a prominent 12-string lead line (00:05)
that exuded a distinctive, almost piercing siren-like tone. Then the bass
guitar (LC) and drums (RC) entered (00:06), followed by the superb vocals
(00:10). On the other hand, the Legacy remix was more restrained with less edge
on the Rick. It sounded as if the EQ on the Rickenbacker was different and
lower on the Legacy; even the mono mix had the timbre of the Rick pitched
higher, similar to the original stereo mix.
Another notable difference
with the Legacy occurred with the vocals: they seemed recessed on it, while on
the classic mix, they were more open and seemed to ride on top of the
instruments. There was a unique ambience to the vintage mix that was missing
from the Legacy. Otherwise, the band track, led by the drums (RC), sounded
stronger on the remix; the upper range percussive parts displayed better
definition. (This song, originally titled ”Don’t Be Long,” had been recorded in
1964 under the Beefeaters pseudonym and released as the B-side to an Elektra
single. Rogan 2012,44;225).
A careful analysis of the
track’s meter chart data confirmed the above comments regarding the restrained
sound of the 12-string lead on the Legacy during the tune’s opening: at the
00:09 mark, right before the vocals dropped in, the RC of the Legacy was 2db
down compared to the original stereo mix. As well, the LC also ran –2dB lower.
It was noteworthy that the output levels on the remix caught up quickly,
registering peaks of +1dB greater in both channels by the end of the first line
of lyrics, versus the 1965 mix. It should be mentioned that the meter data
revealed that the Legacy was a very clever remix, quite faithful to the
original mix, as its output levels were generally within 1dB of the original
mix. Interestingly, the mono album mix’s opening (00:09) had levels that
matched (LC) or were within –1dB (RC) of the 1965 stereo mix.
Fortunately, the Legacy remix was clearly superior to that done
for the 1990 box set.
Despite the latter also being remixed from the 3-track reduction master tape,
it sounded even more muffled, with the guitars masked, while the Rickenbacker
lacked sparkle and the drums had no bite. It was interesting to note that the
45 single mix-produced by the group, not Terry Melcher, who had been
sacked-featured Clarke’s drums much more prominently, even more so than the
mono album mix. Initially relegated to the B-side of the Byrds’ fourth single
release before being flipped, this more commercially appealing tune should have
been the A-side from the start, and would have had a reasonable chance of
reaching the Top Twenty of the U.S. charts, despite the musical acclaim of the
following song, which initially was the A-side.
·
Set You Free This Time (Track #3)- The
Gene Clark Echoes CD, along with the vinyl LP, proved invaluable as
benchmarks for comparison purposes for this outstanding track, which
inexplicably was left off the 1990 Box set. The Echoes disc was clearly
sourced from a better quality tape than the Columbia CD. From the start, it
became apparent that the Legacy version was a remix: the opening 25 seconds
sounded lower in level, almost muted, as borne out by the lower meter output
levels (-2dB down compared to the vintage mix, using matched input levels on
the intro). After that point, Clark’s heartfelt lead vocal ramped up louder for each verse on the
Legacy, albeit with less depth and a thinner tone, while the hi-hat was
brighter and had better definition. The bass guitar from the LC also sounded
louder on the remix, especially as each verse crested.
Undoubtedly, the Legacy
offered better articulation on both guitars- the Gretsch in the LC, the 12-string
from the RC. While tastefully implemented and faithful to the original mix, the
Legacy was still a remix. The most noticeable difference was on Clark’s vocal,
which sounded fuller, with a thicker texture on the 1965 mix.
·
Lay Down Your Weary Tune (Track #4)- On
this underrated Dylan cover, the original mix was well-balanced across the
soundstage, with the vocals centered, the bass and rhythm guitars anchoring the
LC while the 12-string and drums fired
out of the RC. McGuinn’s Rickenbacker and Crosby’s Gretsch had a
chime-like sound, with good presence. Although the harmony vocals on the
Columbia CD were distorted, sounding fatigued at least for the first 27 seconds
of the song- especially when listening on headphones- they sounded fine on the
vinyl LP.
In contrast, the vocals were
boosted on the Legacy remix, while the bass and rhythm guitars from the LC were
louder, although presented in superior detail. As well, the harmony vocals were
clear throughout the remix, in marked difference from the Columbia CD. Further
indication that the Legacy version was a remix has been furnished by closely
analyzed meter data from the matched peak output levels, for both channels,
between the Columbia and Legacy CD’s. While the former had a consistent 0-2dB
differential between channels, the latter registered a wider range of 2-4dB,
with the LC dominant in output level.
This
song was originally remixed also from the 3-track reduction
master
for the 1990 box set, in a manner similar to that of the
Legacy
remix.
·
The World Turns All
Around Her (Track #6)- On this superb up-tempo
tune written by Gene Clark, the original stereo mix had a nifty dual guitar
intro and outro, with Crosby’s rhythm guitar located in the LC and McGuinn’s
12-string firing out of the RC. Both guitars had excellent presence and tone,
and were joined, respectively, by Hillman’s bass (LC) and Clarke’s drums (RC).
The song had a rising intensity, with nice dynamics, and was one of the album’s
highlights; the harmony vocals were highly effective.
However,
as in the case of “It Won’t Be Wrong,” it became obvious right from the song’s
start that the Legacy was a remix: the vocals were lower in the mix, almost
muffled, the EQ/timbre on the guitars was down, with noticeably less sparkle on
the 12-string, while the bass (LC) and drums were boosted compared to the
original mix. Once again, these observations were confirmed by calibrated meter
test results, with matched input levels on the intro. Whereas on the original
mix the RC ran 2dB higher than the LC about 40% of the time, on the remix there
was not any similar consistency. Instead, the Legacy had the LC higher
about 50% throughout the song- at one point 2dB hotter.
In
addition, shortly after the rhythm section and vocals entered (00:07), the
remix was up 2dB higher than the 1965 mix. Similar telltale indications that
the Legacy was a remix occurred during the following sections of the song: the
second verse (the LC of the Legacy ran 2-4dB louder than the original mix); the
break (again, the LC of the remix registered peaks 2-3dB higher); and the third
verse (the Legacy sported crests 3-4dB hotter in the LC than the 1965 mix).
Incidentally,
the box set 8-track remix of this superb song
included bongos that had been removed from the 1965 mix. Once again like
the Legacy, the former had a subdued intro and whose vocals sounded shelved.
Despite some superficial similarities, the Legacy remix had a more robust
rhythm section and was plainly superior. The alternate ‘bongo’ mix was included
on the Legacy disc as a bonus track (#17).
·
If You’re Gone (Track #8)- By far the most challenging track from this album to
determine whether or not it had been remixed was this melancholic, overlooked
ballad written by Gene Clark. Initially, I had pegged it as not being a remix,
although there clearly was something different between the sound of the Legacy
and the 1965 mix- it was quite demanding to identify. After numerous listening
sessions through both headphones and speakers, and multiple meter plots that
covered 28 carefully chosen musical cue points, this writer finally was finally
able to conclude that the Legacy was in fact a remix- an extremely clever one!
Undoubtedly,
the most notable difference with the Legacy remix occurred with Clark’s
impassioned lead vocal: it was boosted, rode higher, and had more air and depth
on the remix. Conversely, on the original mix it was relatively restrained,
somewhat thinner and balanced with the instrumental tracks. The other variation
that became more noticeable after repeated listening was that the drums from
the right channel were mixed louder and sounded more forward on the Legacy,
whereas on the 1965 mix they seemed recessed. One might assume that Vic Anesini
had used the mono mix as a guide regarding the drums. In addition, the rhythm
guitar (LC) sounded lower in level during the two instrumental breaks. The
original mix was noteworthy for the guitar interplay, led by the sustained,
bugler-like tone of the Rickenbacker from the RC, as well as the floating haze
of harmony vocals (LC) that reinforced the song’s sad spirit.
These
observations were fully supported by extensive meter charting from three
separate sessions, as always with matched input levels for the song’s opening.
It was interesting to note that for the first part of the track, up to 00:40,
there was good correlation on the levels of both channels between the original
mix and the remix (matched or within 1dB). However, as Clark sang “now” at the
end of the fifth line of lyrics (“If I stand alone understanding now”, at the
00:41 point), the Legacy began to register channel differential readings of
3-4dB quite often for the remainder of the tune (ten out of nineteen cue
points), with the RC dominant. In contrast, the original mix sported level
variations between channels of 0 to 2dB, with one 3dB difference at the
2:25 spot. Alternately, on the first instrumental break, starting at 1:12, the
LC on the Legacy started out 3-4dB lower compared to the LC of the 1965
mix; this anomaly was virtually replicated on the second break, starting at
2:06 (2-3dB lower).
It is
worth mentioning that while Vic Anesini’s remix of this track for the 1991 Gene
Clark Echoes disc was different from the Legacy remix- the former
sounded as if it had been remixed from the 8-tracks- nonetheless there were
similarities between the two. The Echoes remix also registered sizeable
channel differentials of 2-5dB from the 00:41 point onward, especially
at the start of both instrumental sections, when the LC was decreased by -4dB
both times, compared to the original mix. The 1991 remix, while reasonably
solid, had the droning harmony vocals sounding off (flat?) early in the song,
at the 00:06-00:07 point.
·
The Times They Are
A-Changin’ (Track #9)- While the output of the
intro on the Legacy version was matched to the original mix of this Dylan
cover, nevertheless there were detectable differences. On the Legacy, the
centered vocals- with McGuinn singing lead- were markedly louder, along with
the bass guitar in the LC. In addition, Crosby’s rhythm guitar fills in the
center were more audible, while McGuinn’s Rick in the RC was consistently 2dB
lower compared to the LC output on the Legacy remix. This disparity stood in
marked contrast to the original stereo mix, where the channel output
differential was 0dB for most of the song. Furthermore, the 1965 mix had reverb
on the Rick during the intro while the remix did not. Even so, overall the
Legacy remix sounded quite close to the original: the differences were well
masked and only apparent upon close listening.
On
the 1990 box set, this track was remixed from the 8-track
master
and paled in comparison to the Legacy remix: the electric 12-string lacked
sparkle and was at a lower level, McGuinn’s opening vocal was noticeably down
in volume, while the drums were mixed too loud. This remix frankly came across
as artificial and unsuccessful.
If the
Byrds sounded as if they were going through the motions on this track, which
had a languid, flat feel, they could be partially excused, as this was the
fourth time they had been in the studio recording it! In fact, this was the
second time around for version III, which appeared on the album
(10/27/65-10/28/65; Rogan 2012, 1018-1019). It is worth pointing out that the
group had actually recorded version I of the song back on 28 June 1965, as it
was given serious consideration for being their next single throughout that
summer, and Columbia Records had gone as far as printing “thousands of sleeves”
for it (ibid, 201; 178 ff; 1018). While this song was never released as a
single- the band was dissatisfied with their various attempts- version I
sported a more energetic arrangement and a rather derisive lead vocal from
McGuinn compared to the eventual album version. With a running time of barely
1:52, version I was seemingly over before it started, and can be heard on the
Blu-Spec disc (best overall sound; bonus track, #14), the Sundazed LP set, and
as a bonus track on the Legacy (track #14; slightly slowed down in tempo).
Notes
The following tracks did not appear
as true stereo mixes on the original Columbia stereo LP. While the title track
was definitely monaural, there is some question about the second, which was
probably in very narrow stereo (twin-track?). In any event, they will be
discussed in detail here.
·
Turn! Turn! Turn! (To
Everything There Is A Season) (Track #1)- It
was noteworthy that while the mono single mix of the Byrds’ second Number One
hit had a length of 3:34 and was slightly speeded up, it was extended 8 seconds
to 3:42 on the original stereo album-as a mono mix-with a slightly slower
tempo. As a result of the inferior quality of its source tape, the Columbia CD
version had audible tape hiss in three spots (00:51-00:52; 1:29; and 3:21),
along with a slight wavering in the sound at 2:37-2:38. The most significant
difference in sound between the stereo vinyl LP and the Columbia CD
occurred with the instrumental backing
track: on the former, it had more impact, especially on the break; the latter
sounded fatigued and worn in comparison.
On the
Legacy CD, this track had an extended fade, which added seven seconds to its
running time (3:49). The sound on the Legacy was uniformly excellent, with no
tape hiss or flaws; as in the case of the single mix, it was sped up a bit.
Instrumentally, this version had real energy, with the guitars having more
presence, while the vocals emerged with enhanced clarity, compared to the
Columbia CD.
For many
years it had been assumed that this song had never been mixed in true stereo,
and that the original multi-track studio tapes had been lost. While the latter
is probably still true, Johnny Rogan
made the startling discovery that a true stereo mix “… existed in Dickson’s
archives….” (Rogan 2012, 1038-1039; Jim Dickson was the Byrds’ first manager).
Nevertheless, at the time the 1990 box set was being prepared, this vital
information was unknown. Thus, Tim Geelan and Vic Anesini decided to offer a
narrow ‘stereo’ remix for that set. Using the “original two-track tape”, they
panned the vocals slightly to the left, with the instrumental backing track-
and McGuinn’s Rickenbacker overdubs- to the right (box set liner notes, 3).
They also gave the latter an extended fade, so their ‘remix’ ran 3:52 (actual
time). The recent 2012 Blu-Spec CD of the Turn! Turn! Turn! album
includes this narrow stereo remix as a bonus track (#27), while also including
the mono album version of the song (track #1; 3:34) and the original stereo
album version (track #16; 3:42) discussed earlier.
·
He Was A Friend Of Mine (Track #5)- Whether this traditional folk song updated by McGuinn
was a dedicated mono mix or an extremely narrow stereo (twin-track?) mix on the
original 1965 stereo LP has been a challenging puzzle. The aural evidence, in
this listener’s opinion, points to the latter. In any event, it was a rather
strange creation, with the acoustic guitar opening up just to the left of the
center, while the vocals (00:09) were virtually centered; the bass guitar,
organ, and tambourine joined the acoustic guitar to the left of the center
(Producer Terry Melcher had added the last two instruments without the band’s
knowledge or approval, much to David Crosby’s consternation; Rogan 2012, 228).
Listening to this version through headphones, one finds the soundstage collapsed,
with extremely limited stereo separation. On the Columbia CD, the vocals
sounded somewhat coarse, while the bass guitar was distorted for much of the
song.
Another
indication that this version was not a monaural mix: the output levels
of each channel were only matched about 50% of the time. At about the 1:00
minute point in the song, the RC increased +2db over the LC, as McGuinn sang,
“He was in Dallas town.” In fact, much of the RC is plainly driven by the
vocals. A true mono mix would not have had 1-2 dB variations between channels
for a good portion of the song.
For the 1990 box set, this
song was handled in a similar fashion as the title track. Using the “original
two-track tape,” Geelan and Anesini created a ‘stereo’ mix by panning the
instruments, led by the acoustic guitar, to the right, while the vocals were
panned to the left- a wider reversal of what was presented on the original
stereo LP. Curiously, the final fourth verse (“Leader of a nation, for such a
precious time; He was a friend of mine”) was omitted, leaving the track with a
shorter running time of 2:09.
In contrast, the version
presented on the Sundazed LP set is indeed a dedicated mono mix that definitely
sounded different than the one found on the original stereo album. Starting
with the opening acoustic guitar, everything- including the vocals- was
centered, at the same spot. Most telling, both channels were dead even in level
for the entire song. Although there is some distortion on the bass guitar, it
is less than that heard on the preceding version.
The version featured on the
Legacy CD was also a dedicated mono mix, very similar to
the one from the Sundazed LP set, with everything
dead centered. However, the bass guitar sounded more distorted on the Legacy
CD, and the channels were not as perfectly matched as heard on that fine vinyl
set. Otherwise, the Legacy offered better overall clarity and detail.
Surprisingly, both the Legacy’s liner notes and inside back cover erroneously
list this song as being in stereo, when it clearly is not- an apparent
oversight.
In the judgment of this
listener, the very good quality sound of this song displayed on the Legacy CD
was surpassed slightly by the import Blu-Spec CD, in its “Mono Album Version”
(track #5). The clarity and dynamics were superb, there was less distortion on
the bass guitar, and both channels were perfectly matched throughout. Perhaps a
better source tape and transfer were used for the Blu-Spec disc.
After “If You’re Gone,” the
most difficult track to decipher from this album was “Wait And See,” the first
Byrds’ song where McGuinn/Crosby received the songwriting credit (Track #10).
While it initially had been classified as a remix, a more recent thorough
listening review and detailed meter charting convinced me otherwise, that it
was not a remix. The presence and tone of the guitars on the Legacy matched
that of the original 1965 stereo mix, while the vocals had the same level and
balance. The actual lengths (2:17), the cue spots on the break (1:33-1:45), and
the location of the vibrant 12-string solo on the bridge matched exactly
between the two sources.
Furthermore, the meter data
results were generally consistent (matched, or within 1dB) between the Columbia
and Legacy discs; the only brief discrepancy of note occurred during the break,
when the LC of the Legacy ran 2dB lower than the Columbia. In the end, my
determination was based on repeated listening comparisons on both headphones
and speakers between these discs as well as the vinyl LP. The Legacy offered
better articulation on the guitars, while the vocals had a bit more clarity-
improvements due no doubt to the use of a better source tape compared to the
Columbia. If this track really was a remix on the Legacy, then it would have to
have been one the most realistic remixes ever made, and of course this writer
would stand corrected.
Finally, for clarification,
it should be noted that the vinyl LP is the best way to hear this album in
stereo as it was originally mixed. Nevertheless, despite the flaws discussed earlier-
quite apparent when listening through headphones- the Columbia CD sounds
reasonably decent on full-range speakers.
