REMASTER CLASS 重制版
Sound & Vision
Chicago Transit Authority: Chicago Transit Authority.
The seven-man band then known as Chicago Transit Authority were at the forefront of the horn-driven jazz-rock movement when they emerged in April 1969 with their self-titled double-length debut album, thanks in no small part to the knob-turning efforts of their semi-svengali producer James William Guercio. (The band eventually had to shorten their name to Chicago because the real CTA threatened legal action.) Rightly spread out across four sides, the 76-minute Chicago Transit Authority, a.k.a. CTA, has always been properly represented on double vinyl. My original 2LP 1969 Columbia set was well-worn by the time I got to college, and it was virtually impossible to keep the black-bordered cover with the postage-stamp size band logo in the center from showing signs of ringwear. The 2LP 1984 Mobile Fidelity version ultimately became my spinner of choice, though more recently I picked up Rhino’s finely remastered 50th anniversary 2LP 2019 set for active duty. The latter is the only wax I’ll allow my Blackbird cartridge to make contact with these days so I can best enjoy the breadth of Terry Kath’s furious, sustained guitar riffage on “Listen” and “Poem 58.”
Naturally, I had to have CTA on CD, and the 1988 Columbia Redbook CD was adequate enough—and don’t get me started on the inferior Chicago Records CD. When Rhino took over the band’s catalog, their 2002 CTA CD appeared in sleeved digipak form that never stays square— no matter what, it always buckles to resemble a parallelogram. Good thing the rise of quad was in sync with the band’s brassy improv vibe, as Chicago took full advantage of the format during their ’70s heyday. That said, I didn’t get my hands on the 1974 quad CTA Columbia LP until years later— but I remain nonplussed by the Dolby quad 8-track attempt. As soon as the Rhino Handmade Quadradisc DVD-A came into existence as a 40th anniversary limited edition in 2009, I was all over it. Even better, Rhino dropped the cleverly dubbed nine-disc Quadio Blu-ray box set in 2016, a collection of Chicago’s first eight studio albums from 1969-76 plus their initial greatest hits compilation, all of them appearing as (wait for it) DTS-HD Master Quadio 4.0 mixes in 24-bit/192khz. And, yep, you guessed it—the 4.0 BD is my favorite of the CTA lot.
Co-founding trumpeter Lee Loughnane readily confirmed to me just how much quad suited the progressive, compositional nature of Chicago music. “I like to have it so when the listener is immersed in the song, it feels as if you’re almost a part of the band. That’s the most satisfying for me,” he admitted. “The album was originally designed sonically as though you were listening to us live, and this is what we do for audiophiles. That’s the whole point of our music—to make it sound like you’re right there with us.”
True, we could probably use more bass content overall—though it’s not really lacking here, tbh— but CTA on BD maximizes the quad format to a Q, er, T. Clarified Loughnane, “When quad came to be, the CTA mix had to be redesigned sonically, because it was initially set up to be stereo, which was what was available at the time we recorded it,” he explained. “We did it on an 8-track machine, so there was some bouncing to be done too.”
The CTA quad table is set perfectly with “Does Anybody Really Know What Time It Is?” and the harmonic pendulum swing of its intuitive piano lines and horn accents. Plus, the percussion-fueled hooting and hollering section at the end of “Beginnings,” Peter Cetera’s clockwise vocal responses all throughout “Poem 58,” the drum-and-organ-driven rolling and tumbling boastings of “I’m a Man,” and the all-out free-form jamming of “Liberation” (I continue to marvel at how Chicago wriggles their way out of each false ending) all serve the intended purpose of putting listeners right in the room with the band.
Of course, I’d be all-in on having CTA delivered in a full 5.1 presentation someday, if not Dolby Atmos. At least for now, all you got to do is listen to CTA on BD to get all the right 4.0 answers to Questions 67 and 68.
Sound & Vision
七人乐队当时被称为芝加哥交通管理局，当他们于1969年4月以他们的同名双长首张专辑出现时，他们处于号角驱动的爵士摇滚运动的最前沿，这在很大程度上要归功于他们的半斯文加利制作人詹姆斯·威廉·古尔西奥（James William Guercio）的旋钮努力。（乐队最终不得不将他们的名字缩短为芝加哥，因为真正的CTA威胁要采取法律行动。芝加哥交通管理局（Chicago Transit Authority，又名CTA）正确地分布在四面，一直以双黑胶唱片为代表。我原来的2LP 1969 Columbia套装在我上大学时已经磨损得很好，几乎不可能让中间带有邮票尺寸带标志的黑色边框封面显示戒指的迹象。2LP 1984 Mobile Fidelity版本最终成为我的首选，尽管最近我选择了Rhino精心重制的50周年纪念2LP 2019现役套装。后者是我这些天唯一允许我的黑鸟墨盒接触的蜡，这样我就可以最好地享受特里·凯斯（Terry Kath）在"听"和"诗58"中愤怒，持续的吉他即兴演奏的广度。
当然，我必须在CD上有CTA，而1988年的哥伦比亚红皮书CD已经足够了——不要让我开始制作劣质的芝加哥唱片CD。当Rhino接管乐队的目录时，他们2002年的CTA CD以袖子数码宝贝的形式出现，永远不会保持正方形 - 无论如何，它总是弯曲成平行四边形。好消息是，quad的兴起与乐队的铜管即兴氛围同步，因为芝加哥在70年代的鼎盛时期充分利用了这种形式。也就是说，直到几年后，我才接触到1974年的四通道CTA Columbia LP，但我仍然没有被杜比四通道8轨尝试所吸引。2009年，Rhino Handmade Quadradisc DVD-A作为40周年限量版问世后，我就全力以赴。更好的是，Rhino在2016年放弃了巧妙配音的九碟Quadio蓝光盒，这是芝加哥1969-76年的前八张录音室专辑的集合，以及他们最初最热门的合辑，所有这些都以24位/ 192khz的形式出现（等待它）DTS-HD Master Quadio 4.0混音。而且，是的，你猜对了 - 4.0 BD是我最喜欢的CTA批次。
没错，我们可能总体上可以使用更多的低音内容 - 尽管这里并不缺乏，tbh - 但是BD上的CTA将四格式最大化为Q，呃，T.澄清Loughnane，"当四重奏出现时，CTA混音必须重新设计声音，因为它最初设置为立体声，这是我们录制它时可用的，"他解释道。我们在一台8轨机器上完成了它，所以也有一些反弹要做。
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