New West NW5397
Format: LP
Musical Performance: ***½
Sound Quality: ****
Overall Enjoyment: ****
Many musicians have recorded music that is overtly political, but few have done it more often or been more resolutely outspoken than Steve Earle. His albums Jerusalem (2002) and The Revolution Starts Now (2004) were critical of the George W. Bush administration, and Earle’s opposition to the death penalty has led him to write and record several songs about the issue, including “Billy Austin” and “Ellis Unit One,” both featured on the soundtrack of the film Dead Man Walking (1995).
“Electrons don’t care what kind of wires they’re in,” an electronics engineer once said to me. He was being glib, but I knew him to be a serious man when it came to audio. He builds great tubed and solid-state gear and has good taste in music.
“You’re the writer I want to be when I grow up.”
That’s how I introduced myself to Art Dudley when I first met him, in 2005, at Le Festival Son et Image de Montréal.
In July 2017, I published the first of my six articles in the series “Jeff’s Getting a New Stereo System.” Now, 35 months later, I’m finally done.
“If it ain’t broke, don’t fix it.”
McIntosh Laboratory is no stranger to that adage. Ever since its founding, in 1949, by Frank McIntosh and Gordon Gow, the company has designed and made audio components oriented more toward those who prefer to buy such a product once or, at most, twice in a lifetime. For that, I applaud them. In this industry, sustainable and profitable rarely go together -- you’re far more likely to see an only slightly revised version of the same product offered every two or three years instead of every five to ten, or even only once every decade or two. This may be forgivable for products in the rapidly evolving digital categories of streamers, DACs, even AVRs -- but for analog gear, and especially amplifiers and preamplifiers, it’s seldom necessary.
Blue Note ST-84199/0850312
Format: LP
Musical Performance: ***½
Sound Quality: ****
Overall Enjoyment: ****
Just when I think I’ve bought too many Blue Note reissues on vinyl, the label releases something I like but own only on CD. Trumpeter Lee Morgan recorded The Rumproller in April 1965, and Blue Note released it in January 1966. The album followed The Sidewinder, which had become a surprise hit following its release in July 1964.
Despite all evidence to the contrary, there might still be some trusting souls who imagine that all audio reviewers are consummate professionals so seasoned in the ways of audiophilia that mistakes aren’t just few and far between, but nonexistent; that their judgment, honed through years or even decades of experience, is infallible; that the process of sitting down to conduct some critical listening is highly ritualized, even sacred. Let’s imagine what that rite might look like:
Man, can I drag things out. I wrote the first installment of “Jeff’s Getting a New Stereo System,” for SoundStage! Ultra, in July 2017. That series of six articles, the most recent published in December 2017, chronicled my search for -- you guessed it -- a new audio system. When I conceived of the series, I was about to move from our former home, had just sold my $400,000 reference stereo system, and was looking forward to whatever might be next. Perhaps the title of the series should have been “Jeff’s Getting a New Stereo System . . . or Not.”
I do love an elegant-looking speaker. There’s something to be said for architectural grace. After all, accepting into your life and home a pair of full-size speakers is a serious commitment. The damn things have to sit there, damn near in the middle of your room. You have to stare at them as you’re listening. I could live with a pair of boxes made of MDF wrapped in vinyl, but I sure as hell would rather not.
World Circuit WCV094
Format: LP
Musical Performance: ****½
Sound Quality: ****
Overall Enjoyment: ****½
Nigerian drummer Tony Allen, who’s been recording and touring since the late 1950s, is best known for his long stint with Fela Kuti’s Africa 70, which incorporated American funk and soul music into the African-influenced jazz that was Kuti’s specialty. The result came to be called Afrobeat, and Allen was the music’s driving rhythmic force. He recorded more than 30 albums with Kuti over the next ten years, and when Africa 70 disbanded in the late 1970s he went on to play as leader and sideman on a vast number of recordings. Pop-music fans will recognize him as a member of the British band The Good, the Bad & the Queen.
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