Axl's Catch Groove

Last year, I upgradedthe Desert 🌵Sessions to play physical digital media (CDs, SACDs, HDCDs, and DVD-A). One of my goals was to play my small collection of high-resolution disks (mainly SACDs). However, I did not realize how challenging it would be to play the DSD layer of a SACD (more about that below). According to Google, Direct-Stream Digital (DSD) is a high-resolution audio format developed by Sony and Philips, primarily for Super Audio CDs (SACD) and high-quality digital downloads. Unlike PCM (used in WAV/FLAC), DSD uses 1-bit quantization and a very high sampling rate (2.8224 MHz or higher). That is technical stuff I don’t understand. What I do understand is that DSD is a warmer analog-like sound with less listening fatigue, which, to my ears, is the best-sounding digital format.

There is a lot of debate in the audiophile community over which sounds best: vinyl or digital. I can give you a definitive answer: it depends. More important than resolution and format is the recording, mixing, and mastering. The biggest problem with vinyl is its fragility – almost every LP eventually has surface noise. How an album was recorded, how it was mixed and mastered, and how it was transferred to the final state (a vinyl record, CD, or digital file) can make a vinyl record sound better than the digital file, and vice versa. Don’t forget your mood upon listening. I find I am a more attentive listener with vinyl because the format demands more engagement: pulling the album off the shelf, cleaning it, dropping the needle, flipping the record, etc. But in general, a well-recorded digital album (and most everything recorded in the last 20 years is a digital source anyway) that has been well-mastered to digital generally wins over its vinyl sibling. Ultimately, the last steps in production are an art form. Those final steps in the production to form the final product, whether vinyl or a digital file, are an artistic expression too. They are susceptible to the skills and taste of the recording, mixing, and mastering engineers. 

Last season, I picked up an inexpensive Blu-ray player that could play pretty much any digital format, including SACDs (Sony UBP-X800M2). This season, I shipped all my SACDs and DVD-As to Phoenix to enjoy on the Sony. However, I did not realize that the only way Sony could output DSD was via an HDMI port, which required a DSD-compatible device to deliver it to my ears (e.g., a home theater amp or a dedicated DAC). I did a lot of research and talked to my audiophile buddies, and every solution was either complicated or expensive. Then I was at an Arizona Audio Visual Club meeting, and one member brought his Oppo Blu-ray to demo both physical media and streaming via a Bluesound Node. The light bulb went on that the simplest solution to playing DSD SACDs at the Desert 🌵Sessions was to swap my Oppo 105D from Minneapolis with my Sony UBP-X800M2 in Phoenix. The Oppo will get more use in Phoenix, and the Sony and an outboard DAC will be perfectly fine for my extensive Red Book CD collection in Minneapolis.

We were recently in Minneapolis to meet our first grandchild, and while I was there, I packed up the Oppo and shipped it to Phoenix. The Oppo has now been incorporated into the Desert 🌵 Sessions, and what follows is my experience with the “new” toy (I have had the Oppo since 2014). I am not a technical audiophile (I don’t consider myself an audiophile, but a musichead with a decent stereo), so this review will be subjective and based solely on my ears.

A note on Oppo: OPPO Electronics Corporation is a Chinese consumer electronics manufacturer and technology company. At this point, they are primarily a cell phone company. Oppo discontinued Blu-ray player production in 2018, but their universal disc players (like my 105D) were highly sought after by audiophiles for their exceptional build, sound quality, and reasonable price. Because these units are no longer in production, they are only available as used units on secondary markets. I received mine new as a 30th wedding anniversary gift from my lovely wife back in 2014.

Before getting into the Oppo review, a couple of inexpensive, but material upgrades for this season: a coax cable and a toe-in of the speakers. I had been using a standard RCA interconnect between my Bluesound Node and an external DAC. I replaced it with an inexpensive coax cable from Amazon. I am generally sceptical of cords making a difference, but in this case, it did, and I assume what helped is the shielding a legit coax cable provides (it is basically a video coax cable with male RCA jacks). Probably the best ROI I have ever experienced with an upgrade ($10 solution). The other “upgrade” was to toe-in the speakers and move them out from the wall by a few more inches – sounds better (duh) – literally priceless.

To prep for the Oppo upgrade, I gave the Sony UBP-X800M2 a final listen to a few SACDs using the Sony’s native PCM conversion connected to an external DAC (Orchard Audio Pecan-Pi revision 3.0, which has dual Burr-Brown (TI) PCM1794A DAC chips).

Bob Dylan – Slow Train Coming (1979) SACD

Slow Train Coming is one of my reference recordings because it is a wonderfully performed, recorded, mixed, and mastered release that I am intimately familiar with. Of all the changes in Bob’s career, the most outrageous was becoming a born-again Christian. But he did it with such panache that I forgave him. The album is the funkiest of Dylan’s albums, thanks to recording in Muscle Shoals with Jerry Wexler and Barry Beckett producing. Mark Knopfler’s guitar is a key component. The PCM version via the Sony sounds great (wide soundstage and precise stereo imaging); however, it has some digital harshness.

Roxy Music – Avalon (1982) SACD

Avalon has been a reference recording for me and for many audiophiles. Per Google AI: “It is widely considered a quintessential audiophile masterpiece, renowned for its pristine production, immense soundstage, and sonic detail, making it a premier test record for high-end audio equipment. Mixed by Bob Clearmountain, the album features dense, lush layers, with top audiophile editions including the 2022 Half-Speed Mastered LP, original UK pressings, and the 2003 SACD (the version I am using here).” The SACD via PCM does not have the harshness of the Dylan recording – it sounds analog, like a pristine vinyl LP. Nice big soundstage and stereo imaging.

Merl Saunders, Jerry Garcia, John Kahn, Bill Vitt – Live At Keystone Volume 1 (1973)

Live At Keystone Volume 1 is one of my favorite albums in my collection (along with the box set version). It displays the jazz side of Jerry Garcia. The recording is highly regarded for its sound. It was recorded at the Keystone in Berkeley, CA, and the album is known for its intimate, funky, 70s-style jam session vibe. Despite being recorded in a club, it is a studio-quality recording. The great Betty Cantor-Jackson is the engineer. The SACD via PCM has a nice analog vibe – it is mellow and smooth.

The Oppo arrived in Phoenix in good shape! It fits perfectly in one of the Desert 🌵 Sessions stereo cabinet’s cubbies. The Bluesound is coax connected to the Oppo, so I can leverage the Oppo’s DAC, which is two ESS Sabre32 Reference DACs (ES9018) optimized for audio, with one pair assigned for stereo (RCA/XLR – I am using RCA) and another for the headphone amplifier (which I don’t use, given I use a separate tube-based headphone amp).

I did notice that the Bluesound was not properly configured for an external DAC. The proper configuration looks like this:

I had some initial challenges getting the Oppo configured to play the DSD layer – it was defaulting to PCM. But that allowed me to hear the improvement between the Orchard DAC and the Oppo’s DAC (PCM-to-PCM vs PCM-to-DSD).

I returned to Dylan’s Slow Train Coming to compare the Oppo with the Sony/Orchard DAC combo, in essence, DSD vs. PCM. Wow – the DSD version is much warmer – the harshness of PCM is gone! The soundstage is better, too.

Moving on to my second comparison – Roxy Music’s Avalon. Although the Orchard/PCM version I listened to earlier sounded great. The DSD version sounds even more analog – it is like being wrapped in a warm blanket.

My final comparison, Merl Saunders, Jerry Garcia, John Kahn, Bill Vitt – Live At Keystone Volume 1. Again, the PCM version was soft and mellow. Similar to the Roxy album, the DSD version of Live At Keystone has analog warmth. It also has a wider soundstage, making it a much more immersive experience.

One final reference point, a SACD of Elton John’s Captain Fantastic and the Brown Dirt Cowboy (1975). The album is widely revered in audiophile circles for its rich and detailed production. There are lots of dynamics here – from a whisper to a scream. The DSD layer sounds, dare I say, fantastic. I have used this SACD to test drive several systems – it is a good album to reveal a system’s strengths and weaknesses. Although I have a pretty humble rig compared to many of the audiophiles I know, it is fully satisfying to me (for now 😉).

Next up is R.E.M.’s 2005 DVD-A of Out Of Time (originally released in 1991). I don’t have a comparison point, as I haven’t played it recently on the Sony/Orchard. I don’t know what resolution the “Advanced Resolution Stereo” is – it isn’t documented, and I couldn’t find anything definitive online. Still, I assume it is at least 24-bit/48 kHz PCM (Wikipedia implies it is 24-bit/192 kHz). The DVD-A is bright and precise – maybe even too bright for jangly R.E.M. But listening to the CD (the DVD-A was bundled with a Redbook CD), it is pretty harsh and dull – the DVD-A is much warmer and has a better soundstage. The 2016 (which was a 25th anniversary remix) is 24-bit 88.2 kHz FLAC (PCM) on Tidal, sounds better to my ears – a more natural sound than the DVD-A. This probably has more to do with the remix than the resolution.

Next up, I focused on test-driving the Bluesound Node paired with the Oppo’s DAC. I start with a classic audiophile album: Talk Talk’s The Colour of Spring (1986). I am listening to Tidal’s 24-bit/96 kHz FLAC (PCM) version.

This is a new album to me – I saw it on several audiophile lists and have been listening on the Node\Orchard setup for a week before converting to Oppo, so I feel like I have a good reference point. Oppo’s DAC sounds way better than Orchard’s. This could be due to the Node not being properly configured for an outboard DAC. The Oppo has a much mellower analog-like warmth.

The difference between high-resolution PCM and DSD is subtle, but the biggest difference is that DSD has an analog warmth. The difference between CD quality (16 bit/44.1 kHz) and DSD is profound. This listening session validates the decision to move the Oppo to the Desert 🌵Sessions. The Sony with a DAC will be fine in Minneapolis, where my digital listening will be exclusively PCM via the Node and my extensive Redbook CD collection. All that being said, I will continue to spin lots of vinyl at the Desert 🌵 Sessions!

Additional note: I added a monitor temporarily to configure the Oppo, but I may just keep it on the stereo stand.

I was introduced to Billy Strings by my son, raving about Strings’ brilliant set at the 2022 Lollapalooza in Chicago. I have been to Lolla several times, and I was hard-pressed to imagine how a bluegrass band could succeed on the big stage of a pop music festival. So I checked out Billy Strings on streaming, and frankly, I was unimpressed. Strings and band were good, but so are a hundred other bluegrass bands, and they can’t command the attention of fifty thousand fans at a pop festival. So I kept listening, and the band grew on me, but I still didn’t fully get it. Then I saw Strings live in Phoenix at a large theater in the spring of 2023, and I got it – Billy Strings needs to be appreciated live.

My favorite Strings’ album is Live Vol. 1, released in 2024, because it is a live album. Now I have a new live release, Billy Stings Live In Rosemount. Per Third Man Records:

Billy Strings Live in Rosemont is the 66th installment of the Vault series. Recorded on May 25, 2024, at Allstate Arena in Rosemont, IL, this performance captures Strings and his band in peak form, more than 20 tracks unfolding with fire, finesse, and a sense of urgency that can only come from the stage. It was a night Billy Strings himself recognized as extraordinary, and the recording preserves every moment.

I saw Billy Strings a few days before the Rosemount show in Minneapolis (5/21/24 at The Armory), so it is nice to have a souvenir of that tour. Unlike Live Vol. 1, which cherry picks songs from several performances, Live in Rosemont is a single show. which provides a more authentic live show vibe.

Live in Rosemont is an excellent-sounding live recording and a quality vinyl pressing. My only complaint is that the music is spread across four LPs, and having to get off my ass every 15 to 20 minutes to flip sides or switch LPs. 21st-century problem. One of the benefits of vinyl is that it forces you to be a more engaged listener. I also get some pleasure knowing the only way to listen to this release is on a turntable (I guess this is why my audiophile buddies rip vinyl to digital).

I was a little disappointed in the packaging, which is just a simple gatefold cover with two LPs on each side, but I also appreciate that austerity resulted in a $75 price tag (including shipping), which is a tremendous value. I am always impressed by Third Man’s reasonable pricing.

Live in Rosemont was issued as part of Third Man’s The Vault series. The Vault is Third Man Records’ quarterly vinyl subscription club, where limited-edition packages, featuring exclusive vinyl and a mix of curated collectibles, are shipped straight to your doorstep every three months. Vault members enjoy exclusive access to presales, online store discounts, and other special perks. Third Man is flexible enough that you can join quarterly or sign up for an annual subscription and secure each release for the year. I sign up for a quarter when I see a release that catches my fancy. Great program.

In addition to Live in Rosemont, the Vault 66 package also includes the first-ever vinyl pressing of Strings’ self-titled solo debut EP, originally self-released in 2016. A six-song collection that introduced his voice and vision to the world (this EP is available on streaming and was issued on CD). This is a pretty impressive debut, as it includes several songs that are regular parts of his performance repertoire, like “Dust In A Baggie,” which, according to BillyBase.com, is his most-performed original song. The album includes three originals, two traditional bluegrass numbers, and one cover. The album’s style is traditional bluegrass. Still in his early 20s, his playing is hot, and his vision is clear. He is still a year away from bending the rules.

Live in Rosemont track list is a nice collection of pure bluegrass and Billy’s unique fusion. Here is the track list:

Side A

Slow Train

Away From The Mire

Side B

Living Like An Animal

Side C

Ernest T. Grass

The Fire On My Tongue

Know It All

Side D

Stone Walls & Steel Bars

Think Of What You’ve Done

In The Morning Light

Red Daisy

Side E

Libby Phillips Rag

Lumpy, Beanpole, & Dirt

Dust In A Baggie

Dusty Miller

Secrets

Side F

Love Like Me

Highway Hypnosis

Tennessee Stud

Reverend

Side G

Turmoil & Tinfoil

Slipstream

Side H

Enough To Leave

Cabin Song

Seven Weeks in County

Roll On Buddy, Roll On

I am a long-time fan of Lucinda, having been introduced to her in the late 80s with the release of her 1988 self-titled album. I had the privilege of seeing her live in support of that album. I have reliably bought her albums ever since and have seen her live a few times over the years.

Recently, I enjoyed Steven Hyden’s new series, Catalog Club. Catalog club will focus on a section of an artist’s discography, and Hyden will take a deep dive into an album a week over the course of a month in a monologue podcast style. There is a paywall. The first artist that Hyden presented (in January 2026) was four Lucinda Williams albums: Happy Woman Blues (1980), Lucinda Williams (1988), Sweet Old World (1992), and Car Wheels On A Gravel Road (1998). This put me in a receptive mood to receive her latest World‘s Gone Wrong (2025)

I was born and raised in Minneapolis, and my hometown is going through a very rough patch (December 2025/January 2026 ICE invasion) at the time of this album’s drop and my listening to it. As I listen, it feels very much like the world’s gone wrong.

World‘s Gone Wrong is Lucinda as a protest singer. Writing protest songs is a tricky business. Most songwriters’ attempts come across as ham-fisted (Exhibit 1: Jesse Welles). Lucinda told NPR that, from the beginning of her career, she has found writing protest songs difficult. Then came Trump. “Every day, there was some crazy thing that the president said or made a decision about. And these songs just had to come out.”

Side one opens with the titular track, “The World’s Gone Wrong,” released as a teaser single in late October 2025 and featuring country singer Brittney Spencer on backing vocals. The song is about a working-class couple (“He sells cars and she’s a nurse“) trying to make it in our crazy times (“Everybody knows the world’s gone wrong“) where the only relief is music. Musically, the song is arranged in a nice classic rock style that would not sound out of place on a Tom Petty album.

“Something’s Gotta Give” is an appropriate reaction to the previous song – we can’t keep this craziness going, and something has to change. The music is dark blues rock, matching the lyrics. Again, Lucinda is supported by Brittney Spencer’s vocals.

“Low Life” was co-written by Big Thief‘s members and marks a musical shift in mood – a mellow vibe. The antidote to this crazy world is to relax in a dive bar, enjoying a well-curated jukebox and cheap drinks.

“How Much Did You Get For Your Soul” has a Patti Smith feel. The narrator is observing someone in power who clearly has sold their soul for money and power.

“So Much Trouble In The World” is the only cover song on the album (Bob Marley) and is performed as a duet with Mavis Staples – their husky voices are perfect together. This was the second single from the album.

Side two opens with “Sing Unburied Sing,” which musically has a ZZ Top vibe. The narrator is welcoming a ghost’s visit, hoping the old friend will bring some relief.

“Black Tears” is a dirge blues that recognizes that our country has been holding down people of counry for 400 years (black tears is a symbol representing racial trauma). The song refers to “mercy seat” several times – a biblical image that represents atonement.

In “Punchline,” the narrator looks around and sees so much trouble and asks, “Did God forget the punchline?“

On “Freedom Speaks,” the narrator (Freedom) is kicking us in the butt – yes, things suck, but you need to “Stand up and fight.”

The album ends with a hymn, “We’ve Come Too Far To Turn Around,” which features Norah Jones on vocals and piano. The song acknowledges that we are all weary of the fight, but we can’t give up: “we have come too far to turn around.”

The album acknowledges our troubled time, but it is not topical; rather, it is timeless. It gives comfort, yet it’s also meant to set a fire under our asses, not to give up. Lucinda is cheerleading us in her own unique way. Perfect album for our times – but really for all times.

The album is not available on Spotify at this time, but it is avaialble on other streaming services. I was not able to determine why it is not on Spotify – the rest of her catalog is. The vinyl version I picked up sounds great.

What a pleasant surprise this album was when it arrived in the spring of 2008. I had stopped listening to the band after Amorica (1994) – although I did buy the following three albums, they never resonated with me. Eventually, the band went on hiatus, but in the mid-2000s, they started touring and found the magic to record Warpaint. That album became my favorite Crowes album, and I had the good fortune to see the band touring in support of it at the Minnesota State Fair in the fall of 2008.

Warpaint sounded great on first listen, and it has never gotten old, revealing itself to this day. I loved that the CD was released as a Digipak (I hate jewel cases). Later, during the vinyl renaissance, I picked it up on vinyl. I recently picked up a lovely Red/White Splatter vinyl reissue from Vinyl Record Dude for the Desert 🌵 Session.

Warpaint reenergized the band by the addition of guitarist Luther Dickinson (North Mississippi Allstars) and the then relatively unknown Adam MacDougall (later in Chris Robinson Brotherhood and Circles Around the Sun) on keys. This was a short-lived but excellent version of the band. The album was recorded quickly and without distractions at Allaire Studios in the Catskill Mountains of Upstate New York. Looking at photos of the studio, it seems idyllic.

The band is its usual blues-rock self, but it also has a hippie jamband vibe and, at times, foreshadows the Chris Robinson Brotherhood (which was clearly a jamband). The album is an example of how the Crowes are the missing link between Aerosmith and jambands.

Chris Robinson’s vocals are at their peak. Rich Robinson has always relied on a team approach to guitar and is clearly inspired by playing with Luther Dickinson. The Brothers Robinson’s songwriting is the best of their career. Adam MacDougall’s keys add wonderful textures. The new blood was clearly a spark for the band; they were smart enough to go off the grid to record with focus and no distractions. It worked. The results are bluesy, psychedelic, and Americana – sometimes in the same song.

Side One

“Goodbye Daughters of the Revolution” is a high-energy blues-rock track. I love the song, but I have no idea what it’s about lyrically. The additions of Dickinson and MacDougall are a pleasant update to the Crowes’ sound. Not a radical change, but just different enough that it is clear there are some tasty new ingredients.

“Walk Believer Walk” is a slow blues. I love the lead guitar in the left channel and a dirty rhythm guitar in the right. Lyrically, it sounds like the narrator is mocking someone’s piety. Chris singing reminds me of the Jeff Beck Group era, Rod Stewart.

“Oh Josephine” is another slow blues. Lyrically, it is a drug song, and the narrator is no longer having fun with drugs – now he is in trouble, and it is messing up his life. Music appears to be the only salvation. Chris’ vocals are wonderfully longing. Although you can hear Chris’ vocal influences, this is pure Chris Robinson.

“Evergreen” opens with a big fat riff that could be out of the Led Zeppelin catalog, but the band quickly becomes the Crowes. Vocally, Chris evokes Robert Plant, and you can see why Jimmy Page wanted to play with these guys. Lyrically, this is a song of the narrator’s infatuation with a love interest.

“Wee Who See the Deep” sounds like an early ’70s Stones track, except for Chris’ distinctive vocals. Lyrically, I feel existential dread.

Side Two

“Locust Street” – On this song, Chris sounds like a country-rock Rod Stewart. The arrangement is acoustically focused. I sense the song is about how our narrator has been on a dead end, and a new love has redeemed him.

“Movin’ On Down the Line” sounds like a template for what Chris and MacDougall would do in the Chris Robinson Brotherhood a few years later. MacDougall’s keys are transcendent. Bar band Chris is rockin’ here. The song sounds like a mid-70s stoner anthem – and also pretty Stonesy. A similar vibe to “Goodbye Daughters of the Revolution” once the song gets moving in the second half. Our narrator has been in a rut, and it’s time to move to the next chapter. A short but excellent harp solo shines midway through the track. This may be my favorite track on the album.

“Wounded Bird” classic Black Crowes: big riffs, sassy vocals, and a rockin’ arrangement.

“God’s Got It” is an excellent cover of a gospel-blues song by Reverend Charlie Jackson. The cover is a louder and more rockin’ version of the original. The Crowes grungy blues remind the Black Keys and the White Stripes that the Crowes know the game.

“There’s Gold in Them Hills” sounds like Bob Dylan meets the Rolling Stones—gorgeous acoustic-focused song.

“Whoa Mule” intro is like a work song, then it eases into a country blues. Very light and airy. Sounds like it is an ancient Celtic folk song. The melody has traces of the banjo classic “Whoa Mule” by Raymond Fairchild.

Overall, this is an essential title in the Black Crowes’ catalog. It is not a significant departure from their sound, but a perfect execution of it.

I am a fan of the album art for Warpaint from Joshua Marc Levy. It is a collection of surreal characters and the band members.

I picked up a used copy of Ryan Adams’ Wednesdays from Vinyl Record Dude (Scottsdale, AZ) for the Desert 🌵 Sessions.   My original plan was not to buy records for the Desert 🌵 Sessions that were already in my Minneapolis collection. Still, I find that about a third of my Valley purchases of the albums are redundant with my Minneapolis collection. Obviously, I like Wednesdays enough to buy it twice.

See my original review of the album from the summer of 2021 here.  I love the arrangements, vocals, and the melancholy vibe on Wednesday. The lyrics are not Ryan at his best, but the overall product is solid. Don Was’ production is exquisite (I am in a Don Was state of mind these days). This is a gorgeous recording sonically, with lots of space.

I can understand why someone might generally hate Ryan Adams and Wednesdays specifically.  For example, here is a hater: 

“With their spare arrangements and threadbare melodies, the songs collectively create an impression of a singer/songwriter who feels quite sorry for himself, but not necessarily sorry for anything he may or may not have done.”

The context of Wednesdays was that it was Ryan’s first album released after a self-imposed exile following a scandal in which he was partially cancelled. A normal artist would have been fully canceled, but Ryan Adams is a special kind of asshole that his fans have learned to tolerate. If you are going to be a Ryan Adams fan, you need to accept a lot of his bullshit. For example, in a recent live show I witnessed, the performance was brilliant (he played all of Heartbreaker), but the clock management was maddening (an intermission that was too long, cutting short the second set due to “curfew”).  Part of the deal with Adams is exploring his fucked up head, which I find interesting. Ultimately, I love the music and Ryan’s high and lonesome voice.  I find the whole clusterfuck entertaining, if not artsy.  The annoying part of Ryan is the most engaging for me. He is like an old friend you love, but don’t trust.

My first listen of this new edition to the Desert 🌵 Sessions was on headphones, and it sounded great.  But my second listen via speakers was even better. The open and airy production really shines on speakers. The vinyl LP is generally pristine and great-sounding, but it does have a few pops and clicks. Vinyl has always been hit-or-miss when it comes to quality, unless you are buying a specifically audiophile edition. Given how great this album sounds, I pine for an audiophile edition (which seems unlikely).

In addition to the arrangements that I am fond of, Ryan’s vocals are impressive – you can hear the emotion. Wednesdays is not an essential album in his catalog, but in the tsunami of releases since 2020 (there have been 15), it does stand out as a gem (although I have to admit I have not been able to keep up with his volume).

This version of the album (along with my Minneapolis version) came with a 45 featuring “Red And Orange Special” on side one and “Somewhere It Is Spring.” As best I can tell, these songs are not on streaming services. “Red And Orange Special” is delightful jangling Americana, Ryan. “Somewhere It Is Spring” is meh. Other versions of the album include a 45 of “It’s Not That Kind of Night” backed by “Sunflowers.”

Ryan revisited Wednesdays himself in 2025 with a new version called Another Wednesday. The songs are performed live with even sparser arrangements. It is mostly the same songs, but in a different running order and a couple of covers, “Tracks of My Tears” and “Moon River,” which, per Ryan’s website, are “thoughtfully chosen cover tracks —paying homage to the music that inspired the original album’s creation.” He did not include “Lost in Time,” but did include “Lost in Time,” which was a bonus 45 on some vinyl versions. As a fan of Wednesdays, it is fun to check out Another Wednesday, but it is purely for completists.

I have only been to about a half dozen record stores in The Valley, and the bulk of my vinyl purchases have been from Stinkweeds and Zia. That is about to change after a recent visit to Vinyl Record Dude (VRD) in Scottsdale. My wife discovered the store – she discovers most of the interesting things in our lives.

The most essential characteristics in a record store are vibe, selection, and value. VRD checks all those boxes.

Vibe: a record store needs to be somewhere you enjoy spending time crate-digging. My reference point is the Electric Fetus in Minneapolis, which is one of the coolest record stores in the nation (don’t just trust me – Rolling Stone magazine says so). The Fetus is famous for being a favorite shopping spot of Prince, who made his last music purchases there just days before his death. In Phoenix, Stinkweeds has a great vibe (but an average selection), and Zia has a great selection but not the vibe.

VRD has a nice vibe. The store is well laid out and organized by genre. It is well-lit. It is decorated with music memorabilia (they also sell collectible posters, buttons, stickers, shirts, autographs, etc.). In addition to vinyl records and collectables, they also have some used stereo equipment in a listening room (where you can sample the goods). The equipment is not audiophile-quality, but it is decent for someone starting the hobby of record collecting.

The staff is friendly and helpful. Per VRD’s website, they state: “We are a non-judgmental group of record enthusiasts. You won’t find any Barry’s here (ie, Jack Black in High Fidelity). Our staff has worked at various record shops all the way back into the early 80’s. We are always willing to talk music and learn about your favorite artists.” That is an accurate assessment. A bonus was that one of the store clerks was the most attractive woman I have ever witnessed working in a record store (her knowledge as a record collector was equally  impressive). The other clerk on duty used the phrase/word “ubetcha” – a Midwest colloquialism (meaning certainly or absolutely) that was music to my ears. Vibe: A

Selection: When I visited, I had one urgent wish list item: Thelma Houston’s “Any Way You Like It” (1976, on Tamla). Sure enough, they had two used copies (one Spanish and one American edition). I picked up the American edition graded VG+ (the grading was accurate – always a plus, as many stores don’t rate, and if they do, there is typically grade inflation). I browsed the “new” used record section, which was substantial, and was tempted by several titles, but settled on a used copy of Ryan Adams’ Wednesday (2020 on PAX AM). Every few days, VRD posts a video on social media of “new” used records. Wednesday was not graded because it was new, but it had a broken seal. I examined the album and found a scuff. The staff assured me it was cosmetic, but thanks to the aforementioned listening room, I was able to confirm that it was cosmetic and had no impact on the LP’s playability. I am ever on the hunt to fill out my Black Crowes vinyl catalog and found a new/sealed version of Warpaint (2007 on Megaforce/Silver Arrow Records) in the Crowes’ section at a reasonable price. I didn’t dig through every section, but from what I could see, they have a substantial inventory. Under the record racks, there are crates of value (under $3) records – I did not have time to dig through them. Per the store’s website, the “retail store and warehouse combined currently contain over half-a-million records.” Selection: B+

Value – What impressed most about VRD was their pricing – it was fair. New records show slight variation across stores, but used is a crapshoot. Since the vinyl Renaissance, many stores have gouged on used record pricing and shown little regard for discounting lower-quality items. I don’t mind paying top dollar for a record – if it is reasonably priced for the grade and rarity. VRD has fair pricing – within the middle range for what you would see for something on Discogs. My limited experience is that they grade accurately, and the pricing reflects that. Value: A

I am guessing I have been to over a hundred record stores in my life, and most are unimpressive – either bad vibe, poor selection, or overpriced (value) – sometimes all three. Viny Record Dude is impressive with its vibe, selection, and value. I’ll be back!

I got a kick out of this logo the store uses. Vinyl collectors of certain age will recognise this LP hype sticker.  

After a few years of contractual exile, Gerry Rafferty delivered a pop-rock masterpiece with City to City in 1978 and a respectable follow-up with Night Owl in 1979. Unfortunately, Rafferty struggled with alcoholism and was not able to sustain the artistic and commercial success of these two albums.

I was 19 and 20 years old when these albums came out. I was a fan of the radio hits, but I did not own City to City until much later in life (when I had more disposable income). I never owned Night Owl. Back in the day, when albums cost real money (not a low-priced subscription), you had to be judicious with your purchases. For me, that meant that albums with songs on the radio were less essential – enjoy that artist for free on the radio.

I am in a Gerry Rafferty mood as my son and his fiancée made a contribution of these two LPs to the Desert 🌵 Sessions over the holidays. I prefer vintage wax (versus reissues), and both of these used LPs are in great condition (both cover/insert art and the vinyl). City to City and Night Owl are albums that should be listened to on vinyl, as that is how they were artistically conceived to be consumed (that and on the radio). It is great to have the Desert 🌵 Sessions collection.

Dropping the needle on side one of City To City at the Desert 🌵 Sessions and I am instantly reminded of what a pop-rock masterpiece it is – on par with top-tier ‘70s Elton John (of course, Elton is superior as he did it over a career versus one album). The album’s big single, “Baker Street,” is a favorite of mine. However, it was not until the early 90s that I got a CD of City To City and learned it was a great album, far more than just three hit singles. Later, I picked up a used vinyl version.

“The Ark” opens side one of City To City, sounding like a Celtic rock amalgam of Pink Floyd, Elton John, and Paul McCartney.

“Baker Street,” Rafferty’s biggest hit, starts with a Steely Dan-like (or Court And Spark era Joini) intro. It then surges into a folk-rock verse, crescendoing into a sax solo that extends the melody. Then it is back to another folk-rock verse, which then crescendos into the sax solo. The sax hands off to a searing guitar solo, and then a final handoff to the sax for an outro. Strings are added throughout the song. Baker Street is a brilliant single.

“Right Down The Line” is another hit single. I bet Mark Knophler liked this song – this is the blueprint for Dire Straits.

“City to City” is a train song and is a little bit corny. I love it when the Brits, Scots, and Irish try to play country music. It is earnest, but way off – in a good way. Fun little ditty, but not an essential track – surprisingly it was the first single, not surprisingly it flopped.

“Stealin’ Time” is a pretty piano ballad. Evidently, George Michael was a Rafferty fan, and you can hear the influence here.

“Mattie’s Rag” opens side two with a Beatlesque take on ragtime (specifically a George Harrison take). I’m a nice little ditty.

“Whatever’s Written in Your Heart” is a grandiose piano power ballad that would not have sounded out of place on a late ’70s Billy Joel album. This was a single and minor hit. It sounds like a breakup song with fond regrets.

“Island” opens with a great sax solo. The song has a nice Caribbean vibe and a soulful vocal. It sounds like a couple on the verge of a breakup but savoring some end-of-relationship vacation sex.

“Home and Dry” is another single and a minor hit. The track has a nice a muscular strutting bass line (not sure if it is a bass or synth).

“Waiting for the Day” opens with a great tambourine beat and synth riff. The song features a nice, muscular rock-and-roll guitar solo and gorgeous vocals. I would love Lady Gaga to cover it in her rock mode.

City To City is a way better album than I remember. Rafferty’s songwriting and arrangements are great. His vocals are distinctive and soulful. After being a one-hit wonder with Stealers Wheel (“Stuck in the Middle with You”), Rafferty proved that he had the goods with City To City.

Rafferty quickly followed up City To City with Night Owl. It is a respectable follow-up, but it is not nearly as strong as City To City.

Side one of Night Owl opens with “Days Gone Down (Still Got the Light in Your Eyes),” a solid single that was a moderate hit in the US and internationally. It would fit nicely on City To City.

The titular track, “Night Owl,” was a UK hit, and I don’t recall hearing it back in the day. I could imagine this at a club, catching myself grooving to it. It anticipates a new wave genre that was about to emerge. It is a break from the City To City vibe and reminds me of Steve Winwood’s 80s hits, or a less gloomy Roxy Music.

I can’t tell if “The Way That You Do It” is a sexy love song or a lovers’ quarrel. A nice evolution of the City To City vibe.

“Why Won’t You Talk to Me?” is about the silent treatment, and the narrator does not know why. Its song has some nice country flourishes as only a Scot can pull off.

“Get It Right Next Time” was a moderate hit with a Pink Floyd vibe. This sounds like it could be on a contemporaryJonathan Wilson album.

Side one of Night Owl is a worthy follow-up to City To City, but side two is weaker.

“Take the Money and Run” is another song that sounds like a direct influence on Dire Straits. “Family Tree” reminds me of an overly sweet Christmas song – skip. “Already Gone” sounds like a City To City outtake – another weak track. “The Tourist” is more filler. “It’s Gonna Be a Long Night” has a weird vocal effect on Rafferty’s vocals that I find distracting.

Overall, Night Owl has an excellent side one and a weak side two – better than most albums.

Spending time with Rafferty reminds me that he comes from a UK tradition of singer-songwriters who are instantly recognizable vocalists (Al Stewart, Cat Stevens, Richard Thompson, Sting, McCartney, etc.). Even if you have never heard a song before, you know who it is. In addition, he is a strong songwriter and arranger. The older I get, the more Beatlesque a lot of pop-rock music sounds. These two albums are clearly influenced by the Beatles’/post-Beatles solo careers. And that is not a bad thing, when a Beatles-influenced singer-songwriter nails it, it can’t be beat. Rafferty nails it on City To City and half of Night Owl.

My old friend Bob recently texted me: “If you’re a fan of Patti Smith…. Someday, over a beer, you will have to explain it to me. I have never quite gotten her popularity…” I am a fan of Patti Smith – in fact, more than ever, due to seeing her live. The first live show I witnessed after the COVID lockdown (August 7, 2021, at Surly Brewing Festival Field) was Patti and her band, and it was one of the top live shows that I have ever experienced. It was transcendent and cathartic.

I get Bob’s question – there are lots of certifiably great artists who just have never resonated with me. Bob has a wonderfully eclectic taste in music. He is very open-minded in what he likes. He is the rare old guy (we are in our late 60s) who has open ears to contemporary artists. So it kind of surprised me that he didn’t get Patti Smith. But to repeat myself, there are lots of artists who, on paper, I should like, but I don’t, so it makes sense that a musichead like Bob would have some blindspots just like I do.

I have been writing this blog since 2011 and have over 800 published posts – mostly record reviews. My primary purpose has been to try to articulate why I like a particular artist and, more specifically, why I like a specific album. It has been an unsatisfying experience. I don’t feel like I have ever successfully captured why I like a song, an album, or an artist. It clicks, or it doesn’t. Sometimes it is love at first sight, sometimes it is an acquired taste, and sometimes you lose the love. But in general, what clicks or doesn’t is unexplainable. Yet I write on.

As for Patti Smith, after the Surly show, I wrote about it and noted that her performance was a collection of contradictions:

• Organic and transcendent
• A real down-to-earth person and a rock star
• Angry and compassionate
• Humorous and dead serious
• Ragged and beautiful
• Loud and soft

Patti is a singer, songwriter, poet, painter, author, and photographer. She started as a poet but clearly understood that poetry needed to be performed, not merely read, and so she soon transitioned to performing her poetry as rock music. Her 1975 debut album, Horses, made her an influential member of the New York City–based punk rock movement. She has been hugely influential, per Wikipedia, she has influenced: Todd Rundgren, The Waterboys, Hole, R.E.M., Garbage, KT Tunstall, and Madonna – a pretty diverse set of musicians.

It is impossible to convince someone to like a musician or band; the best you can do is explain why you like them and recommend some tracks to listen to. Then it is out of your hands.

Why do I like Patti Smith?

• She is an articulate punk. She can emote like a punk, but she also has a fantastic way with words
• She has exquisite taste in cover songs that she makes her own, for example, her take on the Byrds’ “So You Want to Be a Rock ’n’ Roll Star“
• Back in the 70s and 80s (her artistic and commercial prime), she had an unconventional, sexy image (see Easter cover art below)
• She is a great live performer – the fact that she rocked at Surly in her mid-70s is breathtaking.
• She has aged gracefully
• She has written some truly great songs

Suggested tracks to sample:

• “Because the Night” – this is Patti’s one big hit (co-written with Bruce Springsteen).
• “Gloria: In Excelsis Deo” Smith mashes up her poem “Oath,” and Them’s garage-band staple “Gloria” to create her first hit to help spark punk rock.
• “People Have the Power” – after a long break from performing and recording, Smith comes back with a conventional rock anthem that is also her personal manifesto.
• “Redondo Beach” has a playful reggae arrangement juxtaposed by heavy lyrics about the suicide by drowning of a young woman following an argument with the song’s female narrator.
• “So You Want to Be a Rock ’n’ Roll Star” – a sample of her brilliance with covers

If, after listening to these five tracks, you are not hooked on Patti, I respectfully accept that she is not for you.

I was aware of Geese because they weren’t Goose (one of my favorite bands). Geese are the rock band of 2025 – proof that indie-rock is not dead. Getting Killed is a consensus album – it is on all the year-end lists. Geese’s year started at the end of 2024 with the release of Geese’s frontman, Cameron Winter’s, debut solo album Heavy Metal. Too late in the year to be on 2024 year-end lists, it was in a bit of an album-release-cycle wasteland, yet it still earned critical acclaim and attention. It put men on base for Getting Killed‘s grand slam.

I am only now listening to Heavy Metal, a year after its release. It has been on my to-do list, but I just have not gotten around to it. A family friend made a special request that I review the album, and that finally got me off my ass to listen to it.

My reaction to my first listen was that I was put off by the album – it seemed weird for the sake of being weird. Heavy Metal doesn’t sound like Geese – except it does because Cameron Winter’s voice is so distinctive. Heavy Metal, with its quieter, more sparse arrangements than Geese, which puts Winter’s vocals front and center. He has a voice like Neil Young – he doesn’t sound like Young – but he is like Young in that no matter what context you place him in, he sounds like Cameron Winter. Which is to say you either like it or you don’t – at best it is an acquired taste. By the second listen, about half the songs hooked me. By the third listen, I am sold on the album; however, I do struggle with Winter’s vocals on certain tracks – it is a speedbump that keeps me from fully embracing the album.

Geese is a rock band, and given this album’s title, I was expecting a rock album. I don’t know how to describe the music on Heavy Metal, but it is not rock. It is kind of an artsy take on folk music. The closest reference point that comes to mind is Nick Drake. It is soulful and somehow baroque and austere at the same time.

The backstory of the album, per a story in GQ, is that a 22-year-old Winter, still living with his parents:

“…has spun a story around Heavy Metal. He’s said that he made the album with musicians found on Craigslist, that his bass player is a five-year-old named Jayden, and the cellist is a steelworker from Boston. He’s claimed that he recorded the album, or parts of it, in various Guitar Center locations in New York City, moving on to a different store each time management wised up and kicked him out, which feels like something a shitty emo band would have done in the late 1990s.”

Given the album’s sonic quality (I am listening to a 24-bit/88.2 kHz FLAC on Tidal), which sounds great, that story sounds like bullshit. It is such a good story, and the story matches the aesthetics of the music, so I am going with it.

“The Rolling Stones” is an ambitious story in which the narrator compares his self-destructiveness, stemming from a lost love, to the Stones’ Brian Jones’ drowning (1969) and John Hinckley Jr.’s attempted assassination of Ronald Reagan (1981). Instrumentally, it is also ambitious, with a light classical-folk fusion. Reminds me of something Bon Iver might do. Vocally, Winter shows off his pipes, which, depending on your taste, are amazing or annoying.

“Nausicaä (Love Will Be Revealed)” has a nice, quiet storm, funky vibe. Nausicaä is a character in Homer’s The Odyssey. She is a young, resourceful princess of the Phaeacians, who discovers the shipwrecked Odysseus and helps him. Winter’s narrator is looking for his own Nausicaä. This is my favorite track on the album.

“Love Takes Miles” is a mature view of love: it takes time. Musically, the song has a nicely jangly feel. This is one of the more conventional vocal takes on the album.

“Drinking Age” is one of the songs on the album where Winter’s vocals lose me – it is too weird. But it is his #3 song on Spotify – so what do I know.

“Cancer of the Skull” is the song that references the album title. The song suggests that the drive to create art is like a disease. This song has a mellow folk-rock vibe similar to Nick Drake. Although this song’s quirky vocals are similar to “Drinking Age,” they work for me in this context.

“Try as I May” is a song of unrequited love. Sonically, it is as desperate as the lyrics.

“We’re Thinking the Same Thing” is a mystery to me. I am not clear on what the narrator is talking about, but it seems he can’t communicate with a friend, despite the assumption that they are on the same emotional page.

“Nina + Field of Cops” is both lyrically and musically busy. So many words and so many musical ideas going on at once, it reminds me of Springsteen’s debut album (Greetings from Asbury Park, N.J.), which is similarly busy. The Nina may be a reference to Nina Simone, whom Winter is a big fan of.

“$0” was the lead single of the Heavy Metal album cycle. A couplet is repeated several times during the song: “You’re making me feel like a dollar in your hand / You’re making me feel like I’m a zero dollar man.” I am not sure what it means. I am guessing that, as an artist, he feels owned by the star-making machinery of the music business. Musically, it reminds me of late-period Radiohead.

“Can’t Keep Anything” is another song with a Nick Drake vibe. It is the most conventional and accessible song on the album. The song quotes one of David Bowie’s last songs: “But I can’t just give everything away.” This seems like another song against the music industry and how it wants to manage its artists.

I love the ambition of this album, both musically and lyrically. Although I struggle with Cameron Winter’s vocals on some songs, the songwriting, arrangements, and production are so innovative that I am willing to overlook them – perhaps with time, they will grow on me. On the latest Geese album, Getting Killed, Winter tones down the weirdness, which I appreciate, but on Heavy Metal, he lets his freak flag fly, which is incredible for a young artist with mainstream ambitions. Winter and Geese deserve all the hype they are getting.