The reviews of this album have generally been positive. I have to admit I like it. Bruce has not managed to do anything late career as amazing as Dylan’s “Time Out of Mind,” but this is pretty damn good. I was worried that it was going to be too preachy and a too inauthentic (superstar rock star invokes the common man), but somehow Bruce pulls it off.
There is not a bad cut on the album, yet there is nothing new either. Bruce pulls styles from across his career since the mid 80s. But he plays it expertly, prior experiments reach fruition here. Past attempts at some of these styles seemed to miss the mark, but here they work.
Bruce has an audience and he challenges that audience vs. pandering to them. Bruce questions contemporary America without undermining it. This is a liberal broadside, but it is not anti-patriotic. It questions, but does not condemn. Musically it recognizes contemporary pop styles but it does not embarrass. Bruce has found a razors edge to ride and ride it well he does.
I have attempted to build an audiophile quality stereo without busting the bank. I have a small listening room which helps – I can get away with smaller components. Each year I spend about $500 for a new major piece and I slip in another $100 or so for some accessory. This has been a multi-year project.
THE AMP: The centerpiece of my set up is my integrated tube amp – a Jolida FX10. A 7 by 8 inch cuboid of 10 watt goodness. I have had lots of stereo equipment over the years, but this is the most life changing piece I have every owned.
Tube amps are amazing. For years they were just for deep pocketed audiophiles, but over the last few years there have been several minis introduced in the sub $500 category. The FX10 is a contender in this category.
This mighty mouse has an absolutely wonderful sound. Warm, live and fat is the way I describe how it sounds. Don’t be deceived by the watts – in a small room with efficient speakers this thing rocks. The best thing about this amp is you can play it very loud without listening fatigue.
This unit is very simple: three inputs and volume. If you want to hear one, check out the Needle Doctor in Minnesota – they typically have one in their showroom.
This is a real conversation piece. Most people have never seen a tube amp and this tyke shows off by running naked in its glass house (what good are tubes if you can’t see them?). Turn off the lights and let it glow.
One final endorsement – my wife who politely and lovingly tolerates my audio fetish was blown away the first time I auditioned the FX10 to her. Her response was that the music sounded live. To get this kind of response from someone who has little passion for hi-fi equipment was one of the best endorsements I could ever think of.
THE SPEAKERS: Every music head will tell you – don’t go cheap on speakers. Every wife will tell you don’t get big and ugly. I have a pair of V6 Paradigm Atoms. They meet the needs of my ears and my wife’s eyes. These are mini bookshelf speakers and as entry-level as you can get in the Paradigm line (but by no means cheap at about $450). You can spend a lot more for bookshelf speakers and not get anything close to the quality of the Atoms. Like the FX10 these are mighty mice. They deliver a very clean sound. They have plenty of color in all ranges and in all styles of music. Like any small speaker they are a bit weak on the bass and so I do augment them with a low-cost sub-woofer (see below). Paradigm has moved on to a V7 – I have not heard them so I have no idea if they are a much of an advance or not.
THE TURNTABLE: I have increased my vinyl listening to about 70% of my man-cave hours, so last year I upgraded my 30+ years-old Sony. The great thing about vinyl is the more effort and investment you put into its play, the more you are rewarded with great sound. If you compare an investment in a turntable/cartridge vs. a similar investment in digital there is no comparison in the payback – vinyl pays extreme dividends, digital is merely incremental. Even a LP in poor condition will sing through pops and crackle on a good table.
My Pro-Ject Audio RPM 1.3 Genie looks as cool as it sounds. I chose a bold fingernail polish red to really make it pop on my stereo shelf. It struts past my other components like a Victoria Secret model (although the FX10 holds its own on the looks front). Never under-estimate the importance of ascetics in equipment (thank you Steve Jobs). Does a cool looking table play better – no – but why not have some fun?
Pro-Ject chose quality over bells and whistles – this is a fully manual table – you have to get off your butt and lift the arm when it hits the catch groove. The only bell and whistle is that it does have a nicely damped arm lifter. A side note: another great thing about vinyl is it forces engagement with your music – you need to clean the record, you need to set the arm in the groove, you need to flip the record, and most of all you need to coddle the record.
This is a very quite table – both in the playback and in the mechanics (of course my reference is my old Sony that magnified surface noise and was mechanically loud). Pro-Ject put a lot of emphasis on low/no vibration. It has heavy platter and my favorite feature is that it has fully isolated motor – the motor does not touch the table in any way beyond the belt. My only complaint is that if you don’t have the motor on the right surface it does put off a hum – I silenced mine with a $1 placemat from IKEA (this also cured another “feature” – the three nylon cone feet designed to further reduce noise and vibration – those buggers slid like bowling shoes on a well oiled lane on my shelf – the placemat locked the table in place).
I operate the factory mounted Sumiko Pearl cartridge. The combo of this table and cartridge is such an upgrade from my old table – I can’t even imagine what a $500 cartridge would do to the overall sound. The Pearl seems like a decent cartridge.
The vinyl renaissance has created a plethora of great tables in the $500 range (about the minimum you can spend for audiophile quality). I am sure this table’s competitors are equally good, but I have been fully satisfied and would strongly recommend this table for the budding and budget conscious audiophile.
THE PHONO PREAMP: Current day amps rarely have built-in phono preamps. Back in day this was a standard feature. But hey this gives you an opportunity to tune and spice up your system. My first recommendation on phono preamps is to find a reliable dealer who will let you audition a few at home in the context of your own system. I had a $250 budget and so I bought the Bellari VP130 and a Pro-Ject Phono Box USB from the Needle Doctor with plan that I would return one. I returned the Pro-Ject – there was nothing wrong with it – this is purely an ascetic choice.
The Bellari has a wonderfully rich and warm sound and great bass without sounding like you are in some lowrider booming down the street. See full review on another post. This is the cheapest way to turn your solid state system into a tube system (assuming you listen to vinyl).
THE CD PLAYER: My least favorite component in my system is my Pioneer DV-563A DVD Player. I originally bought this because it was the lowest cost device to play SACDs and DVD-Audio discs. It is serviceable, but not audiophile quality. Enough said. Fortunately I mostly listen to vinyl and digital via my Mac.
THE SUB-WOOFER– I guess I undermine my two-channel cred by having a sub-woofer, but with a pair of small bookshelf speakers I figure I have an excuse. I keep it at very low volume – just enough deep end to feel the groove. I have an inexpensive ($100) Yamaha YSTSW216 to do the job. A guilty pleasure until I get some righteous speakers, which is not a priority – I am very happy with the sound of the Paradigm Atoms augmented by a little deep end.
ITUNES: It is impossible to be a music fan today without a computer and access to the internet. For me it is my nearly 5-year old MacBook, several hard drives, an ISP and an iPod. I am sure there are better audiophile options than iTunes but I just want the convenience of effortlessly downloading or ripping music and synchronizing with my iPod for on-the-go listening.
When I first started with digital music I had 15 gig iPod and I used low resolution bit rate to get more music on it. When I upgraded to a 120 gig iPod I started ripping at 320 vs. 128. I recently turned to Apple Lossless. I subscribe to emusic, because I think it a good deal, but I am starting to get frustrated with their low resolution rips. The more I have improved my stereo the more I have been frustrated with low resolution rips.
THE DAC: One accessory that has helped a lot with my digital music collection has been my low-cost DAC from Jolida: the FX DAC Mini ($120). This greatly improves the sound of my Mac. I am sure a high-priced DAC would even be better, but this does the trick. The DAC bypasses my Mac’s sound card and converts the digital to analog signal in a way that is more sympathetic to music than the typical computer (even a Mac). Audiophiles get pretty religious about DACs, but I spend most of my listening time with vinyl or my iPod so I just need a serviceable digital listening experience in my man-cave.
MISCELLANEOUS ACCESSORIES:
The clamp – I recently picked up a record clamp for my turntable (JA Michell Record Clamp). See another post for a short review.
The dry brush – For day-to-day cleaning of the inevitable airborne dust that settles on LPs I use a simple carbon-fiber brush. I use a Pro-Ject “Brush It” because it was a low-cost carbon-fiber record brush from a reliable brand at the Needle Doctor ($15).
The wet brush – I have been using a discwasher with distilled water for 35 years (they are still available). Distilled water has been highly effective and cheap. I have never bothered to use the official fluid – distilled water works great.
The stylus brush – Another item I have had for 35 years is my discwasher stylus brush. What I like about this model (they are still available) is that the brush is retractable (so it is not sitting there collecting dust), it has a nice wide brush head (1/2 inch) making it easy to work with and it has a magnifying mirror so you can examine the stylus.
The record cleaning machine – 2012’s big purchase is a Nitty Gritty record cleaning machine. There are several varieties of vacuum based record machines out there. I bought this one because it was the least expensive model on the market and because I thought it had a particularly innovative design. I will have a full review in a future post. But my first impression is that this is a required accessory for the serious vinyl collector and how did I live without it? Easy, I did not even know such a thing existed a year ago. I buy a lot of cheap used records and although they are in decent shape they are nearly always filthy. This bad-boy makes them new.
The pixie dust – For special records that I plan to play a lot, I will apply Gruv Glide. The biggest thing it seems to do is get rid of static and lubricate the record (the de-static effect seems to last several plays). Now that I have a legitimate record cleaning machine I will probably use this product less. It was a great bridge until I got a record cleaning machine.
The wish list:
- An OPPO BDP-95 Blu-ray Player. Although a video player on the surface, this is primarily an audio device. A “CD-payer” for audiophiles. It is primary advantage (besides great sound) is that is very universal – as a one guy said, the OPPO will pay any shiny disc including quarters. Google this unit and you will read amazing reviews for a $1000 component – on par with units multiples of its price. Unfortunately this thing is double my annual audiophile budget – so I may have to skip a year or give up beer (unlikely).
- Upgrade my tubes – this will probably have to wait until current ones burn out. A low-cost starting point would be to upgrade the tube in my phono preamp. No particular brand – I will rely on the boys at the Needle Doctor for advice.
- Upgrade my cartridge – no model chosen – I have a couple years to research it.
- I would like to set up a better digital library. I need to set up some redundancy/disaster recovery and I would like to make my collection available on my own personal cloud.
- Beyond that I just want more recorded music – especially some of those high-priced audiophile vinyl reissues!
Critically acclaimed as the best of the Mahavishnu Orchestra LPs and rightly so. This music is classic jazz rock fusion – this is one of the hall of fame LPs of the genre.
The album opens with “Birds of Fire” which is mixes Jerry Goodman’s violin and John McLaughlin’s guitar in an amphetamine rush of epic proportions. Next comes “Miles Beyond” a clear a nod to Bitches Brew Miles Davis era fusion – mixing funk and heavy metal in a way that works. “Celestial Terrestrial Commuters” returns to the burn of the opening cut with more room for Jan Hammer’s keyboards. “Sapphire Bullets of Pure Love” is merely an interlude. “Thousand Island Park” dials it down with an acoustic presentation of what we have been hearing electrified. Side one is rounded out by “Hope” which is an interlude/anthem in full electric form. An epic first side.
Side two opens with a Billy Cobham drum solo and then surges into metal jazz. All though all instrumentalists are involved in “One World,” this is a display of strength of the drummer and bass player. The back and forth conversation between keyboards, guitar and violin is brilliant. Then Cobham is back for a wonderful drum solo that is not too long – just enough to make you wanting more. Next is “Sanctuary” a meditative prayer with a beautiful sustained filled electric guitar solo by McLaughlin. “Open Country Joy” is the least typical cut on the album, but it is delightful. It starts out light and fun, not at all heavy like everything that precedes it, but it quickly morphs into a full-scale heavy electric freak out, only to return to the light and airy starting point. Side two closes with “Resolution” which is the only really dated piece recalling early Sid Barrett-era Pink Floyd. But hey this is a 1973 LP – one dated cut is pretty exceptional and it gives the LP a kind of context.
I had an old LP that was so beat up I could never enjoy this album. I recently picked up a decent copy at the Minnesota Record Show. I never had it on CD so I have never had a chance to really enjoy this album. It is a wonderful discovery for me. I am embarrassed that as an alleged jazz fusion fan and McLaughlin fan I have never sunk my teeth into this masterpiece. This LP was actually a hit, getting to #15 on the pop charts – which is amazing for such complex instrumental music. But in 1973 the music buying public’s altered state probably was more open-minded. An absolute masterpiece of the jazz-rock fusion genre. Highly recommended.
PS – how cool is the cover – so early 70’s!
Fusion is risky music – there is a fine line between garbage and fine art. More often that not fusion is garbage. Robert Glasper pulls off his fusion as high art with a brilliant combo-platter of jazz, neo-soul and hip hop. I somehow have known about this album for months yet I did not even know who Robert Glasper was until I listened to this album today. I think I saw the album cover (which is an instant classic) a few months ago, saw it was on Blue Note (I have never heard a bad album on Blue Note), heard that it had some hip hop cred, and some cool guests. It was enough to keep it on my mental to-do list (not much makes it to that fragile list).
Well it is fantastic. Robert Glasper is a legitimate jazz piano player who just happens to have Kanye and Dilla credits on his resume. This album is more neo-soul and hip-hop than jazz and that is a good thing. It is narcotic mellow, yet it won’t put you to sleep.
This is a guest packed album (Erykah Badu, Lupe Fiasco, Mos Def to name a few), but it is an elegant collage and not just vocalist and MCs thrown up like stickers on a lamppost outside a nightclub. Songs segue from one cut to another like sips of fine wine between bites of a gourmet dinner.
Robert must have a great publicist as he has great profiles in the New York Times and NPR. Read them and Robert’s website and you will be likely be intrigued enough to give this album a spin. You won’t be disappointed.
Check out Robert’s back catalog with this amazing piece that juxtapositions Herbie Hancock and Radiohead:
What could be better than hanging out with some music heads who also happen to be audiophiles? I did that this afternoon at the February Edition of Analog Audio of Minnesota’s “New and Notable Music Event.
Every last Saturday of the month (with a hiatus for the summer months) from 2:00 PM to 4:00 PM, Paul at Analog Audio hosts a primarily vinyl listening event in his amazing studio/showroom (see this blog entry for more information about this amazing space). Paul presents 3 sides and a few surprise cuts from the latest and greatest audiophile pressings (180g, 45s, etc.).
This a fantastic opportunity to hear the best quality vinyl reissues through a great system. For me it was a great opportunity to be with my own kind. Sign up on Audio Analog’s event section to be alerted of each month’s line up and be prepared for surprises too.
Don’t forget to bring some cash too as Paul always has a nice collection of high quality used jazz records for sale. I walked away with a wonderful near mint mid-80s Woody Shaw release on Muse (Setting Standards).
The take away from today’s event (besides a wax woody) was how much the little things matter in a listening room. Paul had tweaked the room by placing his speakers (B1) on granite tiles to create a level and stable surface. We listened to our first side (Grateful Dead – Live Dead ) and a couple of guys familiar with the side thought it sounded “veiled.” Even though I was not familiar with the piece and an audiophile n00b I could tell it sounded a bit muddy. We listened to a classical piece – and more mud. Paul suspected the tiles and we removed them. We listened to a new side and things immediately opened up. We went back to the original Grateful Dead side and as one of the guys said “it is like a horse blanket has been removed from Jerry’s guitar.” Indeed it was like listening to new speakers. Lesson learned: The littlest things can screw up a great listening room – see an early blog entry on the importance of tuning a room.
Finally the latest issue of Wax Poetics showed up in my mailbox! Pwelbs tantalized me about a week ago that this issue would focus on Prince. Wax Poetics is my favorite magazine and Prince is in my top 5 musicians/bands of all time. Together at last.
I tossed on 1979’s Prince’s Prince album (album #2) on the turntable, leaned back in the recliner and quickly paged through it cover to cover. I then settled on Alan Leeds (Prince’s former tour manager) and wife’s remembrance of the Purple Rain tour. Wonderful insider’s view, but respectful – not a tell all. I can’t wait to read the rest of the issue.
Thanks to my kids for getting me a subscription to Wax Poetics a couple of years ago!
You know when some hip new band hits my radar screen they have some serious hype and a hell of a good PR person. Granted the fact they were local (Minneapolis) and there was a Gayngs (one of my favorite LPs of 2010) connection hooked me. I borrowed this release from Pwelbs (by way of the charming JSparks) and was so blown away I went out and bought a vinyl copy at the Electric Fetus.
What I found was some amazing beats with an amazing vocalist who has figured out how to use Auto-Tune as an instrument. Vocally this the equivalent of a female Bon Iver, but the music is much more funky, electronica, and hip-hoppy.
At first listen this seems very mellow, but the more you listen to the textures you realize how absolutely rocking this album is. The drumming is amazing – rock steady one moment and jittery the next. The overall effect is a laconic hyperactive juxtaposition that is gripping. Channy Leaneagh’s disembodied vocals are the perfect foil to the instrumentation. On paper these vocals should be detached, but instead they are soulful. On paper the beats are atmospheric, but instead they are funky.
Poliça pulls off a masterpiece.
I had the privilege of tagging along with Pwelbs to the first Twin Cities Music Brunch at the Loring Pasta Bar. The event was sponsored by CrowdNoize and Hydrive Shows. The idea was to get some of the young lions of the Twin Cities hip hop community together to network and brainstorm. The event was attended by talent (DJs, MCs, producers, etc.), business types (promoters, label staff, etc.) and hard-core enthusiasts (bloggers).
What impressed me most was the enthusiasm for the scene and the esprit de corps to see everyone succeed – a rising tides will lift all boats view. Everyone seemed to know each other, although some only virtually – so it was fun to see a little human touch.
My sense is the event was a success – some networking was done, some ideas were generated and most importantly some community was built. Good luck guys – I hope this is the start of many more similar events and further growth of the TC hip hop scene.
Over that last year I have picked up several bargain Brian Auger used LPs for a buck or two. Everyone of them has been fantastic and this one does not disappoint. This is from the early 70s and you can see how influential this group was on the jazz rock that followed them.
Some of the Oblivion Express vocals can be kind of cheesy, but Alex Ligertwood (who went on to fame with Santana) is a great vocalist on this LP. He reminds me a lot of Steve Winwood – which is a great vocal type to have with this kind of music.
Start the incense, dim the lights and put on this LP. You will be feeling groovy shortly.
I have read a couple of rave reviews of this album. Sadly I picked it up from emusic and it does nothing for me. It kind of reminds me of Cat Power, but without the soul. I don’t hate it, it just is unremarkable. I have listened to it five times and I don’t think I could tell you a single lyric or hum a riff.
I don’t want to give up on this album, but I may just need to set aside and come back to it later. Beware of the hype.
Axl's Catch Groove 