Coaxing a singer to "stretch" always sounds like a good ideathat is, until the singer is standing in the same recording booth used by Aretha Franklin and Wilson Pickett, and suddenly her confidence, never brimming to start with, drops through the floor and she can't or won't sing a note. Add to this that Dusty Springfield was already a sticky perfectionist who'd self-produced most of her records and wasn't happy with the songs to be recordeddespite the fact that most of them were straight out of the Brill Buildingand you have the recipe for an all-time classic record, right?
Here at the Stereophile office, we listen to lots of different tunes ranging from Bach to Fucked Up to Sylvester, but in the Bitran/Mejias cubicle, there has been a recent resurgence in our passion for POPULAR music.
I’ve discussed my (apparently controversial) attraction to cassettes. Besides being affordable, fun, pretty, and filled with interesting sounds and art, cassettes provide a direct and meaningful connection between artist and audience: The person releasing cassettes in 2012 is likely doing so out of passion, with a spirit for adventure, perhaps even a with a distaste for modern technologies and conveniences; the person purchasing cassettes in 2012 probably has similar motivations and interests.
I like cassettes.
Wow, look at all the pretty boxes.
Maybe I'll finally find that Nakamichi CD-1 cassette deck I've been waiting for.
These cables are distributed in North America by Bluebird Music and according to Van den Hul, The Valley interconnect cables are a twisted pair balanced cable with two 21 strand conductors and a double braided shield.
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Doing the honors for KEF was April Sanders, the company's Western Regional Manager (top photo). Sanders' 30 years experience in the speaker industry makes her one of the longest-surviving women in the high-enda feat that, IMHO, deserves at the least a medal of honor and epaulettes covered with brass stars and other emblems of bravery on the front lines.
It's a two-disc set, taken from two weeks of sessions at the Blue Note in Greenwich Village (one of which I raved over in this space at the time, back in May 2010). The gig was hawked as a Bill Evans tribute (the title is a spin on Evans' 1959 album Explorations), but that told only the half of it. . .
