LATEST ADDITIONS

Seeing your album in a record store's cutout bin meant one thing. Despite the label execs' wide smiles, warm handshakes, and earnest promises to the contrary, once the record jacket had a hole punched in it, or its corner clipped, it meant your record label had lost faith and moved on.

Record collectors felt differently. The prices of cutouts were right—usually, from 99õ to a penny under two bucks. And cutouts were better than digging through crates because the records were still sealed . . . even if the jackets were a bit mangled. The beauty of cutouts was that they were so cheap, you could afford to be lavish, and go home with anything that caught your fancy.

It's get-ting bet-ter all the time (it can't get no worse)—John Lennon & Paul McCartney

Remasterings of recordings make me angry—they mess with my memories of the songs I love, especially songs from the 1960s that I played in my bedroom on a cheap Garrard turntable through Lafayette speakers. Like my first girlfriend, these songs permanently entered my psyche and modified my DNA.

This is more to my liking than the other records I review this month! Side 1 is devoted entirely to a real humdinger of a thunderstorm, replete with rain, thimble-sized hailstones, and five minutes of someone diddling with a set of wind chimes. Side 2 is four sequences in the saga of Steam Locomotive 4449, which was refurbished from rusty decrepitude to haul the bicentennial Freedom Train 28,000 miles around the continent.

A revitalized Rocky Mountain Audio Fest begins this Friday, October 6, in the completely renovated Denver Marriott Tech Center Hotel. The three-day show, which opens to the public at noon on Friday, promises 143 active exhibit rooms that will host 358 exhibitors from 27 countries and 36 states. In addition, the show's widely lauded Canjam will host an additional 64 exhibitors within its walls, and seven more large exhibits in the lobby.

Starting with Musicians As Audiophiles subject #1, jazz drummer extraordinaire Billy Drummond, one thing soon became clear: New York City and its environs are a veritable smorgasbord of musicians who value high-end audio authenticity as much as any longtime reader of Stereophile.

"A fellow drummer and friend, Aaron Kimmel, got me into audio via Billy Drummond," notes MAA #7, drummer Paul Wells. "We call Billy 'the Pusherman.' He's got a lot of musicians in New York into high-end audio.

Hugh Hefner relentlessly promoted Hi-Fi gear in the pages of Playboy because it was hip and cool and part of living the good life.

It was almost exactly a year ago that I first heard Cecile McLorin Salvant at the Village Vanguard. I came home and wrote a blog for this space, wondering how I could have missed her ascent (she'd already won a Grammy and other prizes) and deeming her the best jazz singer around, standing among the greats of all time. I went back to see her, dragging along my wife and two friends, the following Sunday—the late set, the final set of his week-long stint—and she was better still . . .