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Stereophile Staff  |  Jan 17, 2025
It was October 1990 and Richard Lehnert, at that time Stereophile's music editor, buttonholed me in our office parking lot. He had an idea for a new feature in which, instead of recommending audio components, which we had been doing since the first edition of Recommended Components in 1963, we should do the same for music. "Rather than a selection of all-time (or year's) best recorded performances—which are common enough—or a list of audiophile reference recordings—common enough in the audiophile press, at any rate," he said, "this would be a list of stereo recordings that are both musically and sonically impeccable. In other words, the best, the tops, to die for."

It took me less than a New York minute to sign off on Richard's idea. We asked the magazine's audio and music writers each to name two of their favorite albums of all time—albums that were, to them, "to die for."

Robert Baird  |  Jan 15, 2025
Elvis Costello: King of America & Other Realms
UMG 602488514378 (6 CDs). 2024. Costello and Henry "T Bone" Burnett, original album prod., Costello, Steve Berkowitz, reissue prods.; William Berry Jackson, David Dominguez, Larry Hirsch, Mark Linett, others, engs.
Performance ****½
Sonics ****

By the mid-1980s, Elvis Costello was in dire need of a change in musical direction. As he recounts in the extensive new liner notes, he was "playing in a band that suddenly sounded like four strangers." Seeking inspiration, he decided the path forward was to use his own name, Declan MacManus, in the credits and to indulge his love and respect for American music.

John Atkinson  |  Jan 14, 2025
In last month's As We See It, I offered some reminiscences of my almost half-century of being involved in audio magazine publishing, as well as some thoughts on the Law of Diminishing Returns as it applied to the prices of hi-fi products. As I was compiling this issue's Records 2 Live 4, it struck me that my interest not just in audio but in recording live music started 10 years earlier, when my parents bought me a mono Grundig tape recorder for my birthday. I first used the Grundig to record the high school rock group in which I played bass guitar, then replaced it with a stereo Sony tape recorder as my opportunities to make live recordings expanded.

Although I excelled in the sciences at school and university, music was my first love. I played in bands, first semiprofessionally, then professionally, and I ended up in the mid-1970s as the house bass guitarist at a recording studio in Cornwall, England. Working at that studio with producer Tony Cox and legendary engineer Jerry Boys, I became familiar with the studio environment and how recordings are created.

Robert Baird, Thomas Conrad  |  Jan 10, 2025
Donald Vega: All Is Merry and Bright; Kris Davis Trio: Run the Gauntlet; Sarah Hanahan: Among Giants.
Jason Victor Serinus, Stephen Francis Vasta  |  Jan 10, 2025
Mozart: Piano Concertos Nos.19 & 23, Kristian Bezuidenhout, fortepiano; Freiburger Barockorchester; Dvořák: Legends; Slavonic Rhapsodies, Czech Philharmonic/Tomáš Netopil; Evening Songs: Songs by Dvořák, Smetana, Fibich, and Suk, Adam Plachetka, tenor; David Švec, piano.
Ray Chelstowski, Jason Victor Serinus  |  Jan 10, 2025
Jimi Hendrix: Electric Lady Studios: A Jimi Hendrix Vision; Wilderado: Talker; Silkroad Ensemble with Rhiannon Giddens: American Railroad.
Jason Victor Serinus  |  Jan 09, 2025
From May 4 through August 18, 2024, the San Francisco Museum Of Modern Art (SFMOMA) staged the largest multisensory installation cum performance art exhibition in its history. Entitled Art Of Noise, the multi-room show, which occupied 14,000ft2 on the museum's seventh floor, drew an estimated 140,000 visitors, boosting museum attendance by over 33% from the same period in 2023. Even accounting for postpandemic attendance declines, that's an impressive figure.

The exhibit, designed to celebrate "pioneering designs shaping our music experiences," was the creation of two visionaries: Museum Curator Joseph Becker, 40, and New York–based audio salon host/entrepreneur/system and fashion designer Devon Turnbull, aka Ojas, 45.

Michael Trei  |  Jan 08, 2025
To watch as Rega very slowly expands its turntable offerings upmarket requires the patience of a Thomas Pynchon addict waiting for each new tome from the notoriously slow-working and reclusive author. Starting out 51 years ago with just one turntable model, Rega now offers turntables at seven different price levels, plus a few minor variations in between. During the "lost years" of waning turntable and vinyl sales in the 1990s and early 2000s, Rega boss Roy Gandy candidly admits that the company put little effort into advancing its turntable designs, as sales at the time didn't really justify the investment. Rega had shifted its focus to digital source components, amplifiers, and loudspeakers, and even introduced a tube CD player.

That momentum finally started to reverse about 15 years ago, as the vinyl revival started to kick in and turntable sales began to pick up again. By this point, Rega was a much larger company and was able to leverage its growing reputation to engage with cutting-edge high-tech manufacturing subcontractors. Through these new relationships, they created a test bed turntable called the Naiad that would extend their design philosophies as far as was feasibly possible...

The Naiad's high price was the result of some of the design choices that had already been made, when scaling up for production wasn't even under consideration. Rega knew it wouldn't be too difficult to create a more production-ready version, into which they could distill most of what they had learned from building the Naiad. The result is the Naia, where with just a few simple changes, they have managed to undercut the Naiad's price by more than 70%, down to $12,995.

Tom Fine  |  Jan 07, 2025
A quick survey of 1977's rock albums shows a vibrant genre, pushing in many directions at once. British punk went major label, with debut albums from The Clash, The Damned, Wire, and The Sex Pistols (their only studio album). The Ramones released Rocket to Russia. David Bowie explored a new direction with both Low and Heroes. Mainstream blockbusters included Rumours by Fleetwood Mac, News of the World by Queen, Slowhand by Eric Clapton, and Pink Floyd's Animals. Not to mention Meat Loaf 's Bat Out of Hell and the soundtrack to Saturday Night Fever (footnote 1).

Amid all of this, there was a distinct new sound, quickly labeled New Wave. It wasn't rock like Queen, Pink Floyd, or anything coming out of Laurel Canyon. And it wasn't manufactured in the disco-pop factories. But it wasn't punk. It was NYC-centric, but there was also Brit brat (before brat was a thing), Elvis Costello, introducing himself with My Aim Is True. Back in the Big Apple, two seminal new wave debuts dropped in 1977: Television's Marquee Moon, and Talking Heads: 77.

Robert Baird  |  Jan 06, 2025
For musicians' sake, the terms "sure thing" or "a hit" should be permanently stricken from the music business lexicon. Like Beetlejuice, if you say it enough, bad things are sure to occur. But in the long annals of the music business crushing the dreams of artists who were a "sure thing" and singles or albums that were guaranteed to be "a hit," few have risen higher and fallen faster than Lone Justice. Rising stars on the Los Angeles music scene in the early 1980s, they melded punk-rock attitude and ethos with a love for classic country music. The New York Times called them "Impressive, ingenious, and forceful." After seeing them, both Linda Ronstadt and Dolly Parton genuinely praised their sassy young singer, Maria McKee.

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