Bratty, mollycoddled, and altogether spoiled consumers such as you and I have inflicted on computer audio the same injustice that laparoscopic surgery, antilock brakes, mobile telephones, word processors, e-mail, microwave ovens, and over-the-counter proton-pump inhibitors have suffered at our hands in recent years: In less time than it takes to say "ho-hum," we've knocked it from the pedestal to which all such breakthroughs are entitled and begun taking it for granted.

It wasn't very long ago that I boasted, in my casual, self-effacing way, that I didn't really like headphones—that I didn't need headphones. Because most people in the New York metropolitan area would rather die than communicate with each other, they use headphones as a sort of fortress of solitude, shielding themselves not only from their physical environment but from all other living creatures. I, however, claimed to enjoy listening to the sounds of the world around me—even screeching tires, blaring sirens, and the drone of air ducts could be musical. La-di-da.

Few topics ignite more heated arguments among audiophiles than the price of audio equipment. How much do you have to spend to get really good sound? Are people who buy expensive gear wasting their money, or is it simply a matter of getting what you pay for? There are many such issues, most of which have been discussed at length in Stereophile and various online forums; here are a few I haven't seen addressed except in passing.

Doug MacLeod: There's a Time
Reference RR-130 (HDCD). 2013. Doug MacLeod, Janice Mancuso, prods.; Keith O. Johnson, Sean Royce Martin, engs. DDD? TT: 58:00
Performance ****½
Sonics ****½

Like a lot of other once-pure forms of American music, the blues today has become a swirl of influences, mixing folk, rock, rhythm & blues, and even Latin flavors into a music that its aficionados—that fervent contingent known as "blues nuts"—have grudgingly accepted as being a part of the music they adore. But if blues fans thought Hendrix or Stevie Ray Vaughan muddied the wellsprings of the Devil's own music, it'll be only a matter of time before rappers mix blues in with their beats, and then—horror of horrors!—dance music begins to "borrow" from da blues. Rather than resist these changes, blues fans should willingly embrace any new energies brought into the music; rather than ruin, these fresh ideas and passions may actually revitalize a musical form that many already see as a museum piece.

Heads up! Not long after the sellout of both Decca Classics' First Collector's Edition box set of 50 Mercury Living Presence CD reissues, and their box set of six 180gm LP reissues, both drawn from the famed Mercury Living Presence catalog, Collector's Edition 2 arrives on May 14. The CD box's 55 titles include two first-CD issue rarities: Antal Dorati's 1953 Minneapolis Symphony Orchestra mono recording of Stravinsky's groundbreaking ballet, The Rite of Spring, and one of the final Mercury Living Presence recordings, John Corigliano's Concerto for Piano and Orchestra. The Corigliano recording premiere, performed by pianist Hilde Somer and the San Antonio Symphony Orchestra, conducted by Victor Alessandro, is paired with a close to 17-minute interview with Corigliano, conducted by Paul Hume one year after the concerto's 1968 premiere, and the Paregon to Richard Strauss' Sinfonia Domestica, Op.73.