Aural Robert

At this late date, it seems impossible that there could still be "lost" albums lingering in the vaults by musicians as important and successful as Johnny Cash and Paul McCartney. And yet Universal Music has just released "new" albums by both artists that significantly add to their already hallowed recording catalogs.

Staying up on what's new in music ain't easy these days, in a world short on new record stores and long on websites, social media blather, and celebrity. Asked what he listens to when he's not writing music, fast-talking septuagenarian Ray Mason exudes a teenager's eager urgency.

"I keep my ears open. I've been listening to new stuff by people I have been following for years like Nick Lowe and The Straitjackets, Rodney Crowell, Kathleen Edwards, and Lucinda Williams. And then Craig Finn. I don't own any Hold Steady albums, but I love his last two solo albums. He has a new one coming out that [Adam] Granduciel from War on Drugs produced. And The Beths of course, Expert in a Dying Field. I remember hearing [The dB's] Pete Holsapple raving about that on the web and I went, I've gotta get that album!"

The return of vinyl, which has stayed popular and profitable since its resurgence, has now developed a surprising nuance. Pierre Markotanyos, the owner of the reissue label Return to Analog and Montreal record store Aux 33 Tours (which refers to the speed at which an LP spins), has noticed a distinct change in the makeup of who's buying vinyl these days. "In the late 2000s," Markotanyos reflects, "it was mostly 55-to-70-year-old guys who were coming in, buying records to play on their high-end stereos that they bought at the audio show in Montreal." [Sound familiar, Stereophile readers?] "They were the purists and the true believers."

Two albums with the same title, by the same artist, basically released one week apart on the same planet? Even considering the dubious history of music-biz capers and catastrophes, the Lights on a Satellite kerfuffle is hilariously surreal. By the time it was discovered, covers were already printed and records were already pressed. It's so bizarre that it's tempting to suspect intergalactic powers were involved. Could the ghost of that interstellar traveler, Master Sun Ra, who thought space was the place, have had a hand in this unlikeliest of Saturnian conjunctions?

Fortunately, the two versions of Lights on a Satellite are very different.

Having just finished this review of The Replacements' Tim: Let It Bleed Edition, I thought I'd glance at a couple of online forums to see what the collective verdict was on the sound quality of the set's main attraction: a remix of the album by Ramones engineer Ed Stasium. At Steve Hoffman's forums, I saw this in one of the first posts: "It sounded like I expected Tim to sound when it came out in the fall of 1985. I've also listened to the newly remastered original album that comes with the set, and while it sounds good and I'm glad to have it, it pales compared to the 2023 Stasium mix." Ticking down a post or two, exuberance gushed forth: "Well, IMO the [Stasium] version of Tim may be the greatest rock record of all time."

Audio engineers never get the credit they deserve. The same is true for music arrangers, who are also an unheralded but hugely fundamental part of any musical success. As a composer, conductor, and inventive arranger of popular music, the modest but multitalented Vince Mendoza says he's most focused on enhancing the song he is arranging and the story it is trying to tell.

"Young arrangers are very concerned with their own voice and spinning their own melodies and turning things upside down and backwards, and they forget what a song really is about," he told me in a recent Zoom conversation from his home in Los Angeles. "You could be writing about heartbreak, and there are a million and one ways to tell that story, but the listener still has to feel it."