![]() ![]() I've seen pages of these combos advertised in pro-sound catalogs. turntables outsold guitars." All of those 'tables would be direct-drive models, mostly Technics SL-1200s, fitted with brute-force slice'n'dice cartridges for back-cueing, scratching, and all those other awful things we would never consider subjecting our vinyl to. If you're unfamiliar with the graphics, you notice it, but I was amazed at how many e-mails I got from eagle-eyed readers.Īccording to an article in the New York Times' "Circuits" section (January 20, 2000), "Last year, D.J. ![]() Sound familiar? Toward the film's conclusion, one of the main characters can be seen reading a copy of The Tracking Angle in the background. In one scene he's piled thousands of LPs on the floor because he's rearranging the order from musical genre to date of acquisition. The story of a used-vinyl store owner who's afraid to commit because he's too busy looking for his next conquest seemed lost on the Limp Bizkit adolescents sitting silently in front of me, but you'll laugh plenty as Cusack's character, adrift in a memory sea of bad relationships and endless rejections, hangs onto his vinyl collection like Eliáan to his rubber tire. While the title refers more to affairs of the heart than to our hobby, the story is set in a used-record store, and there's plenty of background eyecandy, including record-company promo ephemera and shelves full of vinyl for you to ogle. Surely by now you've seen John Cusack's adaptation of Nick Hornby's insightful novel, High Fidelity. Companion is available from all the usual vinyl vendors. Because Barber "jazzes up" some pop tunes? Ella Fitzgerald did "Sunshine of Your Love," you know. On "If This Isn't Jazz," she sticks it back! Why Barber is "Pop" and Diana Krall is "Jazz," I don't understand. While the review was favorable, the subhead read "Pop," which I figured Barber appreciated as much as a stick in the eye. The set includes a slinky version of the Sonny and Cher classic "The Beat Goes On," and a cutting original, "If This Isn't Jazz." When I saw Barber at New York City's Jazz Standard some time ago, the club had posted a blowup of a New York Times review of her live show. You can bet the vinyl sounds better than the 16-bit CDat less than 20 minutes a side, there's plenty of room for the recording's full dynamics. According to the jacket, the six-track set, impeccably recorded live in Chicago last July by Jim Anderson, was mastered from a 24-bit transfer of an analog recording. A pleasant surprise arrived at my door the other day: the 180gm vinyl edition of Companion, the Patricia Barber album released last year on Premonition/Blue Note. ![]()
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