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There is no shortage of web-space devoted to vinyl records these days. A moribund medium that survived despite the early promise of consumer digital playback, vinyl records now seem to be flourishing across a wide spectrum of users- longtime, hardcore vinyl enthusiasts, audiophiles, collectors and a whole new generation of people, including those who “came back” to vinyl after years of digital playback or weren’t even alive during the heyday of vinyl.

Why this site? Aside from a gnawing itch to write, I found myself between the cracks- audiophile websites seemed far too “gear-centric” and much as I love gear and shiny new (and particularly old) things, the endless quest to perfect the imperfect nature of home audio seemed to be a pursuit for its own ends, often leaving the music on the sidelines. At the same time, most music-driven sites did not cover my particular combination of interests, often focusing on record reviews of new releases or reissues of old releases. I was interested in a lot of music that hadn’t been reissued or sounded better on earlier pressings.

I also seem to like bands that are largely forgotten or remembered only for a hit that charted, the band itself, and the rest of their music largely forgotten. And, to discover music from talent that, for whatever reason, hasn’t reached the wider audience it deserves. So, there will be a few new releases covered here, but much of it is older stuff.

The selections I devote attention to on this site are not intended to represent any ‘absolute’ musically, sonically or culturally. Because music and its enjoyment is a deeply personal experience it is rarely amenable to suasion by others. Exposure is enough: You listen. You like it. Or not. (Although, admittedly, sometimes it takes time to appreciate a recording. More about that later too).

I’m treating this whole website as a process of exploration. I have access to a considerable pile of vinyl that I have accumulated over the course of more than 45 years. I’ve spent countless hours listening to all kinds of systems, grand and modest, in homes, studios and demonstration rooms. My experience has taught me that you don’t need to have “golden ears” to hear the differences in gear or in different pressings of the same record. Another thing I’ve learned is that old records can sound wonderful, in part, because there can be much less gimmickry in the mixing and making of them, the equipment was more primitive and what was captured often has a quality of real life- of a real performance, raw, imperfect and emotionally moving.

In the process of sorting through thousands of old records in my collection, and buying as many more in the last decade or so (mostly older records), I have also learned something about how to clean records effectively. It is more than just a ‘ritual’ and involves far more than making a record ‘look’ clean. Just as different pressings of the same record can yield significantly different sonic outcomes, I have found that various cleaning processes can take a record that I once would have regarded as inherently unplayable – groove noise, sibilance and other distortions that I used to associate with groove damage and, in many cases, and to varying degrees, not only salvage it but bring it up to a very high playing standard. Here, I have no magic bullet, but will detail what I have learned.  One section of this site is therefore dedicated to record cleaning and care. I consider this an essential part of buying older records.

For now, I have neither the time nor the inclination to moderate a chat forum as part of this site. If you have a comment, a criticism or a contribution that you would like me to publish, send it to me as a Letter to the Editor, and I may publish it.

Bill Hart

February, 2015

 

Austin Update: 2017

As readers know, my wife and I permanently relocated to Austin, Texas this year after several years of back and forth between New York and Texas. I’ve learned a considerable amount since I first began publishing TheVinylPress in February, 2015– mostly about how little I really know. My assumptions are constantly tested– digital recordings that sound good, a second system that is nowhere near “state of the art” but brings as much musical joy as my main system (with an entirely different sonic presentation), bands that I ignored or dismissed that are now part of my playlist.

Given my penchant for offbeat and less mainstream older records- particularly those made during what I consider a peak of creativity and sonic simplicity in the recording arts that occurred in the era 1967-71 in the UK and other parts of the world– I’ve found myself chasing some stupidly expensive records. So, part of my mission is to find decent alternatives, where possible, to records that are in the high three and four figure price range. There is also a wealth of live music here in the “live music capital of the world.” So I may review a few shows along the way but even if I don’t cover bands I’ve heard, I’m attending more live shows than ever. I have also updated my system profile, but kept the original profile from 2015.

System Notes- Austin, 2017

SYSTEM NOTES- 2015

TheVinylPress Goes Digital!

 

 

 

 

 

 

In Brief:

There Is No “Magic Bullet” in Hi-Fi

There Is No “Magic Bullet” in Hi-Fi No Magic Solutions I’ve spent some time on the audio chat fora over the years. Many popular threads these days are devoted to cheap improvements that can be made using audiophile “tweaks” or repurposed non-audiophile products. These can be applied to isolate gear, enhance the signals or connections or otherwise address some perceived problem that, once solved, offers to raise the level of music reproduction. It’s like a cheap solution to upgrade your system: from audiophile fuses, special wires (beyond simply having a high-quality interconnect, speaker wire or power cable) and other tweaks, to contact fluids and other things that you can attach to power sources, equipment, or place in the room (bowls, various harmonizers or active resonators, noise harvesters, etc.) This is apart from room treatment, which is sui generis; that is, every situation is … [Read More...]

Milt Ward Reissue-release date May 6, 2022

Milt Ward Reissue-release date May 6, 2022  Andreas Vingaard, of Frederiksberg Records, dropped me a note that the Milt Ward & Virgo Spectrum record about which much has been written here will be available on vinyl beginning on May 9, 2022. However, several promo emails today, Friday, May 6, 2022 say the record is available NOW via Bandcamp (see link below). The reissue was done with the participation of Milt Ward’s family and includes comprehensive notes in a booklet. Given the price of original pressings, this should be worthwhile even if not taken from the master tape. I plan to get a copy and we’ll do a shoot-out with my “OG” pressing. I’m sure some of you are willing to brook a little sonic compromise to get access to an otherwise very hard to find, expensive spiritual jazz rarity. At the time of this writing there is one copy on Discogs in NM condition for media for over … [Read More...]

Milt Ward Virgo Reissue Coming from Frederiksberg

Although I don't have all the details yet, I have learned that Frederiksberg Records, a small, eclectic label from New York, is in the process of reissuing the hard to find (and even harder to pay for) jazz obscurity, Milt Ward and Virgo Spectrum. You can find out more by keeping tabs on Frederiksberg's Bandcamp page, https://frederiksbergrecords.bandcamp.com   I'm told there is a bootleg out there so be careful. Frederiksberg is doing this project with the participation of the family of Milt Ward, which is to be applauded. Hopefully, this will give more access to a great jazz record at a reasonable price. The Roots album reissue from Frederiksberg (which is sold out on vinyl on the Frederiksberg Records bandcamp site) still appears to be available through some online retailers as a pre-order, so that's another one to jump on now if you can find it-- the original is extremely pricey and … [Read More...]

Clem Snide- Forever Just Beyond

Clem Snide- Forever Just Beyond With a name derived from a character in the same literary work as the band name so famously identified with the Walter Becker-Donald Fagen duo, Clem Snide has an extensive discography, typically cataloged as “alt country.” This latest release is the work of one of its founding members, Eef Barzelay, who was responsible for much of the songwriting and singing. According to his bio, Barzelay suffered some serious bumps in the road during the last decade, including a failing marriage and financial ruin. At the same time, he learned that Scott Avett was a fan and they found inspiration in each other, leading to this album- a collaboration of artistry where Avett and Barzelay share some writing credits and Avett produces. The result is a fresh, upbeat set of tunes that are appealing in their simplicity and refreshing in their sincerity. The band is first tier … [Read More...]

Muriel Grossmann- Reverence

Muriel Grossmann- Reverence Muriel Grossmann continues her quest for musical ascension on Reverence, which was released on vinyl in early December, 2019 on the RR Gems label as a 2 LP set. The compositions are Grossmann’s, and the band is much the same as the group of seasoned musicians with whom she has worked for some time (and detailed in the review of her Golden Rule), but for one notable exception: the addition of a keyboard player who brings that rich, woody Hammond B-3 sound to a series of compositions devoted to Africa. In some ways, Ms. Grossmann’s exploration of the roots of jazz deliberately eschews any superficial attempt to make African music. Instead, she draws inspiration from its influences, which are wide ranging and deep—you can hear rhythm and blues sounds mixed with more traditional African instrumentation and polyrhythms and come away with something that is both … [Read More...]

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