Sounds&Words

DOWN THE SPINDLE HOLE…

Do old records always have better sound or do new records have the same characteristics if they “went back to the tapes?”

Like most things involving vinyl LPs, the answer to Susanna’s inaugural question is… It depends.

For albums with multiple production runs (or “pressings”), there are some fierce debates about which pressings of any given album sound best — which is, of course, a matter of opinion. For many, the heyday of pressings was the 1950s and 1960s; serious jazz and classical collectors treasure their original Blue Notes, Mercurys, and RCAs. I’ve heard many of these, and they sound amazing — but of course it’s not easy to find them cheap or in great condition nowadays. Today’s mass-market releases aren’t too bad, and there are lots of boutique pressing plants and labels turning out insanely quiet and dynamic records on the regular. On the other hand, there are Eastern European and Russian plants producing reissues that are reputed to be pretty sloppy.

Blue Note Tone Poet series

Blue Note Tone Poet series

There are eras when most pressings from the US were crappy. In the mid-1960s, RCA pioneered “Dynagroove” and “Dynaflex” pressings, which were thin and thin-sounding, and sometimes distorted by dynamic passages. In the 1980s and 1990s, when LPs were produced cheaply, or were being phased out in favor of CDs, there were some travesties. DMM, or Direct Metal Mastering pressings, are identified by a logo and are often harsh-sounding. Obviously there are exceptions to all of these generalizations, and there’s no single guideline that you can consult like a rule book.

One preference remains pretty constant: Most collectors eschew digital steps in the process, and prefer analog masterings when available. But surprise! There are analog processes that sound bad, and digital processes that sound great — and it’s usually not possible to tell just by looking at a record cover what steps the mastering process comprised.

Fake news?

Fake news?

Every mastering job ideally begins with the original tapes or, at worst, first-generation copies. (Occasionally that’s not the case, but not often enough to concern us.) Once somebody has obtained “the tapes” of the original recordings, mastering is the process of getting music off the tapes, through electronics and a Rube Goldberg–like record production plant, and ultimately to LPs themselves.

Mastering is as much an art form as a science, so everybody’s products will sound a bit different from others — even before you consider esoterica like how many LPs are pressed from each stamper, and whether virgin vinyl is really quieter.

Besides the mastering, though, there’s an obvious advantage to newer pressings: They should not have skips or pops, and in that way alone they may be preferable to older pressings.

Late 1950s

Late 1950s

In the big picture, the differences probably don’t matter enough to anybody who isn’t deep into specifics. (RCA and Mercury collectors almost always favor stereo versions, for example, whereas Blue Note aficionados go for monos when they can.) It’s always fun to find an original of anything, and the originals may be valuable because rarity and desirability are two of the three characteristics that determine value of any collectible object. (The third is condition.) But there are cases where reissues sound at least as good as the first pressings. (Check out some of the fantastic Blue Note “Tone Poet” series — currently on sale at Blue Note for 30% off, no less.)

So you can certainly search online, where people offer all kinds of opinions. (There’s far more info for jazz and classical pressings than popular music.) But comparing record pressings is a pretty skinny rabbit hole, and probably not one that most people want to explore for too long. The bottom line: if you see an album you want in good condition at a reasonable price, snag it. You may not find it again, regardless of which pressing somebody thinks is “better.”

A few words on my mother (TL;DR: She was complicated)

Sometime during my senior year of high school, a close friend of mine stayed for dinner, as he did now and then. My mother had made spaghetti Bolognese — though in 1981, of course, we just called it “spaghetti with meat sauce.” It was one of my father’s favorites, and he adopted an intentionally goofy look to convey his excitement. From the other end of the table, my mother saw him, and exclaimed, “My god, you look like you’re going to have an orgasm!” We all laughed, including my friend, who kept his gaze focused very deliberately on the pasta in front of him. My mother was the only one who seemed not to be embarrassed.

Julie Braverman was like that. Laughs were prized in my family, sometimes at the expense of decorum. But also prized was a family sitting down to dinner almost every night of the week, and hospitality, and good food, and entertainment — even when it was not indecent.

My mother was a complicated character. Since she was Jewish, that statement may be redundant. Even so, my mother was, well, a complicated character.

She was born in New Britain, Connecticut, in 1938, the daughter of a merchant and a college professor. My grandfather, Harry Fogelson, died a few years before I was born. He owned a toy store and was by all accounts a remarkably kind and generous man, donating presents on Christmas Eve to indigent parents who had little or nothing for their children the next morning. My mother and her family frequently described him as a “saint” (which may seem a little unbefitting the descendants of Israel).

Grandparents Day, with Eliza, third grade, 2007.

Grandparents Day, with Eliza, third grade, 2007.

I have never heard my grandmother, Hannah Fogelson, described as any such thing. My mother witnessed the physical abuse of her two brothers at my grandmother’s hand, and she bore the emotional scars of those traumas for life. My mother was sensitive and emotional; as an adult she took a professional, lifelong approach to her role as psychotherapy patient, in contrast to the amateurs who viewed it as episodic, temporal, or task-driven.

Hannah was, however, far ahead of her time politically. She graduated from Hunter College in New York; she had a career, as a teacher and college professor; she was a Socialist and a feminist and withal a progressive thinker — at least on matters beyond childrearing. Children raised by strong women do not need to be convinced that women can be strong. But people are complicated, and complicated people often have complicated children.

My mother and her younger brother attended a Quaker boarding school in upstate New York, an unqualified blessing that neither has taken for granted. The headmaster had served time as a conscientious objector with Pete Seeger, who played impromptu outdoor sets at the school when the weather was agreeable. “Diversity” wasn’t a thing then, but the school enrolled more than a few African-American kids, and turned out reflective radicals, or the closest such thing, as graduates. To be sure, in the mid-1950s, many girls, including my mother, were still interested in the perks of “good breeding,” as she sometimes said, only half-jokingly.

My mother went on to Jackson College, the women’s division of Tufts. (Jackson was to Tufts as Radcliffe was to Harvard.) It was a source of pride for her entire life, and she insisted on attending her fifty-fifth reunion in 2015, after her dementia made such an adventure dicey at best. We put her on a plane and ensured that a friend, in addition to my two sisters in Boston, accompanied her throughout the weekend. Her principal memories were of young children attacking the ice cream station.

Days after graduation, Julie married my father Don, the nephew of a family in Boston for whom she had been babysitting. They lived for a few years in and around New Haven, my father’s hometown, where my mom became a housing tester — a term perhaps unknown to those of younger generations. In short, she would visit real estate properties for rent or for sale, in concert with African-American families who would also visit separately, in an attempt to expose and remediate housing discrimination. It may not have solved the problem, but it was unquestionably noble, especially given the time period, just a few months after the Greensboro sit-ins.

I was born at Yale–New Haven in 1964, as were the next two siblings, in 1965 and 1969. My father had taken a job as a stockbroker in New York, and in 1969 he was charged with opening the firm’s new office in Chicago. We decamped for the North Shore, where my generation’s final Braverman was born, in 1970, and where Julie would live for more than 45 years, until the oncoming train of Lewy body dementia forced us to switch tracks and relocate her to the Washington area to be near one of us. (LBD is the second-most common type of dementia, which Robin Williams also suffered.)

With Charlie, pre-K.

With Charlie, pre-K.

In those decades, my mother and father raised four children, each with quirks, but all basically normal, functioning (if complicated) adults, itself a testament to human resiliency. Despite the challenges of her upbringing, Julie was blessed with strong instincts regarding children’s needs, and she had been a psychology major, studying at Tufts with Zella Luria, a titan of her era, with whom my mother kept contact until the scythe of dementia severed the tethers of that relationship, as it did so many others.

If the reach of Julie’s value systems sometimes exceeded the grasp permitted by her mercurial temperament, there was no question that our parents loved us and were grateful for us, and their decisions in our behalf were almost entirely solid and well advised. We had everything we needed and much of what we wanted, but my mother also made damn sure we could cook a basic meal and do our own laundry before we left home.

Still, people are complicated. My parents divorced in 1988; my father remarried and lives happily in Florida, where he has logged 5,000 miles a year on his bicycle for more than two decades. He will turn 87 next week (the day before Willie Nelson does!).

During and after their marriage, my mother knew both joy and grief. Her four children have successful marriages and more-or-less civilized children, but the challenges of her upbringing never receded. She struggled to achieve emotional health throughout her life, and even in hindsight it is hard to venture a guess about whether her prevailing diagnosis might have been depression, bipolar disorder, or even borderline personality disorder (the last being a far more serious and, um, complicated condition).

Even people who suffer mental illness display profound charms, of course. Besides her often unhinged humor, one of her greatest pleasures was entertaining others, which afforded not only the opportunity to gather, but to impress, as she was a very good cook and she had a beautiful house. My high school friends still speak of the hours in our basement playing ping-pong, or lounging and cannonballing at our pool during Chicago’s short summers.

Julie loved to be the hub of almost any social wheel. At one point in the 1980s, one of my father’s close cousins married a Roman man. Both were students of architecture (and later professors of engineering and art history), and they were accompanied on honeymoon by about a dozen Italian architecture fanatics of varying English proficiency, eager to see Chicago and Oak Park. Though I knew she had cooked for two days, my mother made it seem as if dinner for 20 appeared on the table by some sort of magic she alone knew how to conjure.

Similarly, in my senior year of high school, two of the year’s biggest national debate tournaments took place locally on the three days before Thanksgiving (the Glenbrook Round Robin) and the three days after (the Northwestern Invitational). With friends from the Bronx, New Orleans, and California in town, we had nearly 30 people to dinner that Thanksgiving night. My mother’s cooking informed my later epiphany that she could make dinner for 12 in an hour using only salt, sugar, and some bacon fat (I exaggerate slightly), and it certainly spurred my own cooking adventures, which now provide some of my most satisfying extracurricular activities. In these strange times, I have taken pleasure in packing a nice lunch each day for Annice, who is still working, and I wonder if I have assimilated more “maternal” instincts than “paternal.” I am my mother’s child in many ways, I suppose.

Among the other items to which my mother asserted entitlement, it makes sense that she guarded Thanksgiving jealously. She grew anxious in the early fall if it became clear that not every child would spend the holiday with her that year, which happened, naturally, as we began to build our own families. I was nearly 50 when I was recruited to tell a short story at “Thanksgiving Lunch,” a much-loved tradition at the school where I was working at the time. Astonishingly, that was the first time it occurred to me: I had spent every Thanksgiving of my life with my mother. Last year marked the first time dementia rendered her unable to participate; perhaps fittingly, we punted and booked a restaurant meal. And her absence will surely make the holiday a little more ... complicated ... in the years ahead.

It may come as little surprise that my mother couldn’t bear to be excluded from a celebration, whether or not it was hers. We celebrated Christmas as well as Hanukkah, and no latter-day Chinese food tradition would be adequate, as it seemed a concession rather than a real party. She made a turkey, or a duck, or something that would be culturally appropriate if only we had belonged to another culture. No matter — if there was a party, my mother would be damned if she would miss it.

She also had an exceptional sense of style, born of an innate eye for decoration, and an interest in those same cultures that were different from her own. We moved in 1979, to a frumpy, dark, nondescript house that my mother described as “1970s goyishe,” but in which she saw potential. She tore out the red shag carpeting and tossed the dozens (maybe hundreds) of miniature airline liquor bottles that the previous owners had retained as decoration. She laid wood floors, installed French doors from the kitchen to the back yard, removed the pink fluorescent light tubes in the family room, painted the pink walls white in the family room (these are true details; it was a very pink room — with thoughtful touches of olive green here and there), and generally amused herself for years making things pretty.

That is not a trivialization. Photos of our house from the 1980s show bright rooms, fresh and ornamented in ways that were both artistically dynamic and invitingly warm. Remarkably, they do not seem dated; her style was based on timeless form, color, and combination. Our house was festooned with art pieces from West Africa, Indonesia, 18th-century New England, Jamaica, Europe, and, especially, T.J. Maxx. Even as a teenager I marveled at some of the totems she had acquired in her many (often irresponsible) shopping junkets.

She gave interesting pieces to others as well. Wedding presents for Annice and me came annually on our anniversary — silver napkin rings she had found at various flea markets and antique holes-in-assorted-walls. We use them whenever we host our own dinner parties, which are frequent. Yes, she was pathologically materialistic in some ways. (Some might even call it “hoarding” — when we emptied her last townhouse near Chicago, we donated 31 off-white short-sleeved shirts, as well as unworn Dior and Versace coats.) But she was also genuinely fascinated by objects — their functions, their stories, and their beauty. She loved giving things to others because she liked people; if she could be overbearing at times, she also communicated fondness through gifts of objects that fascinated her too.

Julie was a “housewife” or a “homemaker,” a role that she relished, and she was capable of surprise too. At age 50 she pursued and earned an MSW, a lifetime aspiration. The achievement meant a lot to her, coming as it did on the waves of her divorce, but she disliked the seed work for building a client base, and never did. She was still proud to announce, as she did from time to time, that she had a “masters degree in helping,” which conferred (obviously) the right to advise anyone, known or not, on anything, experienced or not. Similarly, she dated frequently in the years after divorce, but she grew tired of suitors quickly, and never found the right one. She liked funny guys and big personalities, but two big personalities in the same relationship are not always a great match.

My mother was a big personality in a family of big personalities, so when Annice and I began dating in 1993, my mother didn’t quite know what to make of her. Annice is warm and friendly but reserved; she takes up far less air in the room than most people. She is also practical, analytical, and, gravest horror of all, viscerally disinterested in “shopping.” Still, as I type this she reminds me how kind my mother was to her, and how graciously she felt welcomed to any family traditions and gatherings.

To be honest, there was one minor fracas when Annice was asked to bring my mother’s recipe for noodle pudding (a close relative of the Jewish dish, kugel) to Thanksgiving at my sister’s house in Boston about 10 years ago. The noodle pudding was “my mother’s recipe” insofar as she had made it for 25 years or more, and it always brought compliments — though she had, of course, stolen it from somebody else 25 years earlier. In a rare moment of gentle tweaking as she typed up the sheet, Annice chose the heading, “Annice’s Noodle Pudding,” and while even Mom knew that pitching a fit would be a bit much, she simmered, quietly. No matter how she came by something, if it was hers, she took her fiduciary responsibilities seriously.

Julie’s dementia was difficult at first, as these things are. Like many families, we didn’t see her initial slide for what it was, but she became irrational in measures that eclipsed her everyday emotional turmoil. She began making financial decisions even more senseless than the ones she had always made (who buys 100 mini-staplers just because they’re half-off?!), and she grew irritable when she insisted that my brother (in Chicago) had driven by her apartment (in Maryland) without stopping to see her. She imagined that her father’s store was still operating just across the street and over the hill — barely beyond her metaphorical reach, no doubt.

More miserably, she told us at times that her mother had been revived from the grave and was near to finding her, or plotting to kill her father, and of course these delusions frightened her. During the year she spent in independent living in Maryland, before she moved to the memory care facility, she contacted the New Britain police department to warn them and to ask where her father was; and she set a bagel on fire in the microwave (imagine how long that would take!), evacuating the building. She remembered and held grudges about minor debts, and she took personally the changes in camping regulations New York had imposed at Lake George, where she spent many summers — events a half-century old or more. We worked with physicians, mostly with success, to mitigate these effects of her disease through the miracles of pharmacology, but by this time there was certainly no denying what lay ahead.

Not everything was dark. She moved in 2015 to the memory care facility, and I visited her hundreds of times, which means that staff were asked excitedly, hundreds of times, “Have you met my son?!” (I am certain they were thrilled to meet me, hundreds of times.) And as we walked by the room of her next-door neighbor, a woman named Phyllis Judge, Mom read the door sign and grew excited. “That’s where Phyllis lives,” she’d exclaim. “She used to be a judge!”

That’s emblematic of another of my mother’s lifelong missions: sharing her knowledge, no matter how mundane, with others. As toddlers, my children loved to sit on Grandma’s lap and hear her explain the colors, or shapes, or various flora and fauna, which she did as if she were presenting the tablets to the Hebrews. To this day my siblings and I crack up if anybody mentions “Zip-a-Dee-Doo-Dah” or “The Itsy Bitsy Spider,” which in her dementia she offered as edification to hundreds of young children once she spied them from across the room, across the hall, across the museum or shopping mall. We cringed when we saw her hijack another family’s outing, but there is no question that these antics were motivated by her wanting to share, wanting to teach, wanting to engage children, the people she loved most in all the world.

Though she expressed frustration with each of her four children countless times, we knew she loved those around her — not only us and her grandchildren, but also those who served her food and cleaned the bathrooms at the memory care facility, and many in between. She wandered the halls and asked staff, “Whooooo’s thaaaaatttt?” in the same sing-songy voice she’d use with a two-year-old, and they’d tell us how funny and engaging she was. Sure, that was their job. But just as sure, she was funny and engaging, right through the heavy, blurred curtain that dementia brings down. She lived in that facility for four and-a-half years, and while she was clearly in decline, she seldom seemed unhappy, which fulfilled our principal wish for her.

My mom died Sunday night. I was there, with Annice, and an agency nurse (because some of the facility’s nurses are in quarantine), and the poor marketing director of the facility who was the administrator-on-call on a Sunday night. I had been in touch with my mother’s physician for about a week, during which her condition worsened, then improved, then worsened again suddenly.

Name it what you’d like, there is no question that she died of acute respiratory distress. We never received a definitive Covid diagnosis, but, like everybody, we are aware of the pervasive infections, especially at nursing homes and care facilities. (Annice works at a hospital, spending part of every day studying models of the pandemic, so we may be even more aware than most.)

Still, I was unprepared for the palpable presence of invisible contaminants, an oxymoron that can only be explained with exponential notation. There was no mistaking the ugly environment for any kind of more normal scene in which one would draw tremulous last breaths. This was the first time I have been present at the death of another person, and I was just as spooked by the heft of sickness in the air (on the walls, around the door handles, in the carpets) as I was by bearing witness to my mother’s final moments.

Mom was surrounded by photos of her children and grandchildren, and the baby dolls that she loved and spoke to often, and a handful of stuffed animals — some of whom she adored, and some of whom, frankly, she just didn’t care for so much. Say what you will about my mother, we were always aware of her judgment — and Lord knows that’s the right word — on any critical topic.

On his masterpiece, “Elephant,” Jason Isbell sings, “There's one thing that's real clear to me: No one dies with dignity.” In a way that’s true for all of us, of course, but my mother wanted to project love and dignity, and, despite the sizable challenges, she usually did. She lived her life trying to brighten the lives of many others, whether by fighting real discrimination, by heaping gifts on her grandchildren, or by schooling parents, with whom she had no connection, on the most helpful songs to calm their crying infants. After all the crazy tales are stripped away, I knew that her intentions were always to leave the world better, to help others transcend their need to bear the weight of being human, weight that she knew well and spent a lifetime hoping to lessen. She wasn’t always successful, but I learned from her that intention, even when it’s complicated, counts for plenty.

See you on the other side, Mom.

A few words on John Prine

What was it about John Prine that we loved so much? How did such a humble man, of such modest beginnings, evolve into one of the most celebrated American songwriters in history?

(Rolling Stone)

(Rolling Stone)

John Prine seemed to be a simple person. And therein lay his genius.

One has to search for songs that aren’t basically just I-IV-V (with the occasional minor second or sixth tossed in), the most common chord progression in popular music and no complication for even a beginning player. His picking was capable, but hardly noteworthy among guitarists, a necessity of accompaniment rather than a virtuosity.

If the appeal of Dylan, and Leonard Cohen, and more recently Josh Ritter, lies in the brilliance of their phrasing, their lyrics soaring on eagles’ wings, Prine’s characters flew coach on paper airplanes, remarkable for their craft, humble in their simplicity and their accessibility. His songs contained so few words that they reminded me of a quotation about sculpting I’ve seen attributed to Michelangelo: You look at a block of marble, and you chip away everything that doesn’t belong. Prine chipped and carved his songs, until his lyrics evoked vivid images and told universal truths, seldom with any syllables to spare.

In the America of today, fucked up beyond recognition, I can’t help thinking that Prine’s economy of simplicity is the exact opposite of our President’s voluble horseshit. Prine knew that fewer words were more. And don’t you dare tell me this shouldn’t be political. I’m not the wordsmith Prine was, but he damn sure was political, and those who believe otherwise suffer delusion or stupidity or both.

Mid-career he was taking shots at faceless corporations in “Paradise,” the Kentucky town whence his parents hailed:

Then the coal company came with the world's largest shovel
And they tortured the timber and stripped all the land
Well, they dug for their coal till the land was forsaken
Then they wrote it all down as the progress of man.

Later, in the dourly amusing “Some Humans Ain’t Human,” Prine wrote,

Have you ever noticed
When you're feeling really good
There's always a pigeon
That'll come shit on your hood

Or you're feeling your freedom
And the world's off your back
Some cowboy from Texas
Starts his own war in Iraq

Lest there remain any question about his intentions, he was quoted in Rolling Stone: “Jeez, if I get hit by a bus I would sure like the world to know that I was not a Republican.”

Prine’s politics were current; they didn’t start in the Middle East or the Trump era. His first album back in 1971 contained the classic, “Your Flag Decal Won’t Get You Into Heaven Anymore” (“They’re already overcrowded from your dirty little war”). Before he got older and a little more jaded, that kind of lyric exemplified most of his political statements: He had a way of winking at us while telling hard truths, of telling stories where the frauds and blowhards were exposed and regular folks, those he knew best, were sometimes the champions. Most of us don’t trust the motives of the powerful, but it took us whole paragraphs and newspaper editorials to say what Prine said in just the “Flag Decal” song title. Sure, it was long for a song title, but it’s a pretty heady achievement to tell a whole story in nine words.

Similar concision is found throughout Prine’s work. Two of his best loved songs are desperately sad, in part because of his ability to sketch the bones of an emotion and then let listeners fill in the blanks. In “Hello in There,” he painted the loneliness of older folks, ending plaintively:

So if you're walking down the street sometime
And spot some hollow ancient eyes,
Please don't just pass 'em by and stare
As if you didn't care. Say, "Hello in there. Hello.”

Darker still was “Sam Stone,” about the Vietnam vet who came home to what we now know was depression and probably some PTSD too. But in 1971 Sam was just a desperate man who didn’t know where he had gone or how he had arrived where he did.

It’s a breathtaking line — almost literally: “There's a hole in daddy's arm where all the money goes.” If there has ever been a more direct, skeletal statement about one of humanity’s most fraught propositions — that despite our best efforts there are lives that simply cannot be healed — I’ve never heard it.

On his last album, The Tree of Forgiveness, there is a song, “Summer’s End,” which seems to rue how quickly life passes — another sentiment anybody can understand — but the arrestingly sad video jars our sensibilities: It makes clear that the sentiment does not apply only to old people. I suspect it was not intentional, but “Sam Stone” and “Summer’s End” seem almost like bookends to Prine’s young characters, regular people, ravaged by drugs and despair and life’s bad breaks. Go find the video on YouTube, and bring the tissues.

While sadness plays a role in any songwriter’s harvest, it was hardly the sum total of Prine’s life’s work. How could it be for a man who wrote a tune called “It’s a Mean Ol’ Goofy World,” or a chorus that begins “Fish and whistle, whistle and fish. Eat everything that they put on your dish”? He wasn’t immune to sentiment, either, but few others could pull off a song about their child called “Daddy’s Little Pumpkin” without sentiment curdling into sentimentality.

If you write stories you’re inevitably going to trade in sadness, but Prine always conveyed something beyond the stories. His most profound gift was to express feelings in compact, universal phrases. The title girl in “Donald and Lydia” “felt just like Sunday on Saturday afternoon” — a feeling that just about every person not only understands but actually feels, viscerally. Even those of us in strong relationships can feel the isolation in “Angel From Montgomery,” when the narrator realizes she “ain’t done nothin’ since I woke up today,” and then looks at her husband, wondering, “How the hell can a person go to work in the morning, and come in the evening, and have nothing to say?”

Prine wasn’t all about feeling what was just beyond our grasp, of course. He wrote about situations from the gently amusing to the ludicrous, as in “Dear Abby,” who answers every plea from a reader with the same message: “Bewildered, Bewildered, you have no complaint, You are what you are, and you ain't what you ain't. So listen up, Buster, and listen up good, Stop wishing for bad luck and knocking on wood. (Signed, Dear Abby).”

His ability to turn a clever phrase was certainly among his most endearing qualities. As he once noted, the best songs let listeners in on the joke, as he did in “Spanish Pipedream”:

Well, I sat there at the table and I acted real naive
For I knew that topless lady had something up her sleeve

Prine was often funny, but the glimmer we could almost hear in his eye implied that if he was capable of offense, meanness was beyond him. Of the former, perhaps not everyone appreciated Prine’s whimsical, Dylanesque speculation on what Jesus did in his 18 so-called missing years:

Jesus was a good guy he didn't need this shit
So he took a pill with a bag of peanuts and
A Coca-Cola and he swallowed it.
He discovered the Beatles
And he recorded with the Stones
Once he even opened up a three-way package
In Southern California for old George Jones

Of all of Prine’s remarkable qualities as a songwriter, though, I think I appreciate most of all his ability to convey depth and emotion without losing a sense of sweetness and humanity. Nowhere is this more vivid for me than in “All the Best,” a lovely lullaby written upon his second divorce. The song has a lot of typical Prine wordplay — “Say you drive a Chevy, Say you drive a Ford, Say you drive around the town ’til you just get bored.” — and it’s clear that he still feels fondly toward his ex-wife. But the shot upside the head is the inclusion of “I guess,” in the chorus: “I guess I wish you all the best.” In just two words he conveys not only an entire lifetime of emotion, but a universal one as well — who doesn’t understand the ambivalence in wishing happiness to a former love?

There are people who feel lukewarm about Bob Dylan, or who just don’t like him. But I’ve never heard a single person say, “Nah, I don’t care much for John Prine.” I think that’s because, in addition to Prine’s raw skill, he was a genuinely humble and likable person. He co-wrote dozens of songs; he mentored younger songwriters; his presentation was unfailingly amused and affable, even after cancer treatments left him compromised both physically and vocally. His songs offered advice and led listeners to conclusions, but he didn’t take pity on his characters or on his fans, and he didn’t preach. He treated others, both fictional and nonfictional, with respect.

Prine gave few interviews, preferring to let his songs speak for him. I could quote three dozen more, but in the end there is nothing to do for his devotees, and those new to his music, but listen, to marvel at the inspiring humility that wrapped his outsized talents.

John Prine’s life was not without trials, but it was warm and thoughtful and well lived. His songs are deceptively simple, and they are filled with an unmistakable humanity. What gifts he has left us.

Go, and listen.

how to “get into vinyl”

A Turntable Primer — For My Younger Friends

Rega RP-1, Limited Queen edition, $799

Rega RP-1, Limited Queen edition, $799

Continuum Audio Labs Caliburn turntable, $90,000.

Continuum Audio Labs Caliburn turntable, $90,000.

This is an introduction to the insane world of vinyl. If you want to “get into vinyl,” these are the basics. Fair warning: this is more complicated than iTunes or Spotify, and you can’t put it in your pocket. Then again, there’s more to discover in vinyl, and iTunes and Spotify, if they ever were, are no longer the new thing. For that, you’ll have to turn to something … old.

Beyond amplification and speakers, there are two essential components to vinyl playback. Let’s call them Side A — vinyl LPs — and Side B — a turntable on which to play the LPs you acquire. I’ll also discuss briefly (Side C?) the other components you’ll need to make actual sound. Let’s start with…

Side A: LPs

If you take nothing else from this essay, the most important thing to remember is that LPs were NEVER called “vinyls” back in the day (literally never — I never heard the word “vinyls” until about 2015). So, please, spare us old guys from early coronary episodes. The plural of “vinyl” is “vinyl,” as in, “I bought some great vinyl yesterday.” If a plural makes you feel better, you can say, “I just bought some records yesterday.” Thank you.

Where were we? Right.

The long-playing record is an inherently fragile medium, made primarily of relatively soft petroleum compounds. In practicality, that means that vinyl scratches easily, and foreign objects (dust) on an LP can essentially be cauterized onto the surface by a tiny object (the needle, or “stylus”) traveling quickly through the grooves, creating momentary temperatures that can exceed 300°F. (You can’t feel it because that’s what “momentary” means.)

Any new LP you buy should be flat for the most part, though few are absolutely flat, and a wide, smooth wave is preferable to a sharp warp, which is hard for a stylus to track. If you buy new vinyl that’s not flat, exchange or return it.

LP grooves, magnified

LP grooves, magnified

New LPs are cool, but new LPs aren’t the real reason to get into vinyl. The real shit is the millions of cheapo used records all over the place, many of which won’t ever be available in any other format. From 1950 to 2000, consumers in the US alone bought over 12 billion (yes, billion) LPs. Only a small percentage of that total is both rare and desirable — the combination that makes something valuable — so most records are worth little more than a few dollars.

You want to check out opera? There are dozens of operas in hundreds of pressings often available for a few dollars per disk. What about Delta blues? There’s 1960s country, surf, Eighties electronica, the roots of hip-hop, three dozen different versions of Beethoven’s Ninth, early classic Count Basie, and 500 other genres if you’re a music junkie. Unless your great-grandfather’s last name was Drumpf, used LPs are gonna be your most economical route.

Generally speaking, you can buy used LPs two ways. The first is online, and the best places are eBay and a rabbit’s warren called Discogs — an Internet clearinghouse for all kinds of 12-inch wax. The crazy-making thing about Discogs is that it’s like a musty basement with four thousand rooms, the kind of shady but fascinating property you always suspected lurked under Hogwarts or Downton Abbey.

There are deals for those persistent and patient enough to seek them out, and even more for the adventure-seekers willing to buy something just because it has a cool cover or you want to discover a genre nobody else likes. (Lounge music from the 1950s is actually pretty rich.)

An original mono pressing of Hank Mobley's self-titled album recently sold on eBay, in mint condition, for $7600.

An original mono pressing of Hank Mobley's self-titled album recently sold on eBay, in mint condition, for $7600.

The upside of eBay and Discogs is supply, especially of specific titles. If you’re looking for something less common — original Blue Note jazz LPs, REM’s original “Radio Free Europe” single, British Beatles pressings with original posters, original RCA and Mercury classical titles, various “audiophile” issues — those sites are godsends. It’s unusual that a title doesn’t pop up there at some point, so if you “follow” a search and have notifications sent to your in-box, you’ll probably track down those grail items sooner or later, as I did many years ago with an original “Stereo Records” pressing of Art Pepper Meets the Rhythm Section, one of my all-time favorite jazz LPs.

The downside of eBay and Discogs is that there are fewer and fewer bargains. I paid $5 in the 1990s for a whole lot of records that fetch over $100 today, because people had no idea what they were worth. Now there’s the Internet, and almost everybody knows what they have.

These days the real fun, as it always was, is haunting the little record stores in the middle of nowhere, prowling record fairs with a half-million records to while away a rainy Saturday, garage and estate sales, and other catch-as-catch-can sites. At those spots, obviously, you’re more likely to discover water-warped Don Ho and Jefferson Starship dreck for which paying a dollar is paying a dollar too much. But once in a while you’ll find a great lot of 1960s jazz (original pressings or not), early Rolling Stones and Little Feat disks that weren’t used to roll joints (“blunts,” you call them these days), or a dozen weird Yma Sumac titles (weird and amazing shit — seriously, Google her). If you keep your cool you can walk off, nonchalantly, with a weekend’s listening adventure for a lousy $20.

If you’re gonna think about buying an LP, as with all collectibles, condition is everything. It’s pretty easy to “listen through” minor pops, but serious noise is a problem for most people. So you gotta inspect the goods.

In general, your fingers should never touch the LP surface that plays. Tilt the LP out of the jacket so the edge slides into the slot between thumb and forefinger, and use the pad of your middle finger to “catch” the spindle hole, while the rim rests against your bent thumb. Voila, no body oil or dust on the LP surface — that stuff leads nowhere good.

However, when inspecting a used LP, you might run your fingernail lightly over a scratch. If you can feel it, that’s a virtual guarantee that you’ll hear it. Unless it’s something you really want, pass. If you’re buying from a reputable seller, you should get a guarantee on condition, so if something is listed as “Mint-minus” or “Very Good-plus,” and it’s really just a snap-crackle-and-pop fiesta, you should return it if you paid real money. Needless to say, garage sales don’t work that way.

If you get deeper into collecting, you’ll want to invest in a record-cleaning machine eventually. You can get something really basic for less than $100, and, to answer your question, yes, it’s worth it. The good models with powered turntables and vacuums start at about $500, and there are even ultrasonic cleaners that run into the many thousands. People swear by ’em, but if you’re even curious about that kind of thing, you’re probably way past the rational bounds of this basic guide.

Mostly, though, you should get into this because you love music and you want to discover really cool stuff you wouldn’t otherwise find. Forget the stuff that’s on CD that won’t ever make it to iTunes. There are literally tens of thousands of LPs that will never see a more recent medium. You’ll buy some duds — obviously — but go out there and explore. It’s a riot.

So, if you have friends with vinyl collections, you may have already inferred everything I described above. But the more intimidating element may be …

Side B: The turntable

First, let’s be clear about what a turntable does. A turntable has only two basic jobs. It should spin at a constant speed, and it should isolate the stylus/vinyl communion from extraneous vibrations. (The stylus vibrates in the groove. It does not want other vibrations interfering, because that messes up the sound. Right?)

Technics direct-drive turntable. You can't see the motor under the platter.

Technics direct-drive turntable. You can't see the motor under the platter.

For all practical purposes, there are two types of turntables. The first is “direct-drive,” in which a motor directly under the platter drives a spindle attached at the center to the platter on which the LP sits. The second type is “belt-drive,” in which a motor, isolated in some way from the platter, turns a belt that wraps around the edge of the platter, or sometimes on a smaller disk attached underneath the platter.

Music Hall 9.1 turntable. Note the pulley and belt on the left corner.

Music Hall 9.1 turntable. Note the pulley and belt on the left corner.

Neither type of drive system is “correct.” On the lower end of the pricing scale, direct-drive tables tend to have more reliable speed stability, which contributes to music’s continuity. But direct-drive tables also transmit some of the vibration of the motor to the platter, and that often muddies the sound. I tend to favor belt-drive turntables, but reasonable people can and do disagree. This whole discussion, however, is not likely to occupy any brain space for the first-time turntable buyer.

There are several sources of good, basic turntables out there. Considering a used table could get you a great deal, but because much of the business of a turntable involves moving parts, I advise people to be careful when buying a used turntable. That is not to say it’s not possible to get a good one — just that older turntables in particular can be dicey.

If you want to investigate the used market, I’d advise looking at three sources. First is the local record shop or electronics repair outfit. Many of those places offer guarantees, but be sure you know what the “guarantee” means. If a shop says, “Exchange only,” and you bought the only $200 turntable they have, and it isn’t what you want, you could find yourself with a $200 credit toward nothing useful to you. Find out what turntables they have, and take the brands and model numbers home to do some actual research before firing up the Venmo.

Online there are two reputable clearinghouses for used audio equipment. USAudioMart (and its sister site, CanuckAudioMart) is sort-of homegrown, with basic features and layout. Still, it tends to be haunted by real audio nuts, so most of the products are in good-to-excellent condition and fairly priced. You’ll find turntables from a few hundred to many thousands of dollars. You won’t find a whole lot in the $200–$300 range, but they come up from time to time. If you do find one in your price range, be sure to do your research before jumping on something. And be sure to pay with PayPal, or another service that guarantees your purchase and will refund your money if you run into an unscrupulous seller or a turntable that arrives DOA.

Bigger and slicker is Audiogon — same concept but, well, bigger and slicker. There are more items for sale at Audiogon, and because sellers pay a fee (they don’t on USAudioMart), you may feel like it’s a little safer. Still, same advice: Be careful, and don’t hand your money over to anybody without some assurance that you’re protected if a transaction goes south.

Finally, Craig’s List is a pretty solid place to buy a turntable; I bought one for my daughter from a nice guy in NoVa who was moving to California. Advantage: They’re close, and you can look at the product before you buy. Disadvantage: No guarantees. Also, it’s Craig’s List, so, y’know.

For used turntables, I’d recommend the same models that I’m going to list as new below. If the table is less than two or three years old, it’s probably in good condition, but since the market is hot, you’ll probably have a good deal if you get more than about a third off of the original price. Anything at 50% off or better is worth snagging if it’s a model you want.

In order of price (new models only), here are a bunch of really good turntables by reputable companies. These companies’ other models are also well made and reputable. As models ascend in price, they generally feature better suspension (usually the feet) for isolation, stronger motors for better speed control, and platters and tonearms made of better materials. As I said, any of these models would also be bargains in the used department. I’m linking to many of them at Music Direct, a Chicago vendor whom I know. They are reliable and reputable.

U-Turn Orbit

U-Turn Orbit

Pro-ject Debut III

Pro-ject Debut III

U-Turn Orbit
https://uturnaudio.com/products/orbit-basic-turntable
The U-Turn is the probably the cheapest model that I’d advise somebody to consider. (I know there are $99 turntables out there. I’d strongly advise you to save up for something better.) The U-Turn is $249 with the phono preamp built in. The models listed below are better, but if you want to spend the least you can and still get a nice unit, this is a good choice. Other U-Turn models ascend in cost and seem fairly priced as well. There are very few used U-Turns available on eBay, which is usually a sign of owner satisfaction. If you poke around eBay more, be sure you know whether any given unit includes the preamp, for pricing purposes — and because you'll need a phono preamp. (See below.)

Pro-ject Debut III
https://www.musicdirect.com/turntables/Pro-Ject-Debut-III-Turntable-Bundle
This is a very attractive deal at $299 (originally $465) — especially since it has a fine cartridge pre-installed. I’m not sure you can do better, even used. These are new units — I assume Pro-ject is introducing a newer model and looking to clear old stock — and I don’t know how long the deal will last.

Rega P1, successor to the Planar 1 and almost identical-looking

Rega P1, successor to the Planar 1 and almost identical-looking

Pro-ject RPM-1, available in other colors too

Pro-ject RPM-1, available in other colors too

Rega Planar 1
https://www.musicdirect.com/turntables/Rega-Planar-1-Turntable-Black-DEMO
This is the turntable I bought used for my daughter (I paid $300), and it’s a great entry-level table for $475 — let alone the open box deal at $379. I assume they have only one. Move quickly if you can swing it, and be sure to account for the cartridge and phono preamp if you need them too.

Pro-ject RPM-1
https://www.musicdirect.com/turntables/pro-ject-rpm-1-carbon-turntable
Super-dope looking table from a great Swiss manufacturer, $499. Yes, it comes in colors other than red.

In truth, as long as it’s in good condition, you could buy almost anything by Rega, Music Hall, Pro-Ject, or VPI and be confident it’s a great turntable. For older models, Rega (again), VPI (a bit more expensive), Yamaha, and Denon (the latter two are almost always direct-drive) are highly regarded.

Side C: Other considerations

Cartridge

4E-GOLD1PC-2.jpg

Your turntable needs a cartridge – the block that sits at the end of the tonearm and carries the stylus (the needle) through the groove. Cartridges range in price from about $30 to many thousands of dollars for hand-wound, rare-materials Japanese jewels. Each one sounds different, but unless you’re interested in comparing them, I think you can safely assume that Grado, Ortofon, Rega, Sumiko, Music Hall, and Denon make universally fine cartridges. If you buy a used turntable, and it’s not more than $1000, the cartridge is likely included. (People who buy expensive equipment usually like to select their own components.) Obviously, be sure you know what you’re getting before you buy.

Cartridges are incredibly fickle about installation, and these days many turntables come with cartridges pre-installed. Professional installation means your vinyl will sound better, and the cartridge will wear less quickly too. I recommend finding somebody with proper tools and some experience to install yours if the turntable doesn’t come with one.

Phono preamps

Because it’s not really possible to stamp an accurate musical analog (“analog” — got it?) onto a piece of plastic, a phono cartridge “reads” the grooves, which vibrates some tiny magnets in its body, and thereby the cartridge outputs a very faint, very fucked-up electrical signal. A phono preamp takes that faint, fucked-up signal, corrects it, and amplifies it to a normal level (a “line level”) before sending it on to a regular “line” preamplifer. For this reason, a phono preamp is not optional.

Music Hall Mini phono preamp

Music Hall Mini phono preamp

In the old days, every preamplifier, integrated amplifier, or receiver had a phono preamp built in. These days, some do. If yours does, you don’t need a separate one. (You don’t even want a separate one, because that would double-correct the faint, fucked-up signal, making it so loud it will overload your preamp. And it will also sound fucked-up, in the reverse direction.)

The only stand-alone phono preamp ever produced by McIntosh, current model, $2000

The only stand-alone phono preamp ever produced by McIntosh, current model, $2000

These days, some turntables have phono preamps built in. That not only solves the problem, but it eliminates a box and an extra set of cables. The U-Turn turntables (above) can be purchased with one attached. Same for some of the newer models from other manufacturers.

A VPI turntable with a small phono preamp built in, just to the right of the tonearm

A VPI turntable with a small phono preamp built in, just to the right of the tonearm

If yours doesn’t have one attached, and your preamp/amp/receiver doesn’t have a phono input with a built-in phono preamp, you could basically buy anything by Pro-ject, Music Hall, NAD, Cambridge Audio, or Rega sight-unseen and be confident it'll work well. (The last two will probably be a bit more expensive than the others.) Expect to spend about $100 for an entry-level model, maybe a little less if you can find one used. (Since these are electronics with no moving parts, used equipment should generally be safe.) Of course, if you absolutely must unload a spare $5000, you can find a bunch of exotic, high-performance phono preamps at or around that price too. Go wild.

By the way, there are lots of cheapo Chinese-made phono preamps on eBay, but I don't know anything about them and assume their warranties are meager, if they have warranties at all.

Speakers

You need an amplifier between the line preamp and your speakers — again, not optional. However, many of the self-amplified speakers these days (i.e., speakers with line preamps and amplifiers built in) allow you to cut down on both cost and the number of boxes by getting “active” instead of “passive” (i.e., unamplified) speakers.

For all-in-ones, I highly recommend anything by Audioengine. If you want to keep it simple just get the most expensive model you can afford. I have a pair of A-2 attached to my kids' desktop computer, and they sound great. The A-2+ (newer model) starts at $249, but you can get 20% off by shopping their refurbished models, which are commonly available, and they have a few 20% off sales each year. If you want a single box, their B-2 bluetooth speaker is supposed to be great, but I've never heard it, and it's almost a sure bet that the A-2+ will be better if you can accommodate them. Of course, the A-2+ doesn't have Bluetooth, in case that matters. http://audioengineusa.com/Store/refurbished

There are other models. If you want something more ambitious I’m happy to talk, but unless you have more than $1000 to spend on all of this, I can't imagine why you'd go for something else when the AE’s are so good for the money.

I’m gonna stop there. Obviously no one piece can cover this entire topic; millions of pages have been filled by hundreds of gallons of ink on these topics. But if you have questions, feel free to email directly and I’ll do my best to suggest something reasonable: bravermanp@gmail.com

Hope this is helpful!

A Song You’d Love Played at Your Wedding

30-day Challenge, Day 14

George Gershwin: Someone to Watch Over Me (this version: Willie Nelson)

They don't come much more classic than this Gershwin chestnut. While we didn't go in for most of the "wedding industry" madness, we had to have a song, and we asked our friend Paul Cebar to work this up, which he did eagerly.

I usually have in mind Ella Fitzgerald when I think of this song, but everybody has done it, and this is as beautiful a version as any, complete with poignant solo work. Willie's album on which it first appeared, Stardust, is an absolute must for lovers of great songs, and testifies to Willie Nelson's incredible range.

I think we've done a fair amount of watching over each other — though I've certainly needed more watching over. Just a beautiful song, and a beautiful sentiment, and a reminder of my luck whenever I hear it.

A Song You Like from the 1970s

30-day Challenge, Day 13

Glen Campbell: Rhinestone Cowboy

It's tempting to overlook or dismiss Glen Campbell. Country music, after all, is uncool to everybody except those in the South and Southwest, and hipsters who listen mostly ironically. That's too bad, because country music is like every other genre: Most of the stuff on the radio is commercialized and inauthentic, warmed over by a cynical music industry scraping to sell every download it can. It's as if a person listened only to Kesha and declared hip-hop stupid. (Oh, wait, people do that all the time. I digress.)

Glen Campbell shot to mainstream fame during a brief national fascination with country music in 1974–75. (Bet you young whippersnappers don't remember that handsome chapter in our nation’s cultural history.) I remember listening to "Rhinestone Cowboy" in the car with my dad, who was definitely wearing cowboy boots and maybe even a bandanna — after he bought a horse with a friend. Seriously.

This tune remains a guilty pleasure of mine to this day, because it’s way cheesier than most of Campbell's work. However, have a listen to a tune like "Galveston," which he co-wrote with the amazing Jimmy Webb, for an example of what Glen Campbell could do. He was a fascinating guy and an incredible musician; if you doubt it check out his guitar work, on his signature "Gentle on My Mind" (with the obviously reverent Roy Clark and Willie Nelson!), or some jaw-dropping electric work on "Galveston," or on the William Tell Overture, which he remembers as the theme song from “The Lone Ranger,” or on the theme from "True Grit," which he says is the only country tune ever nominated for an Oscar. Sure, the audiences are a pretty white-bread, but it's country from the 70s. The point is: The guy could play.

Today Campbell is suffering the final stages of Alzheimer's Disease; he has little time left. But he was the star a couple of years ago of I'll Be Me, a documentary of his final tour despite his cruel condition. The movie left me limp for days, partly because Alzheimer's Disease is a close relative of Lewy Body Dementia — the kind Robin Williams had, and the condition that's midway through ravaging my own mother. Besides the trailer for the movie, I really urge you to check out Campbell's final tune, "I'm Not Gonna Miss You." It's a heartbreaker if ever I've heard one.

A Song from Your Preteen Years

30-day Challenge, Day 12

America: Sister Golden Hair

I can't tell you what I love about this song, save for the bouncy tempo and jangly sound. I begged my parents to take me to America when they played with Ravinia (the Chicago Symphony's summer home, like Tanglewood or Wolf Trap) in the summer before sixth grade. Only years later did I learn that America comprised two British guys. I'm struck on the video by how positively 1970s those guys look. But today's hipsters from today will also look ridiculously dated in 20 years; that's just the way the past works.

Other great tunes from those years included timeless gems like "Rikki Don't Lose That Number" and idiotic ditties like "Shaving Cream." I was in fourth grade. Cut me some slack.

A Song You Never Get Tired Of

30-Day Challenge, Day 11

Day 11: Jennifer Save Me

Originally written by Golden Smog (which featured the Jayhawks' Gary Louris, after all), the song loses its psychedelic swirl in this acoustic performance, which I think is all to the better, the song's longing and world-weariness arising all the more urgently. This is Louris at his best: a heart-rending melody wedded perfectly to feelings that every listener can relate to.

A Song That Makes You Happy

30-day Challenge, Day 9

Fountains of Wayne: Hey Julie

You might know Fountains of Wayne, the slyest, cleverest band ever, from their hit "Stacy’s Mom," a fantastic paean to the entire MILF phenomenon. (I heard the expression "MILF" for the first time when I was well into my 20s. It wasn't even a thing when I was a kid.)

"Stacy’s Mom," however, is just one amazing tune; their entire catalog is worth checking for its pantheon of characters ranging from a guy trying to evade the low-lifes trying to collect on a debt to the woman who can’t go in the kitchen at the summer house because “she’s been afraid of the Cusinart since 1977." If you like snark, you'll love Fountains of Wayne.

At first listen, "Hey Julie" is a two-and-a-half minute major-key jangle about a tired guy at a cubicle job with a terrible boss. The guy returns home to somebody who loves him — "I’d never make it through without you around" — reason enough for a song to make one happy. But it really, really makes me happy because the backstory is that Julie is the poor guy’s dog, and something about that is just that much cooler.