The Sound of Rock 'N' Rolla

I understand Neil Young’s desire for Pono to catch on, and why Team Tidal launched a lossless streaming service. On the studio quality speakers that they heard their music on when recording it, sonic nuances are present that matter to them—details that get lost as file information is knocked out in the conversion to mp3s. But the truth is that most of us have always listened to music on systems that can’t access those details. I certainly have.

People Say DJs Talk About Vinyl

The People Say Project examines the intersection of commerce and culture in New Orleans, and we've been fortunate to have PSP's Brian Boyles contribute the occasional story (on Lil' Boosie and Wynton Marsalis). Earlier this summer, the project hosted its third annual Backyard Cut Session--a neighborhood party with DJs including Boyles spinning their vinyl favorites.

Jack White Fragile?

My review of Jack White’s show Tuesday at the Saenger is online at The New Orleans Advocate. An additional thought crystalized when photographer Chelsea Dunn sent me some of her photos from the show. It seemed apropos that the stage was well lit, but in a way that provided little illumination. It’s hard to imagine that anybody felt any closer to him by the end of the set, and step back from the music and the show felt very controlling.

The Special Men Keep it Special

[Updated] Jimmy Horn loves vinyl. “I’m a voracious eater of music,” he says. “I don’t collect it; I devour it. I consume it and shit it out. I have some records that I’ve bought 10 copies of. Some I don’t have any more but they’re burned in my memory.” It’s not surprising then, that his band - King James and The Special Men - are releasing their music as 45 rpm singles.

Sundog in the Land of Never

Never Records opened with little fanfare, and it looked like any indie record shop. Big, flashy gig posters for bands whose names sound familiar lined the walls, and there were snapshots of the owner (you assume) with musicians who are famous to him, if not to you. There were half-filled bins of albums in plastic sleeves, and the guy behind the counter looked far more interested in what he was doing than running a store, casually throwing paper near but not in a garbage can. 

Dayna Kurtz in the Moment

During her set this year at Jazz Fest, Dayna Kurtz had a moment. It was the subtle difference between a band simply playing songs well and a band completely in the moment, but it was there. Writer John Swenson heard it in Kurtz's cover of Eddie Bo's "So Glad." I heard it about three songs in when John Gros joined the band on the Hammond B-3. One perfectly timed sweep across the keyboard fed the moment perfectly to Kurtz and she seized it.

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