Tag Archives: record store day

The Flaming Lips’ Soft Bulletin Companion On Record Store Day Edition Silver Vinyl

One of my most wanted albums for this last Record Store Day was The Soft Bulletin Companion by The Flaming Lips. This is a first-time vinyl pressing of a recording that was only issued on home-made CD-Rs by the band to industry insiders back around the time of the release of their landmark album The Soft Bulletin.  I was worried I wouldn’t be able to get a copy but it did turn out to be quite readily available. This is good news for you, Dear Readers, in case you decide to get this sweet compilation. 

A few things on The Soft Bulletin Companion have been released before on the DVD Audio Disc format, as bonus outtakes on the 5.1 surround sound version of The Soft Bulletin (“1000 Ft. Hands,” “The Captain” and “Satellite Of You.”).

As much as I love that DVD Audio Disc, it is so great to finally have “The Captain” on vinyl. I fell in love with this song again a couple of years ago when the band issued a new video for it. It is one of those epic Flaming Lips songs that gets under your skin and into the deep recesses of your brain after a few listens. It is an earworm in the best sense of the word, especially the last half of the song. 

There is some amazing material on The Soft Bulletin Companion such as the Stereo mix of “Okay, I Admit That I Really Don’t Understand” from Zaireeka, an album that was issued on four separate channels (one on each of four discs) designed to be played on four different stereos simultaneously. So for some who have not heard the Stereo mixes at all (there are versions circulating around the web if you poke around a bit), this has a haunting presence about it. The drum and bass hook is killer tied together by some wonderfully eerie vocal treatments this side of Radiohead around the time of OK Computer

My copy of The Soft Bulletin Companion sounds generally excellent even though it is pressed on spiffy looking silver vinyl. The only time I heard any noise was in the run out groove at the end of the record on one side. I do have a friend who had a surface noise problem with one side of his copy of the album so I’m hoping his was just a one-off anomaly. 

Good news for CD fans: this week The Soft Bulletin Companion is also being issued on regular compact disc, bringing the release almost full circle to its roots.  The album hasn’t appeared in full on streaming services but there is one preview track (“Satellite of You”) on each of them in high resolution form. I suspect those will go live once the CD is released so as soon as it does I’ll be sure to update this review with those links.

The Soft Bulletin Companion is a fun album and very much a heady side show for appreciating The Soft Bulletin album. And keep in mind that there was a second volume of The Soft Bulletin Companion on CD-R (I have a copy of that one!) so maybe next year we’ll get that issued on vinyl. Fingers crossed.

“Race For The Prize” (from the original album The Soft Bulletin)

Original Resource is Audiophile Review

Why Are People Collecting Tomorrow’s Lowrider Rarities Today Via Colemine Records’ Soul Slabs?

There is a street level phenomenon that seems to be happening in real time around us: young musicians across the nation are crafting a new era of 21st Century soul which pay homage to the past while looking ahead to the future.  I first caught wind of this when Leon Bridges’ debut actually got a big push from its major label Sony Music (click here for my review of that album). A bit earlier (for me at least) Toro Y Moi hinted at it a bit too, mixing up vintage sounds in his grooves. And I’ve been tickled to see Bruno Mars & Anderson .Paak’s Silk Sonic project capturing peoples imaginations and topping the charts (I’m late to the party on .Paak, admittedly). 

The point is:  there is no doubt a classic soul renaissance going on for sure.  Recently, I’ve been learning about bands across the country who are mining rich vintage soul and R ’n B sounds, issuing singles — and by that I mean 45 RPM vinyl records — some of which have become almost instant collector’s items.

My first real “ah ha” moment in that regard came earlier this year when the midwestern label Colemine Records put out one of my favorite albums of the year so far called Brighter Days Ahead (click here for my review). There I was more or less gobsmacked by the barrage of melodic, heartfelt music which mostly sounded like it was recorded between 1967 and 1973.  Rich instrumental hip shaker grooves, pop soul, even some Gospel-tinged songs that will have you rejoicing in even if you are not particularly religious. 

Now when I started digging into this fine label I had to reign in my inner impulsive record collector self to start instantly snapping up some of those original 45 RPM singles of my favorite songs from the compilation. Knowing that I have literally thousands of 45s which I don’t get to play enough as it is — I let my wiser reality-based, apartment-dwelling adult-self remind me I have no room to start adding in more singles. That is, until I start purging some of the old stuff I don’t necessarily need to physically own anymore (which I do plan to do at some point soon). 

Thankfully, I noticed that Colemine Records has a series of compilation albums called Soul Slabs, pulling together many of these A-sides and perhaps some B-sides too of the multitude of bands they work with.  On Record Store Day this year one of the more in-demand albums was indeed their collection Soul Slabs Vol. 3, issued on translucent red vinyl. I got the last copy Amoeba Music had! And I’m mostly not disappointed, in fact, I’m ultimately happy. 

I did get a wee bit of a surprise when I put this grand new compilation of already-rare singles from the label on my turntable to discover that it included quite a number of duplicated tracks which appeared on the aforementioned Brighter Days Ahead.  In one of my Record Store Day posts on social media I mentioned this and the label kindly explained in one threat that Brighter Days Ahead was a special one-off release celebrating a sense of hope they found amidst the Covid pandemic from their artists and the music that was planned for physical release in 2020 but never got beyond a digital distribution.

So, while Soul Slabs Vol. 3 does duplicate some tracks from that other compilation, it is its own thing and I take solace knowing that many of my favorite tracks are reaching a broader audience.

Some of my favorites of the new (to me) tracks include the quirky-funky instrumental by Black Market Brass called “Omega” which feels like a lost outtake from Captain Beefheart’s Shiny Beast Bat Chain Puller by way of some of those wonderful moody instrumental pieces Terry Kath-era Chicago peppered their early albums with. “Slipshot” by Jungle Fire is another groovy instrumental and Aaron Frazer’s “Over You” a standout driving soul driver (note to self: pick up a copy of his album).  

Bubaza opens the album with a kickin’ Latin-tinged soul groover appropriately titled “Ice Breaker.” Ikebe Shakedown’s “Unqualified” is driving horn-driven soul rocker with a nifty reverbed surf-guitar twist.

But then there are those other tracks I first heard on the Brighter Days Ahead collection, some of which could be modern day classic lowrider jams (and might well be depending on where you live) such as The Resonaires’ “Standing With You” and one of my all time favorites “What’s His Name” by Thee Sinseers.  The Harlem Gospel Traveler’s “Nothing But His Love” could have been a hit on AM radio back in the early ‘70s when spiritually-themed songs were flooding the airwaves with hopeful positivity in the face of Vietnam War horrors and post-Woodstock bleakness.

Soul Slabs Vol. 3 is still available at some stores and you can certainly get black vinyl copies from the label (click here) or on Amazon. And now more than ever I need to get Volumes 1 and 2 of this series!   So much great music coming from this great indie label to watch. 

Original Resource is Audiophile Review

A new pop-up record shop is giving away free vinyl in London

All of the records on offer will be covered to hide the title and musician.

A pop-up record shop, called SMARTY Disc-overy Store, is opening in London this July.

Read more: The official list of Record Store Day 2021 releases

Coinciding with Record Store Day’s ‘drop day’ on the 17th July, the shop will open for a single day on the 16th.

In a novel twist, all of the records on offer will be covered to hide the title and musician, with the shop hoping to help listeners “rediscover the joy of new music.”

Customers will also be able to take a single free vinyl record from the shop.

SMARTY Disc-overy Store will open on Friday 16th July from 11am — 7pm, at 19 Air Street, London, W1B 5AG.

Head here for more info.

Original Resource is The Vinyl Factory

Record Store Day Preview: Roy Hargrove & Mulgrew Miller’s In Harmony

We know the work of trumpeter Roy Hargrove and pianist Mulgrew Miller, who passed in 2018 and 2013, respectively, largely from their work as leaders and sidemen. Not often are we made privy to exceptional performances by past jazz masters in settings other than those for which they were typically known. But sometimes a golden thread remains long after the artist(s) has passed.

Culled from in-concert performances at Merkin Hall in New York City (January 15, 2006) and Lafayette College in Easton, Pennsylvania (September 11, 2007), In Harmony finds two jazz masters in brilliant form, in rare duo setting. The first posthumous Hargrove release since the trumpeter’s passing, the limited-edition, two-LP Record Store Day (7/17) gatefold album will be followed by release of its counterpart two-CD set. In Harmony includes liner notes by jazz journalist, Ted Panken, and remembrances from Sonny Rollins, Jon Batiste, Keyon Harrold, Christian McBride, Ambrose Akinmusire, Kenny Barron and others. The vinyl edition was mastered by Bernie Grundman and pressed at Record Technology Inc. (RTI), and sounds excellent: full, rich, and clear (on a Thorens/Ayre/DeVore Fidelity system).

Perhaps the greatest musician to surpass the greatly hyped “Young Lions” movement of the late 1980s, Mississippi-born Roy Hargrove was a trumpeter on par with Hubbard, Morgan, Marsalis and Faddis. He possessed a gorgeous tone, giant sound, startling technical ability, and tremendous lyricism. When not sidelined by drugs, Hargrove gave inspired performances from large concert halls to intimate jam sessions, as witnessed by this writer at Smalls Jazz Club in New York City. For all his gifts, Hargrove was a humble, lighthearted musician.

Mulgrew Miller’s persona looms large from his associations with Art Blakey and Tony Williams, as well as his solo recordings for Landmark, Novus, and MaxJazz. But even given Miller’s pedigree as a modern piano giant, I wasn’t prepared for the sheer, total mastery and breadth of his talent as revealed on this double LP set.  

In Harmony finds the two referring to the great jazz standards canon, from song choices to improvisational embellishments to spontaneous, yet seamlessly placed arranging details. While Hargrove could hang with the greats including Clifford Brown and Blue Mitchell, Miller’s depth is even more profound, his performances recalling not only such contemporary piano heroes as Hancock, Tyner, Hank Jones, Tommy Flanagan and Bill Evans, but he brings forth the spirit of stride piano masters Willie the Lion Smith and Earl Hines, as well as the effortless genius of Art Tatum, Oscar Peterson, and Erroll Garner, often bringing jazz history alive in the scope of one tune.

Though it’s unclear if disc one is from the earlier Lafayette College concert (2006) and disc two from Merkin Hall (2007), Hargrove sounds occasionally unsure during the first disc, his lines sometimes faltering or not entirely rock solid. Though Hargrove’s tone is true, his improvisations rapt and daring, there’s a note of apprehension. Here, Miller often acts as safety net, his empathy and brilliant accompanist skills bursting forth in vivid colors. Disc two presents a more level playing field, Hargrove’s mastery: tone, ideas, imagination and lyricism, confirmed. Miller only broadens his game, his performance sublime, life affirming.

“What Is This Thing Called Love?” opens disc one, Hargrove searching; Miller delivering beautiful, flowing diversions throughout. The pianist provides a captivating introduction to ballad, “This Is Always,” Hargrove following with gliding, textured tones. The duo’s reading of “I Remember Clifford” is languorous and lyrical. Things heat up slightly with a medium tempo, bossa nova version of Jobim’s “Triste,” followed by a sublime, serene reading of “Invitation,” Hargrove delivering graceful glissandos, scorching blasts of sound, and hard swing. Miller matches Hargrove with chunky syncopations and potent lyricism, his mastery of the 88s stunning and complete.

It’s hard to define exactly why, but Hargrove sounds more assured and polished on disc two, resulting in his blindingly swift, effortlessly coherent solo on “Never Let Me Go,” and his spit-fire combination of trills, wails, slides and general joyousness in Blue Mitchell’s Afro-Cuban workout, “Fungi Mama.” The duo tackles Monk’s “Monk’s Dream” and “Ruby, My Dear” with equal parts boldness, inventiveness, and easy grandeur. They perform as a tight ensemble, trading inspired fours throughout. The slow grooving “Blues For Mr. Hill” reveals Hargrove scalding with Armstrong-like blasts, gymnastic flights, and sassy, punchy notes.

In Harmony is a master class in jazz profundity, two masters locking wits and charms, their ample gifts in full force, their skills exchanged with warmth and empathy. If there’s a better retrospective release paying tribute to jazz greats lost, I don’t know it. 

When children of the year 2050 ask what jazz sounded like in the mid- ‘00s, drop this record on the platter and say nothing. Virtuosity speaks louder than words.

Original Resource is Audiophile Review

Why Do You Need The Zombies’ Oddities & Extras On Vinyl?

If you are a deep Zombies fan chances are you have the wonderful four CD box set called Zombie Heaven. At the time of its release this set was applauded by most as it was a very overdue collection for fans. Compiling  B-sides, A-sides, studio outtakes, demos and radio broadcasts all in one place for the first time, the set was pretty much an instant classic. And, it will remain so until the time when we get a version that is remastered or, better still, delivered to us in a higher resolution format than the simple compact disc (ie Blu-ray).

That said, I have been enjoying a number of the Record Store Day special editions which the band has been putting out over the years, mostly through the Varese Sarabande label. Generally these have been pretty good sounding affairs, likely sourced from digital masters as far as I can tell. And for the most part they sound like a bit of a step up from the CD in terms of fidelity.

Of course in the back of my mind I can’t help but wonder how these new LPs might sound if they were crafted from original master tapes…

But that is neither here nor there.  Coming back to earth from dreamland, on deck now for this review is the new single disc collection issued on Record Store Day called Oddities & Extras. This is a fine compilation including rare singles and songs that only appeared in the UK on certain albums back in the day. Previously it was included in a five disc boxed set called The Complete Studio Recordings

No doubt many of these tracks are on the Zombie Heaven boxed set. And if you are like me, and you have that, you may be wondering whether you need to own Oddities & Extras on vinyl. 

I think you do and here’s why: one of the downsides of the 70-plus minute capacity on a standard compact disc is that the music tends to blur after a while. This is especially true when you’re dealing with a barrage of two-minute pop songs such as crafted by the zombies especially in the early days. Don’t get me wrong, they are wonderful and essential to have if you’re a completist fan (as I am!). But as a listening experience, sometimes a more focused vinyl collection can be more immediate and rewarding. 

And this is where the new Record Store Day edition of Oddities & Extras comes in to play: as a single LP, it is a great listen with just enough songs to give you that dose of Zombies joy that you may need without playing all the obvious hits. Yet, its not too much!

Producer Andrew Sandoval has done a great job curating this collection and he provides detailed liner notes explaining why the songs included are significant and essential.  Some of my favorites here are “Just Out Of Reach” (which appeared on the soundtrack to the movie Bunny Lake Is Missing), 

Also, as somebody commented on one of the Facebook music forums, Oddities & Extras is remarkable because it plays end-to-end like a very strong Zombies album, not just a collection of cast off remainders. And there in lies the rub and the joy of being a Zombies fan… There is so much great material!

Also, I love the cover concept which playfully references the deleted alternate U.S. second cover of the group’s classic Odessey & Oracle

So should you buy it? I would… I did! And it will hold you on over until we get that all-analog or high quality Plangent Process restored version of all this archival material. 

Maybe someday will get an all analog Zombie Heaven box set on vinyl (done all analog like The Beatles inMono boxed set)

That indeed would be a little bit of heaven!

Original Resource is Audiophile Review

Chicago/The Blues/Today! from Craft/Vanguard RSD | Jazz Files

Every generation of music lovers should find a way to listen beyond their generation. If you fail to do the (enjoyable) listening work required to appreciate classical, blues, Brasilian, and other, more esoteric styles of [...]

Original Resource is Part-Time Audiophile

Record Store Day Triple Vinyl Treat: Chicago/The Blues/Today!

I’ve long known about (and been a fan of) the Harry Smith Anthology Of Folk Music from the early 1950s which is highly regarded as a major influence on thousands of musicians in the 1960s. Much of the music in that fabulous set was connective tissue pulling together musicians who emerged in the psychedelic movement — from The Jefferson Airplane, The Grateful Dead and Quicksilver to  Janis Joplin and many others.

What I somehow missed was that in 1966 Vanguard Records put out a kind of equivalent series of albums covering the Chicago electric blues scene, called Chicago/The Blues/Today! The original album series of three individual LPs have become sought after collectors items commanding significant dollars on websites like Discogs and Popsike. For Record Store Day, these individual albums have been neatly compiled into a handy triple-gatefold package.

The set was curated by musician, author, historian and producer Samuel Charters who brought numerous notable Midwestern blues artists together to record short sets showcasing the then-modern electric Chicago blues sound. The result was a batch of sizzling recordings including by Otis Rush, Junior Wells, Buddy Guy, Homesick James, Walter Horton, Otis Spann, Jimmy (aka James) Cotton and Willie Dixon. 

The album may have helped turn late-1960s and ‘70s stars onto these sounds but more importantly it likely helped bring some much needed notoriety to established American blues musicians who were being overshadowed by rising stars. 

Certainly, the British blues movement was already afoot by that time this album was released. The Rolling Stones recorded at Chess Studios in Chicago in 1964 and 1965 and John Mayall’s Bluesbreakers were already making waves with its shining star Eric Clapton that year as well.  The Lovin’ Spoonful was exploring its electrified jug-band folk-blues-rock out of New York and by 1965 The Butterfield Blues Band was already making waves with their first release on Elektra Records. 

So it is great that Vanguard issued this set bringing much deserved attention the music and these musicians. This is kind of an audio encyclopedia of blues form including now-classics such as “It Hurts Me Too,” “All Night Long,” “Rocket 88,” “Dust My Broom,” “I Can’t Quit You Baby” and many others. I’m still wrapping my head around all this music so no deep favorites have emerged although I really liked Otis Rush’s “Everything Going To Turn Out Alright” which feels pretty much like an instrumental version of “I Think Its Gonna Work Out Fine” (the first Grammy nominated hit by Ike & Tina Turner, later covered by Bruce Springsteen in concert in the 1970s)

This new edition features all-analog mastering from the original stereo tapes by Kevin Gray at Cohearent Audio, pressed on 180-gram black vinyl at MPO in Europe. The sound is terrific and the pressings are well centered and quiet.  The album includes the original album liner notes and cover designs of the original issue — each inner sleeve is effectively a reproduction of the original LP cover — and there is an updated essay from the 1999 CD edition. 

All in all, I really like Chicago/The Blues/Today!  If you missed it on Record Store Day, do try to pick up a copy as its a great addition to any basic blues collection.

Original Resource is Audiophile Review

Record Store Day Preview: Jazz Dispensary’s Dank D-Funk Blend, Vol. 2

I’ve written about the fine Jazz Dispensary sampler series from Craft Recordings in the past. These are thoughtfully curated collections of rare funky soul-jazz sides culled from the label archives of parent company Concord Music which controls the catalogs of Fantasy, Prestige, Milestone, Fania and many other labels. 

Why do you need to own these collections? Well as a budding collector of soul-jazz and groove jazz titles from the ‘60s and early ‘70s I can attest to several things:  

  1. These albums are often hard to find and if you do they can be pricey in decent condition
  2. If you do find them used, they are often in “well loved” to downright beat up and abused condition. These records were great party albums often played on average to low quality automatic record changers of the day, so people grooving and dancing to the tunes didn’t much think about taking care of their vinyl.  and… 
  3. Many of these albums are good but usually have one or two standout tracks which is what DJs tend to zero in on, those grooves with the killer beats and drum breaks and a combination of strong songs and good production vibes. 

So, the concept underlying Jazz Dispensary’s series is useful. It gives you the intrepid soul-jazz collector a chance to hear some of these great grooves in a form that makes for a fun party album in its own right, without breaking your bank for pricey rarities.  On this latest edition, guest curator Doyle Davis (of Grimey’s, a used records and books store in Nashville) offers up a second dose of his Dank D-Funk Blend

While the first edition focused on the Prestige Records vaults, The Dank D-Funk Blend, Vol. 2 taps into other labels in the company’s roster.

You’ll hear the Afro-Cuban beats of Ray Barretto’s peace love plea “Together,” Charles Earland’s fiery “Letha” and Leon Spencer groovy take on Marvin Gaye’s “Mercy Mercy Me.” Esther Marrow breaks out a funky “Things Ain’t Right.”

I really loved the title track of Pleasure’s 1977 LP Joyous, one of those groups I’ve never heard of before or even seen out in the wilds of crate digging.  Cal Tjader surprisingly good cover of The Rolling Stones’ “Gimme Shelter” gives way to  Pucho & The Latin Soul Brothers 1968 smoker “Heat!” 

There is even a solid Johnny “Guitar” Watson tune here from 1973 — “You’ve Got a Hard Head” — before he descended into the the disappointing DJM Records disco era.

All tracks on The Dank D-Funk Blend, Vol. 2 are reportedly mastered from their original analog tapes. The only one of these I already had in my collection is the Pucho track which sounds very comparable to my original pressing, with perhaps a bit more crisp detail on the high end. It is also mastered a bit more quietly than my original pressing so I had to turn up my amp a bit after switching albums. 

The Dank D-Funk Blend, Vol. 2 is pressed on surprisingly quiet and — happily —well centered orange-red swirl, fire-colored vinyl which was made at Memphis Record Pressing.  A limited edition of 3800 copies, The Dank D-Funk Blend, Vol. 2 is packaged in a quite stunning jacked featuring embossed artwork by Argentinian artist Mariano Peccinetti, who designed the previous volume’s cover.  

The Dank D-Funk Blend, Vol. 2 is a fun jam. Put it on your Record Store Day list and be sure to grab a copy if you can. 

Original Resource is Audiophile Review

Record Store Day Vinyl Preview: Harold Land’s Westward Bound!

Westward Bound! is a new release on the Reel-to-Real label being issued for Record Store Day later this week. The limited edition two-record set features under-appreciated saxophonist Harold Land leading a series of smoking jazz combos in live performances originally broadcast on KING-FM during the 1960’s in Seattle, Washington. 

Listening closely to the fire and intention on these recordings — made between 1962 and 1965 — you realize these weren’t just pick up groups behind Mr. Land. He had pulled together special assemblages which included the great Hampton Hawes on piano, Philly Joe Jones on drums as well as Monk and Buddy Montgomery (Wes’ brothers!). 

Still, I suspect some of you might be asking: Just who is this Harold Land?  From the official press release we learn:

“Born in Houston and raised in San Diego, Harold Land established himself as a jazz star with four EmArcy albums in the tenor chair of trumpeter Clifford Brown and drummer Max Roach’s celebrated ‘50s quintet. Based in Los Angeles from the mid-‘50s on, he worked fruitfully as a leader, recorded regularly with big band leader-arranger Gerald Wilson, and played behind such giants as Dinah Washington, Wes Montgomery, Thelonious Monk, Les McCann, and Hampton Hawes. In later years he forged fruitful alliances with trumpeter Blue Mitchell, vibraphonist Bobby Hutcherson, and the Timeless All Stars.”

If that is not enough then consider what Sonny Rollins – who replaced Land in the Brown-Roach combo – has to say about him (also from that news release): “Harold Land was one of the premier saxophonists of the time. He was one of the best… He was a great player, one of my favorites.”  

Going back to that fire I mentioned, I hear echoes of classic be bop forms here on Westward Bound!, with tastes of Dizzy Gillespie and Charlie Parker melded with that cool-West Coasting vibe ala Gerry Mulligan and Shorty Rogers. 

The title of Westward Bound! isn’t totally lost on me as Land had an album out in 1960 called Eastward Ho! featuring sessions in New York. These performances were recorded for broadcast on the radio live from the opposite coast at Seattle’s legendary Penthouse

Thankfully, the original tapes have been preserved nicely over the years and this new special edition was mastered by Kevin Gray at Cohearant Audio. These monaural recordings are remarkably full bodied with a nice balance to all the instruments yet also a good sense of room ambiance and three dimensionality. 

The vinyl pressings are excellent, dark, thick 180-gram vinyl, well centered and dead quiet which is important for a recording like this where there are moments of hushed quiet. There is a certain ambiance of the venue apparent on the recording which the LP captures nicely.  It is unsettling how small the crowd is there in the venue but the band plays its heart out, probably knowing they were being broadcast to a broader audience on the radio. 

You get one shot to make an impression when it comes to radio!

Some of my favorite tracks on Westward Bound! are the perky “Beepdurple” (form 1962) and the beautiful take on “My Romance.” I especially like the interplay of pianist Hampton Hawes and bassist Monk Montgomery in this 1964 performance. The song builds up from a hushed start of just piano and bass but escalating to quite a swinging epic with Land soaring over it all. Yet they bring it back down with Hawes gently supporting Montgomery’s soloing. There is a nice sense of group dynamics going on here. 

Land’s own “Trippin’ The Groove” is a fun swinging blues that launches off a zippy little sax run hook. The band manages to be playful without (no pun intended) tripping one another up on the signature change ups. 

Westward Bound!will be available at most independent record shops that carry jazz on Record Store Day.  This is a good one if you like Land’s playing and enjoy live recordings from that period. 

Original Resource is Audiophile Review

Technics SL-1210GAE Anniversary Turntable and Hana Umami Red Cartridge | REVIEW

To say the Technics (website) SL-1200 is a legend is an understatement. Rumor has it that they sold 3.5 to 4 million SL-1200s over its 50+ year history. Its distinct look, reliability and smooth pitch [...]

Original Resource is Part-Time Audiophile