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Writer Stuart Marvin shares interesting facts about Becoming Led Zeppelin, a documentary he calls “a fascinating, powerful look at Led Zeppelin’s early success.”
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A much-debated topic in popular music is the origin of rock and roll music. Writer Jeff Weiner tries to sort it all out in his new series.
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Rudy Radelic digs into vintage rock, blues, and jazz, spotlighting reissues with stellar mastering, hard-to-find rarities, and standout titles cherished by collectors.
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The Vinyl Beat digs up notable vinyl nuggets like INXS’s “Kick” 45 RPM reissue, Sheila E’s salsa debut, and Rachel Z’s introspective jazz trio recording.
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The Vinyl Beat is a new column that will dig up notable vinyl nuggets, past and present.
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Copper Magazine’s Frank Doris recalls his first encounter with Genesis’s Selling England by the Pound in 1973 and hails Analogue Productions’ new 45 RPM reissue as the album’s most sonically revealing edition to date.
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In the final part of his candid interview, Michael Fremer defends good digital, champions honest reviews, praises his 17-year-old protégé Malachi Lui, and reflects on how far vinyl—and his own journey—has come.
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After tensions split Delaney & Bonnie’s band, Bobby Whitlock joined Eric Clapton in forming Derek & the Dominos, playing key roles in both Layla and George Harrison’s All Things Must Pass—before launching a solo career of his own.
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Eric Clapton’s defection from Blind Faith to Delaney & Bonnie sparked a whirlwind of tours, studio sessions, and shifting alliances—culminating in a landmark live album, George Harrison’s secret cameos, and the birth of Derek and the Dominos.
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Blue Train gets the Tone Poet treatment, and John Coltrane’s only Blue Note leader session never sounded better—Kevin Gray’s stereo cut dazzles with dynamic finesse, stellar horn imaging, and top-shelf vinyl presentation.
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From jump blues and Ray Charles’s boundary-breaking “What’d I Say” to the polished hits of Motown and gritty grooves of Stax, this sweeping history traces soul music’s rise—and disco’s roots—in a racially and musically transformative America.
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Jay Jay French recalls funding his first hi-fi with pot money, trashes a Dylan concert, and champions budget gear that “sniffs cocaine like it’s Jaws”—all while slowly, skeptically courting jazz.