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Bob Dylan’s 1980s spiritual detour shocked fans with gospel-only sets and preaching. By 1983’s Infidels, he returned to secular music, backed by stellar musicians, showcasing renewed creativity despite mixed critical reception and early digital recording controversies.
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Donna Summer revolutionized disco with Moroder and Bellotte, blending sensual Eurodisco and electronic beats. Hits like “Love To Love You Baby” and “I Feel Love” shaped dance music and sparked electronic genres.
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Once a cable skeptic, Gilles Laferrière confesses a shift in thinking—questioning whether thousands of audiophiles could really be fooled. He explores how luxury pricing, perception, and experience reshape the contentious debate over high-end audio cables.
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MOON by Simaudio’s Dominique Poupart radiates passion and precision as he leads a tour through the company’s Quebec-based factory, where cutting-edge robotics meet meticulous hand-assembly—all in service of sonic excellence.
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For Wayne E. Goins, Booker T. & the M.G.’s “Green Onions” wasn’t just a hit—it was a hypnotic childhood soundtrack. But the real treasure? Side B’s smoldering sleeper, “Behave Yourself,” where Booker T. shines unfiltered.
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In a playful dialogue with his younger self, Jonson Lee explores how sound quality deepens music’s magic—while cautioning against losing joy in the endless quest for upgrades. The message? Savor the music, now.
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For under $1,500, the Zu Audio Omen and Magneplanar LRS offer two thrilling yet wildly different sonic paths—one bold and dynamic, the other refined and immersive—both delivering serious high-end sound without a high-end price.
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One of the leading music business stories of the 21st century is the continued discovery, sonic restoration, and release of previously unknown recordings—either from the studio or the stage. As the constant advance in digital technology has reclaimed live tapes once thought to be sonically inferior, and refreshed forgotten or leftover studio recordings, record labels,…
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For Wayne E. Goins, Carole King’s Tapestry isn’t just an album—it’s a life marker, from teenage homework sessions on a beloved console to rediscovering its soul-stirring power decades later on a high-end setup.
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Though a digital listener, Jonson Lee argues vinyl’s tactile rituals, emotional resonance, and enforced focus offer a deeper musical intimacy—likening analog to a meaningful kiss, and streaming to a noisy crowd ruining the moment.
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Veteran music editor Robert Baird reflects on high-end audio’s tribalism, from gear vs. music purists to loudness wars and streaming woes, vowing to spotlight artists who value both sonic integrity and musical impact.
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Dragged along to T.H.E. Show by chance, Jonson Lee’s wife — a professional pianist — helped crown Heavenly Soundworks’ active speakers as the event’s best, praising their astonishing clarity and bass, all powered by just a $500 streamer.
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Faced with underwhelming SACD and BD playback, Tom Gibbs ditches discs for a digital setup that rips and streams native DSD—revealing astonishing sound quality and a future where optical drives are obsolete.
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As Apple, Amazon, and Spotify shift to lossless audio, smaller services like Tidal and Qobuz may face extinction. Mario St-Laurent warns this seismic change risks squeezing out artist royalties and playback freedom in favor of big-tech ecosystems.
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As music lovers, we strive for the best possible sound quality. They say all roads lead to Rome, but we still need to contend with our needs, our path, our budget, and the time available to us to get there. Across my next columns, like a travel guide, I will try to recommend memorable places for…
