It’s a cruel joke. It’s the gods laughing at us. The lovers of LPs—I hesitate to call us record collectors—are the most tightly wound subcategory of audiophiles. We fuss and obsess over the tiniest variations in cartridge alignment, hundredths of a gram in tracking force, single degrees of VTA. And the irony of it is we’re subject to—at the mercy of—the smallest, invisible particles of dirt lodged into record grooves. We can clearly hear dirt and contaminants that we can’t even see.
Just recently, I received two fairly large boxes courtesy of FedEx. In and of itself, this is not a newsworthy happenstance, as non-Amazon packages arrive at the Thorpe residence with some frequency. Frequent deliveries are the blessing and the curse of the reviewer. Being a fairly materialistic male—or a gear whore, as my friend Neil calls me—the blessing part is obvious. I just loves me some box opening. The curse? Well, each component that arrives also has to leave, so I can’t just rip everything open like my daughter does on Christmas morning. No, I have to note the orientation of each bag, document, piece of foam and wire, and remember how everything fits together. I learned my lesson years ago, and now I take photos of each step of the unboxing so I can reassemble it all when it’s time to return the product to the manufacturer or distributor.
My neighbor and fellow audiophile, Ron, let slip that he had a busted Shelter 901 cartridge sitting in a box. Seems that the cleaning lady was dusting his turntable a bunch of years ago, and she got a little too aggressive with the cloth. Ripped the cantilever clean off.
About 40 years ago, I used to hang out at the Harkness house after school. It was the kind of place I want my daughter to be able to hang out in when she gets into her teenage years—a house full of creativity, music, art, and positive energy. There were five siblings, one of whom is still an extremely close friend and another who is now the musician known as Harkness.
My neighbor Rob is a vinyl guy. He’s always been a music guy, but over the past few years, the vinyl resurgence has really energized his love of physical media, and he’s enthusiastic and happy to chat about the format—both about LPs and the means by which to store, clean, and play them.
During the long, grinding lockdown here in Canada, so many have had and still have it way worse than our family. All four of us (including the dog) are healthy, and Marcia and I remain gainfully employed. I thank our lucky stars that we’ve been, so far, unaffected by anything other than boredom and monotony. All I have to gripe about are the first-world problems of the affluent.
I remain conflicted about my Vault subscription with Third Man Records (TMR). Four times a year, TMR ships me a release for around $70 (all prices in USD). The title is generally announced a month or so before it’s shipped, so there’s never really a surprise when it arrives. The albums are beautifully pressed and of exceedingly high quality, and the packaging is truly deluxe. The package usually includes at least two LPs, often with a 7″ 45rpm bonus disc, and some sort of glossy booklet. For some inexplicable reason, TMR often includes a DVD of concert footage. Given that I haven’t had a DVD player hooked up for years now, I don’t get much satisfaction from this inclusion.
You’d think the Great Pandemic of 2020 would create the perfect conditions for getting some writing done. Well, if you lived in the Thorpe household, you’d be wrong. Back in July, we decided to invite risk, expense, and chaos into our lives and start some major home renovations. We bashed down some walls to make our first floor into one large open-concept space, re-doing the kitchen at the same time. The second-floor bathroom became a full-on gut job, and the basement powder room (a small room with a toilet and sink, in case that euphemism isn’t shared by the rest of the world) also got some love.
“You’re the writer I want to be when I grow up.”
That’s how I introduced myself to Art Dudley when I first met him, in 2005, at Le Festival Son et Image de Montréal.
The moment I heard of the death of Neil Peart (1952-2020), sorrow set in. That Peart was the drummer and lyricist of one of my favorite rock bands, Rush, would have been enough to set me into a spiral of introspection, but there’s more to my connection with Peart than the music of Rush. Like me, he was an avid motorcyclist, and many of his explorations of this continent mirror some of my own choices of bike and road. I’ve read a number of Peart’s books, many of which center around motorcycle riding and the mindset it engenders. His memoir Ghost Rider is a painfully honest description of a 55,000-mile motorcycle trek throughout North America, during which he tried to outrun his grief over the deaths, within ten months of each other, of his daughter and his wife.
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