The Audiophiliac

This time of year there's no shortage of lists, everywhere you turn you're hammered with Top Ten and Best of 2008 harangues.

Me, I'm not going to waste your time raving about Portishead, TV on the Radio or Vampire Weekend's CDs. Why bother? I'd rather turn you onto great music that slipped between the cracks.

My favorite album of the year was JD Souther's "If The World Was You." JD was most famous for co-writing a bunch of 1970s era Eagles tunes, but this new CD demonstrates the Detroit-born, Amarillo, Texas-raised musician hasn't dried up in the intervening decades.

The new CD, recorded live in a Nashville studio, has a dark, brooding sound. JD's accompanying musicians are serious players. But it's the writing that kept this disc in heavy rotation in my house. There's a bit of the late, great Warren Zevon influence in there, so if you're a fan of 1970s Southern California rock If the World Was You would definitely be worth a listen. It's at least as good as Randy Newman's excellent "Harps and Angels" CD that was also released this year.

A friend turned me onto Lizz Wright's "The Orchard" CD and I couldn't get over her straight from the heart vocals. This woman can sing, this kind of depth of feeling is rare nowadays, but Wright comes from a different tradition.

There are a million ways to experience music, but for the purpose of this blog let's just break it down to two categories: live and recorded.

I don't know about you, but if I get to hear live music more than twice a month, that's pretty good. Sure, I can look back and remember some great concerts in my life, like the Rolling Stones at Madison Square Garden in 1969, Miles Davis in a tiny club in Greenwich Village in the early '70s, and Stevie Ray Vaughan in the '80s. The Pixies in the '90s were definitely a high point.

I recently attended a concert with the Chelsea Symphony at St. Paul's Church in Manhattan. Sitting in the top balcony, the sound was simply awesome; I've never heard anything close to that sound reproduced by even the very best high-end audio systems. The orchestra certainly didn't need amplification; it was definitely loud enough. Not quite rock concert loud, but the Chelsea Symphony's eight percussionists can make a strong impression.

Better yet, the sound never hurt my ears. But the orchestra was far more viscerally dynamic than any rock band, and the sound of strings, woodwinds, brass, and percussion filling the acoustic space of the church was a thrill I won't soon forget. That is, you don't so much hear the sound of each instrument, you hear it filling the church. The sound of the entire orchestra floated, like a cloud, above the pews. The sound was beyond what I've ever experienced from an orchestra in a large concert hall.

In those and other experiences, the music connection was stronger than it could ever be from recordings, but for the most part I actually prefer recorded music. First and most obviously because it's a repeatable pleasure I can have any time I want it. Next, recorded music is, after all, perfected and approved by the artist(s)--live music is subject to the vagaries of chance.

Recorded music's production can't necessarily be duplicated in concert. Depending on where you sit, and how good or bad the sound system is, live music is a crap shoot. With a decent hi-fi at home, you can get better sound than most live gigs. Oh, and you can play it at exactly the volume you want.

"Live" recordings fall between the two extremes, and if the band's up for it, may be the best of live and recorded.

Neil Young's latest release is available on DVD-A.

It's safe to say most, I mean like 99 percent, of music buyers don't give a hoot about sound quality. Why else would CD sales continue to plummet and worse than CD quality downloads go up every year?

OK, that's the mainstream, what about the other 1 percent; why have the audiophiles, according to a poll on the Stereophile website, already given up on SACD and DVD-Audio? Before I cite their feedback I'd like to point out that despite the naysayers, the super sound formats are still hanging on. Neil Young's latest release, "Chrome Dreams II" just came out on DVD-A, because he still cares about the sound of his music. You can still buy Pink Floyd's "Dark Side of the Moon" on SACD, and it really is one of the best sounding remasters of all time. Amazon currently lists 3,436 SACDs and 3,303 DVD-As, so anyone interested in checking out high-rez audio can do so. Audiophile labels like Telarc and Chesky Records are still putting out SACDs all the time.

Ah, but Amazon currently offers just 596 Blu-ray titles and 687 HD DVDs. Gee, I would have thought the tens of millions of people with HDTVs would have gobbled up high-rez discs by the boatload by now. Aren't Blu-ray and HD DVD supposed to be the up and coming video stars?

Ray Charles on this recently released SACD.

(Credit: Telarc)

Back to audio: thirty eight percent of Stereophile's readers believe SACD and DVD-Audio are "dead," and 23% more think the formats are "mortally wounded." Only 3% claim they're "alive and kicking." Wow, that's pretty bleak. But one guy wrote "I own about 900 SACDs. In Japan everything high-quality in Jazz, and/or classical music is issued in DSD/SACD/CD. There are stores exclusively dedicated to the format. DVD-A's pretty much dead." Somebody chimed in with the hope that SACD and DVD-A "May get resurrected via Dolby TrueHD if Blu-Ray and HD-DVD don't kill each other first." And I think another guy hit the nail on the head with, "The market has voted in favor of convenience over quality. Consumers are unwilling to purchase new hardware and make complex new connections for the sake of quality. . . But, as high speed broadband connectivity becomes more commonplace, all digital content will be distributed over the web. All physical media, including HD-DVD and Blu-ray, will become obsolete." Gee, I think, gulp, he's right.