Welcome to Copper #71!
The leaves have mostly passed peak color here in the Front Range of the Rockies, meaning the dogs are running through the carpet of fallen leaves and are generally making a crackly mess of things. Halloween has passed, and the election is coming right up—and no, I’m not equating the two. ;->
I’m pleased that Woody Woodward, our Poet Laureate of the Roadhouse, returns in this issue with a piece even more bizarre than usual. Well–he’s had that stuff bottled up for a while…. Good to have you back, Woody!
Wrapping up our coverage of the recent Rocky Mountain Audio Fest, part 2 of my walk around the show appears here, in this issue. Our resident oenologist audiophile, Tom Methans, also provides his take on the show as a bass-free zone.
With Woody back, the gang is all here: Larry Schenbeck writes about music that speaks softly, but carries a big impact; Dan Schwartz is still recovering, so we’ll revisit his piece on his friend and colleague, Harry Pearson; Richard Murison remembers a classic bit of English humor (or humour); Jay Jay French writes about a recent Elton John concert; Roy Hall recalls a brief encounter in Milan; Anne E. Johnson brings us some lesser-known cuts from The Clash; and I continue the (never-ending!) series on phono technology, and obsess over liminal messages.
Industry News looks at the bizarre world of buy-backs. Our friend Christian James Hand is on the road with live sessions, and will return next issue.
Copper #71 concludes with Charles Rodrigues getting warmer, and a Parting Shot from —well, my backyard.
As always: thanks for reading!