COPPER

#174 Finger-Pointing by James Schrimpf Oct 20, 2022 #174 There’s a Kind of Hush by Frank Doris Oct 20, 2022 #174 Piper Payne – A Mastering Engineer For Next Generation Music, Part Three by John Seetoo Oct 20, 2022 #174 Richard X. Heyman: Still Going at 67,000 Miles an Album by Andrew Daly Oct 20, 2022 #174 What if Elvis Had Lived? by Tom Lane Oct 20, 2022 #174 Retail Therapy by Russ Welton Oct 20, 2022 #174 Classical Music for a Desert Island, Part Three by Ted Shafran Oct 20, 2022 #174 Pianist Sarah Cahill: The Future Is Female by Anne E. Johnson Oct 20, 2022 #174 Around the World In 80 Lathes, Part 24 by J.I. Agnew Oct 20, 2022 #174 The Elusive Del-Vikings by Anne E. Johnson Oct 20, 2022 #174 Neighbors by Roy Hall Oct 20, 2022 #174 The New York Audio Show 2022, Part Two by Harris Fogel Oct 20, 2022 #174 Back to My Reel-to-Reel Roots, Part 25: Half-Full – Not Half Empty by Ken Kessler Oct 20, 2022 #174 Steven Page (Formerly of Barenaked Ladies): Soaring Higher with Excelsior by Ray Chelstowski Oct 20, 2022 #174 Commentary Oct 20, 2022 #174 Wordless Expression by Peter Xeni Oct 20, 2022 #174 Tape vs. Vinyl: An Old Pawnshop Favorite by Adrian Wu Oct 20, 2022 #174 Pilgrimage to Sturgis, Part 32 by B. Jan Montana Oct 20, 2022 #174 The History of A&M Records, Part Eight: Horizon Records by Rudy Radelic Oct 20, 2022 #174 The Golden Decade for Popular Music…The 1950s? by Jeff Weiner Oct 20, 2022 #174 Unholy Racket by James Whitworth Oct 20, 2022