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TA: Are you interested in the studio side of things, or do you just see it as a means to an end?

DC: I've been forced to get into it because I love the sound. I love making sounds. I love making it sound wonderful That's why If Only I Could Remember My Name sounded the way it did. That's me without any restraints or anybody in the way, you know? I am not a very good "tekkie" but I can hear fairly well and it's not too hard to figure stuff out. I've done things like running analog and digital off of the same recording (mic feed) and then really listening.

TA: And what did you come up with?

DC: I still like analog. I still would rather cut my tracks, anyway, on a Studer.

TA: And why is that?

DC: Two things: one transients, and the way that it handles them, you know? When a kick drum or something sort of shocks the tape, it behaves differently on the two different system but mostly overtone structures, harmonics.

Who doesn’t love a great boutique vinyl shop that doesn’t break your cratedigging wallet’s heart? This is a story about Diggers Factory, an online record store that offers so much more than “standard” LPs — things like exclusive releases, color vinyl, merch, accessories, and, yes, even good old-fashioned cassettes. Read Shanon McKellar’s in-depth feature to learn more about how Diggers Factory do what they do, and check out her hands-on reviews on three top-tier current DF vinyl offerings. . .

Hush Puppies are hip again among celebs. They were sofar out, it was inevitable they'd come back in. Not on my feet or yours- we'd probably just get laughed at- but seen on the right feet? Next day everyone's wearing them. Strange how that works: if everyone's wearing Doc Maartens, what's the boldest thing you could put on your feet instead? Hush Puppies, of course!

I don't know what Van Dyke parks on his feet today, but back in 1967 when he posed for the cover of his epic debut album Song Cycle (Warner Brothers WB 1727) he was wearing Hush Puppies. While many music critics raved about, even respected the album, the public at large wasn't suede by either it, or his shoes. Dreams are stillborn in Hollywood.

Part II

Portrait of the Artist as a Man at Work

The second CD of the set, especially, functions as a kind of artist’s notebook, providing us discarded and unfinished versions of now-classic recordings from the pre-motorcycle-crash trilogy. From “Just Like Tom Thumb’s Blues” (track five) through “Stuck Inside of Mobile with the Memphis Blues Again” (track nine), we are offered works-in-progress—a glance inside the artist’s creative process—with rhythmic variations, language refinements, and even wholly discarded or completely revised lines present in the working versions of songs that have become part of the canon.