1 Walter L. Welch and Leah Brodbeck Stenzel Burt, From Tinfoil to Stereo: The Acoustic Years of the Recording Industry, 1877–1929, rev. edn (Gainesville, FL, 2006); Greg Milner, Perfecting Sound Forever: An Aural History of Recorded Music (London, 2009); Mark Katz, Capturing Sound: How Technology Has Changed Music, rev. edn (Berkeley, CA, 2010).

2 This is especially true in Britain, where studies of radio or television can be dominated by the British Broadcasting Corporation and its institutional machinations. A notable exception is Simon Frith, ‘The Pleasures of the Hearth’, Formations of Pleasure, ed. Tony Bennett et al. (London, 1983), 101–23. Susan J. Douglas's Listening In: Radio and the American Imagination (New York, 1999) also considers the domestic at length. A history of American spoken-word recordings (often focused on record labels) is provided in Jacob Smith, Spoken Word: Postwar American Phonograph Cultures (Berkeley, CA, 2011).

3 Examples are Tim J. Anderson, Making Easy Listening: Material Culture and Postwar American Recording (Minneapolis, MN, 2006); Kyle Devine, ‘A Mysterious Music in the Air: Cultural Origins of the Loudspeaker’, Popular Music History, 8 (2014), 5–28; Thomas Everrett, ‘Ears Wide Shut: Headphones and Moral Design’ (Ph.D. dissertation, Carleton University, 2014); and Living Stereo: Histories and Cultures of Multichannel Sound, ed. Paul Théberge, Kyle Devine and Tom Everrett (New York and London, 2015). In addition, there is an ever-growing literature on music and listening in everyday life that emanates from a sociological perspective, and which is concerned with lived space, listening and identity construction. These issues are in play here. But while this work is often useful, much of it is well enough known not to need to be rehearsed again, especially since it is not primarily (or even at all) concerned with historical experience and interpretation. See Tia DeNora, Music in Everyday Life (Cambridge, 2000); Antoine Hennion, ‘Music Lovers: Taste as Performance’, Theory, Culture and Society, 18/5 (2001), 1–22; Georgina Born, ‘Listening, Mediation, Event: Anthropological and Sociological Perspectives’, Listening: Interdisciplinary Perspectives, ed. Nikolaus Bacht, special issue, Journal of the Royal Musical Association, 135 (2010), 79–89; Born, ‘Music and the Materialization of Identities’, Journal of Material Culture, 16 (2011), 376–88; and Anahid Kassabian, Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity (Berkeley, CA, 2013). A small amount of work with a contemporary focus addresses hi-fi culture: Marc Perlman, ‘Golden Ears and Meter Readers: The Contest for Epistemic Authority in Audiophilia’, Social Studies of Science, 34 (2004), 783–807; Sara Jansson, ‘“Listen to these Speakers”: Swedish Hi-Fi Enthusiasts, Gender, and Listening’, Journal of the International Association for the Study of Popular Music, 1/2 (2010), doi: 10.5429/2079-3871(2010)v1i2.5en.

4 Keir Keightley, ‘“Turn it Down!” She Shrieked: Gender, Domestic Space, and High Fidelity, 1948–59’, Popular Music, 15 (1996), 149–77.

5 Alf Björnberg, ‘Learning to Listen in Perfect Sound: Hi-Fi Culture and Changes in Modes of Listening, 1950–80’, The Ashgate Research Companion to Popular Musicology, ed. Derek B. Scott (Farnham, 2009), 105–29. Jonathan Sterne's book The Audible Past: Cultural Origins of Sound Reproduction (Durham, 2003) has been important for those studying historical audio technology. Taking his methodological cues from science and technology studies, and in particular the Actor-Network Theory identified with Bruno Latour, Sterne uses inventors’ reports, journalists’ commentaries, adverts and technical manuals to track the creation not just of instruments themselves – telegraph, telephone, radio, gramophone – but of a multiply negotiated ‘audile technique’; these learned and taught techniques of listening, speaking and thinking disciplined unruly technologies until their latterly standard functions took root, the phonograph becoming a machine for music rather than business dictation, the radio becoming a tool for broadcast rather than point-to-point communication.

6 See, for instance, Peter Mandler, ‘The Problem with Cultural History’, Cultural and Social History, 1 (2004), 94–117, and the numerous replies across subsequent issues of the same journal.

7 Keightley, ‘“Turn it Down!”’, 149–50. Marie Thompson has provided a further, highly suggestive theorization of this historical trope. She argues that, in the mid-century hi-fi imaginary, the wife, supposedly unable to listen without gossiping, was being figured as metaphorical as well as literal ‘noise’ in relation to hi-fi's pure (masculine) signal. Thompson, ‘Gossips, Sirens, Hi-Fi Wives: Feminizing the Threat of Noise’, Resonances: Noise and Contemporary Music, ed. Michael Goddard, Benjamin Halligan and Nicola Spelman (London, 2013), 297–311.

8 Tony Grajeda, ‘The “Sweet Spot”: The Technology of Stereo and the Field of Auditorship’, Living Stereo, ed. Théberge, Devine and Everrett, 37–63 (pp. 40, 60).

9 ‘Our Readers Write’, Hi-Fi News, 14/5 (May 1969), 601, 603, 605 (p. 603).

10 In the same year, P. H.'s household was one of the first to trial a colour TV (‘a bit of a letdown’).

11 Diary of P. H., The Great Diary Project, Bishopsgate Institute Library, file GDP 133/1964. Reproduced with permission.

12 On such clubs, see Peter Heyworth, ‘The Record Clubs’, The New Statesman, 4 January 1958, 8–10. In Britain, the growing popularity of stereo records among record-club listeners was noted as representing the expansion of a mid-range audio market. Economic Intelligence Unit, ‘Special Report No. 2: Gramophone Records’, Retail Business, 98 (April 1966), 20–32 (p. 26).

13 Several other essays in the same volume are more concerned with the philosophical critique of notions of fidelity and ‘realness’ than with the domestic setting in which much experience of stereo audio was played out, or indeed with the possibility of social and geographical variation between listening cultures and discourses.

14 See, as one example among many, the angry exchange of letters on this subject between M. Blundell of London N22 and T. C. Walster of Dartford in The Listener, 5 January 1961, 34, and 12 January 1961, 75.

15 Sterne shows this trend at work in an earlier generation's use of radio. Sterne, The Audible Past, 203.

16 Ministry of Housing and Local Government, Homes for Today and Tomorrow (London, 1961).

17 Claire Langhamer, ‘The Meanings of Home in Postwar Britain’, Journal of Contemporary History, 40 (2005), 341–62 (p. 347).

18 Keightley, ‘“Turn it Down!”’, 162. Kyle Barnett shows how, in the USA of the early twentieth century, phonographs and concealing furniture converged not just in the living room, but also in the factories of the firms that had begun to produce both kinds of item. Building on Holly Kruse's work, he shows how ‘home’ was, at this place and point in time, conceived as a sanctuary free from mass culture and media. Something similar had been true in Britain, although, as I will continue to show, that was changing in the 1950s and 1960s. Barnett, ‘Furniture Music: The Phonograph as Furniture,1900–1930’, Journal of Popular Music Studies, 18 (2006), 301–24.

19 Hi-Fi News, 2/10 (March 1958), 574; ibid., 11/2 (July 1966), 123. Bang & Olufsen and Tandberg adverts of the 1960s made much of the companies’ Scandinavian design nous.

20 Judy Attfield, ‘“Give 'em Something Dark and Heavy”: The Role of Design in the Material Culture of Popular British Furniture, 1939–1965’, Journal of Design History, 9 (1996), 185–201 (pp. 195–6).

21 Early examples of this branded modularity, though not then widely available in Britain, could be seen in the Braun products designed by Dieter Rams's team in West Germany. Klaus Klemp, ‘Dieter Rams: Early Works’, Less and More: The Design Ethos of Dieter Rams, ed. Keiko Ueki-Polet and Klaus Klemp (Berlin, 2011), 313–89 (p. 335).

22 Christine Lalumia, ‘At Home with Modern Design 1958–1965: A Case Study’, British Design: Tradition and Modernity after 1948, ed. Christopher Breward, Fiona Fisher and Ghislaine Wood (London and New York, 2015), 65–76 (p. 74).

23 C. W. Morle, ‘Hi-Fi in America’, Hi-Fi News, 5/1 (June 1960), 33; Anon., ‘Readers’ Hi-Fi Installations’, ibid., 11/1 (June 1966), 75, 77 (p. 75).

24 Basil Hyman and Steven Braggs, The G-Plan Revolution: A Celebration of British Popular Furniture of the 1950s and 1960s (London, 2007), passim. That company's hi-fi furniture is seen in Hi-Fi News, 2/8 (January 1958), 400.

25 Paul Evans, The 1960s Home (Oxford, 2010), 43.

26 Arthur Marwick, British Society since 1945, 4th edn (London, 2003), 88.

27 Economic Intelligence Unit, ‘Ten Years of Retailing’, Retail Business, 121 (March 1968), 1–20 (pp. 6, 18).

28 Avner Offer, ‘British Manual Workers: From Producers to Consumers, c.1950–2000’, Contemporary British History, 22 (2008), 537–71; David Kynaston, Modernity Britain, 1957–62 (New York and London, 2013), 429–33.

29 Judy Attfield, ‘Inside Pram Town: A Case Study of Harlow House Interiors, 1951– 61’, A View from the Interior: Women and Design, ed. Judy Attfield and Pat Kirkham, rev. edn (London, 1995), 215–38. See also Attfield, Bringing Modernity Home: Writings on Popular Design and Material Culture (Manchester, 2007). This was not just an assertion of ‘old’ taste versus the ‘new’: Angela Partington argues that modern-style impersonal functionalism represented a kind of regulation made on the part of ‘male’ bodies (manufacturers, the Council of Industrial Design) with the aim of policing domestic life. ‘Clutter’, ‘trinkets’, decorative knick-knacks, while abhorrent to modern designers, materialized interpersonal meanings and memories; people, often women, complicated the modern with their own enactments of tradition. Partington, ‘The Designer Housewife in the 1950s’, A View from the Interior, ed. Attfield and Kirkham, 206–14 (pp. 208–9).

30 Kjetil Fallan, Design History: Understanding Theory and Method (London, 2010), 19. Anon., ‘Hi-Fi House’, Hi-Fi News, 6/4 (September 1961), 215; Anon., ‘Readers’ Hi-Fi Installations’, ibid., 9/4 (September 1964), 301–2 (p. 301).

31 The plastic was also functional, since it minimized audible vibration while protecting the unit's workings and the record. Klemp, ‘Dieter Rams’, 345.

32 However, a Hi-Fi News editorial commented on some ‘wifely opposition’ to this new visibility in hi-fi separates: Hi-Fi News, 9/12 (May 1965), 1085.

33 Hi-Fi News, 9/10 (March 1965), 857; Eric Robjohns, ‘Shelf or Cabinet’, Hi-Fi News, 13/8 (February 1969), 181–3 (p. 181). That did not mean that hi-fi had removed itself from the category of furniture, since (metal fascias apart) before the 1970s most separate units were housed in the same teak or walnut that was used for quality chairs, tables and sideboards. Plastic housing was largely reserved for cheaper equipment.

34 Keightley argues that, since hi-fi's components required little special skill to link together, its early hobbyist image was largely a marketing appeal to ideas of practical manliness. But until the later 1960s, Hi-Fi News frequently ran complex, months-long projects that enabled readers to build speakers and organs from scratch, and these required a degree of electronics knowledge; many enthusiasts called upon good woodworking skills to build housing for their units. (Having been a regular feature through to the mid-1960s, Hi-Fi News's readers’ installation photo spreads were all but done away with thereafter, since the storage problem they addressed had been solved before the end of the decade.) Not only the range of abilities, but also the types of technical interaction that hi-fi users valued were wider than Keightley allows for. An important element of the UK hi-fi discourse was centred on the practice of radio listening (an avowedly active alternative to what was often thought of as a passive and ‘feminized’ pastime). For many years, A. H. Uden contributed diaries and articles tracking – to the day – weather conditions and the resultant ability to pick up distant broadcasts. Uden reviewed tapes that readers had made of their radio reception, commenting approvingly on the clarity and lack of fading that, by investment, trial and error, readers had achieved. Keightley, ‘“Turn it Down!”’, 151; P. A. J. Bachelor, ‘A High Quality Stereo Mixer’, Hi-Fi News, 6/2 (July 1961), 98–101; A. H. Uden, ‘FM Diary’, Hi-Fi News, 6/7 (December 1961), 443.

35 Hi-Fi News, 5/4 (September 1960), 218.

36 Hi-Fi News, 14/8 (August 1969), 942.

37 Hi-Fi News, 5/4 (September 1960), 299; ibid., 5/8 (January 1961), 539.

38 See J. D. Jones's letter to ‘Our Readers Write’, Hi-Fi News, 10/2 (July 1965), 135–7 (p. 135); also ‘Editorial’, ibid., 10/9 (February 1966), 829.

39 In comparison with Braun and the work of its designer team led by Rams, these designs were busy and even friendly, but the astonishingly inert presentation of material and function offered by that company – ‘a rather gaunt type of styling’, commented Hi-Fi News in 1966 – was marked. Anon., ‘IAFF ’66’, Hi-Fi News, 11/1 (June 1966), 40–1, 43, 45, 47, 49 (p. 41).

40 See Anon., ‘The Sound of Music’, Ideal Home, 90/5 (November 1964), 145–7, 149; Anon., ‘Colour, Comfort and Co-Ordination’, ibid., 93/5 (May 1966), 68–77 (p. 69). For a detailed study of a later manufacturing and marketing process in which visual design and projected consumption practices are shown to precede questions of engineering, see Paul du Gay et al., Doing Cultural Studies: The Story of the Sony Walkman (London, 1997).

41 Certainly battle-of-the-sexes pieces in the terms that Keightley describes in a US context can be found in the British Hi-Fi News: see, for example, letters from the Hon. Maxwell Stamp in ‘Our Readers Write’, Hi-Fi News, 5/12 (May 1961), 877, 879 (p. 879), and John M. Ridley, ibid., 6/1 (June 1961), 49, 51, 53 (p. 51).

42 Mary Morgan, ‘Hi-Fi Mania – a Wife's Point of View’, Hi-Fi News, 15/4 (April 1970), 549, 556 (p. 549). For another example, see ‘Our Readers Write’, ibid., 11/5 (October 1966), 443, 445 (p. 443).

43 Claire Langhamer, Women's Leisure in England, 1920 –1960 (Manchester, 2000), 86. See also Smith, Spoken Word, 69ff.

44 Diary of G. C., The Great Diary Project, Bishopsgate Institute Library, file GDP 1/1955. Reproduced with permission.

45 Judy Wajcman, ‘Reflections on Gender and Technology Studies: In What State Is the Art?’, Social Studies of Science, 30 (2000), 447–64 (pp. 449–50).

46 Partington, ‘The Designer Housewife in the 1950s’, 208. Langhamer's oral historical research with women working as housewives in post-war Britain confirms that domestic roles brought types of satisfaction as well as obligation and drudgery. Langhamer, ‘The Meanings of Home in Postwar Britain’.

47 As Thomas Everrett has shown, similar strategies were in use among radio manufacturers in 1920s America. Everrett, ‘Ears Wide Shut’, 69–70.

48 See, for example, Hi-Fi News, 5/7 (December 1960), 512; Ideal Home, 73/4 (April/May 1956), 2.

49 Pat Thane, ‘Population and the Family’, A Companion to Contemporary Britain 1939–2000, ed. Paul Addison and Harriet Jones (London, 2005), 42–58.

50 Langhamer, ‘The Meanings of Home in Postwar Britain’, 356.

51 David Coleman and John Salt, The British Population: Patterns, Trends, and Processes (Oxford, 1992), 141, 371.

52 Hi-Fi News, 9/4 (September 1964), 284. Relatively unusually for a hi-fi firm, Wharfedale would advertise their version in the female-targeted Ideal Home, 93/1 (January 1966), 13.

53 Phyllis Palmer has argued that household dirt, discursively framed and tying women in a system of obligations, was not only a neutral, natural phenomenon, but a structurer of gender and, in the American context she investigates, ‘race relations’. Phyllis Palmer, Domesticity and Dirt: Housewives and Domestic Servants in the United States, 1920–1945 (Philadelphia, PA, 1990).

54 John Berridge, ‘Frankly Speaking’, Hi-Fi News, 5/4 (September 1960), 275, 277 (p. 275), and ibid., 6/8 (January 1962), 551, 553 (p. 551).

55 Tom Fisher, ‘A World of Colour and Bright Shining Surfaces: Experiences of Plastics after the Second World War’, Journal of Design History, 26 (2013), 285–303 (pp. 288–9). See also Fisher, ‘What We Touch, Touches Us: Materials, Affects, and Affordances’, Design Issues, 20/4 (2004), 20–31.

56 Dieter Rams, Weniger, aber besser / Less but better (Berlin, 1995), 38. For a contemporary discussion of trends in the use of plastics, see Anon., ‘Synthetics Win Status’, Ideal Home, 83/9 (September 1961), 74–7, 79.

57 A. W. Wayne, ‘Beomaster 1000’, Hi-Fi News, 10/9 (February 1966), 867, 869, 871 (p. 867).

58 Hi-Fi News and Record Review, 17/2 (February 1972), 216.

59 Morgan, ‘Hi-Fi Mania’, 549.

60 Su Holmes, Entertaining Television: The BBC and Popular Television Culture in the 1950s (Manchester, 2008), 27. Michael Young and Peter Willmott's classic 1957 study of life in Bethnal Green and ‘Greenleigh’ (Debden), a newly developed area in Essex, suggests the spread of television among working-class communities. Whatever the limits of their methodology, the sociologists reported that, despite its high cost, television was in 65% of Greenleigh households by 1955. The lack of amenities in the new development, they wrote, meant that families increasingly stayed in at night, gathering around the TV as a family unit. Young and Willmott, Family and Kinship in East London (London, 1957), 143.

61 Rob Turnock, Television and Consumer Culture: Britain and the Transformation of Modernity (London, 2007), 6.

62 Keightley, ‘“Turn it Down!”’, 150; Holmes, Entertaining Television, 34.

63 Figures from ‘Chart of TV Audiences Sat. 27th December 1958’, BBC Written Archive Caversham, file T12/23/7; Paul Fryer, ‘“Everybody's on Top of the Pops”: Popular Music on British Television 1960–1985’, Popular Music and Society, 21/3 (1997), 153–71 (p. 156). Viewer comments from BBC Audience Research Report, ‘Six-Five Special, Saturday 16th February 1957’, BBC Written Archive Caversham, file T12/360/5; BBC Audience Research Report, ‘Top of the Pops, Wednesday, 12 August 1964’, BBC Written Archive Caversham, file R9/7/70. BBC copyright content reproduced courtesy of the British Broadcasting Corporation. All rights reserved.

64 Abrams found that the earnings of Britain's 4.2 million 15- to 25-year-olds – his ‘teenager’ was defined broadly – had grown 50% from pre-war levels, averaging around £8 per week gross for males and £6 for females, but that their discretionary spending had probably doubled from that time. Historians have often questioned whether Abrams's figures were not exaggerated, while allowing the shape of the dynamic he described to stand. Mark Abrams, The Teenage Consumer (London, 1959), passim. Pay disparity, Abrams wrote (p. 14), meant that ‘at least 67 per cent of all teenage spending is in male hands’.

65 Hire purchase helped this market as it did others. Record Retailer reported that in March 1962 27.8% of radios, 49% of radiograms and 48.1% of tape recorders had been bought on HP, and very similar figures had been recorded a year earlier. Record Retailer and Music Industry News, 21 June 1962, 22. On Dansettes and transistors, see David Attwood, Sound Design: Classic Audio and Hi-Fi Design (London, 2002), 22, 12. On transistor sales, see Economic Intelligence Unit, ‘Special Report No. 3: Transistor Radios’, Retail Business, 107 (January 1967), 35–41 (p. 39).

66 Melody Maker, 11 February 1961, 11.

67 Diary of G. C., The Great Diary Project, Bishopsgate Institute Library, file GDP 1/1957. Reproduced with permission.

68 T. D. Towers, ‘Headphones and High Fidelity: Why Personal Listening Is Blossoming’, Hi-Fi News, 9/9 (February 1965), 780–1, 783, 785, 823 (p. 781). On earlier headphone listening, see Sterne, The Audible Past, and Everrett, ‘Ears Wide Shut’, passim.

69 Alfred Sorkin, ‘Record Players “Still Holding Up”’, Melody Maker, 4 February 1961, 15.

70 Writing about his mid-1960s record listening, Charles Nicholl remembered: ‘Singles, or 45s, were still the thing then, stacked six-high on the spindles of those trusty Dansettes and Fidelitys, which exuded a faint smell of warm rubber when you opened up the lid to put the next stack on.’ Nicholl, ‘That Wild Mercury Sound’, London Review of Books, 1 December 2016, 21–4 (p. 21).

71 Many microphone amplifiers with reverb units were advertised around 1962, the idea of the studio product beginning to envelop and transform the normative ‘live’ musical experience.

72 Tony Brown, ‘Hi-Fi Needn't Cost You a Fortune’, Melody Maker, 21 April 1962, supplement, iv; William Chislett, ‘The Sound of Hi-Fi’, Ideal Home, 92/3 (September 1965), 21–2; S. F. Branham, ‘Come and Join Us’, Hi-Fi News, 15/3 (March 1970), 393, 395.

73 On that ambivalence, see Roy Norris, ‘Electronics for Home Entertainment’, Ideal Home, 70/6 (December 1954), 78–9, and Peter Scott, ‘Mr. Drage, Mr. Everyman, and the Creation of Mass Market for Domestic Furniture in Interwar Britain’, Economic History Review, 62/4 (2009), 802–27 (p. 826).

74 Anon., ‘Home Entertainment’, Ideal Home, 74/10 (November 1956), 189–204; Roy Norris, ‘Progress Report: Television, Record-Players, Radio’, ibid., 74/10 (November 1956), 160, 163, 165.

75 John Berridge, ‘American Letter’, Hi-Fi News, 9/5 (October 1964), 429, 431 (p. 431).

76 Anon., ‘Questions Asked and Answered in Parliament’, Journal of the Board of Trade, 4 August 1961, 255, 257 (p. 255).

77 Anon., untitled, Hi-Fi News, 15/3 (March 1970), 351. See also Economic Intelligence Unit, ‘Ten Years of Retailing’, 18, 1, 13; Anon., ‘Resale Price Maintenance – What the Associations Say’, Record Retailer and Music Industry News, 27 February 1964, 13; R. H. Fisher, ‘Nothing for Nothing’, Hi-Fi News, 9/10 (March 1965), 871. The magazine's own fortunes represented the boom, though. From the start of the 1960s, Hi-Fi News's circulation figures increased by around 50% every five years, from a monthly average of 20,675 in September 1961 to 39,398 in March 1970. But that rate of growth doubled in the first half of the 1970s, the magazine claiming 58,692 monthly sales by January 1976.

78 Tony Brown, ‘Stereo for £75 – We've Done It’, Melody Maker, 21 April 1962, supplement, ii. The same sentiments had been expressed in Roy Norris, ‘Record Players: Quality Up, Prices Down’, Melody Maker, 4 October 1958, supplement, viii.

79 Ray Coleman, Bob Dawbarn and Chris Roberts, ‘Fanmanship – Read All about Yourself’, Melody Maker, 15 August 1964, 8–9.

80 Anon., ‘Nothing Like This Has Happened Before’, Record Retailer and Music Industry News, 5 December 1963, 16; Economic Intelligence Unit, ‘Special Report No. 2: Gramophone Records’, 25, 26. It seems that ‘adult pop’ (Sinatra et al.) had long accounted for even more of the US LP market. See Keir Keightley, ‘Long Play: Adult-Oriented Pop and the Temporal Logics of the Post-War Sound Recording Industry in the USA’, Media, Culture and Society, 26/3 (2004), 375–91 (p. 388 note 3).

81 The non-budget ‘record player’ itself was a sign of industry change: hi-fi motor units, pickup arms and cartridges had been (and would continue to be) offered separately and combined by the discerning customer, while record players – technically suboptimal, but sold as a package and ready to play – had been scorned by audio buffs. This was now changing, to an extent.

82 Anon., untitled, Hi-Fi News, 10/12 (May 1966), 1187.

83 ‘Our Readers Write’, Hi-Fi News, 11/4 (September 1966), 333–4 (p. 333).

84 ‘Our Readers Write’, Hi-Fi News, 11/11 (April 1967), 1169, 1171, 1173 (p. 1173).

85 T. R. Edwards, ‘You Don't Know What You're Missing: A Fresh Angle on the “Pop” Controversy’, Hi-Fi News, 12/2 (July 1967), 169, 171, 183.

86 A 1970 editorial noted that only 2% of readers’ letters were published. Anon., untitled, Hi-Fi News, 15/1 (January 1970), 51.

87 Adrian Hope, ‘Pop: The Proverbial Curate's Egg’, Hi-Fi News, 14/9 (September 1969), 1031, 1033.

88 ‘Our Readers Write’, Hi-Fi News, 15/5 (May 1970), 695, 697, 699–700 (p. 699).

89 Hi-Fi News and Record Review, 19/2 (February 1974), cover.

90 Hi-Fi News and Record Review, 17/1 (January 1972), 162–3.