The Great Sort-out (sort of)
Several years ago I decided to sort out my CD collection – several thousand discs that needed to be boxed up for storage (awaiting the day that CDs come back into fashion and I sell them for a fortune). Having looked at all alternatives, I organized them into rock/pop etc. A to Z and boxed them up. Separate boxes were used for Jazz, and for ECM jazz, compilations, soundtracks, “deluxe editions”, SACDs/DVDa and box sets. I can find any CD in this system within seconds. So, when I went about sorting my vinyl collection, of course I followed the same method – NOT!
No, I spent 2 full days sorting out thousands of records into – wait for it – the decades that they were released, then jazz, blues, soundtracks. Favorite albums were set aside. Audiophile releases from Analogue Productions, MOFI etc. grouped together. Labels like Impulse! grouped together. The result was – I couldn’t find anything.
So, two mornings were spent re-organizing my records alphabetically (i.e. A-Z, then Aa, Ab, Ac etc.). It is a backbreaking process – but I just about managed to complete the pop/rock/soul/funk/blues part.
What I discovered was a surprising number of (unknown) duplicates. For example – I obviously bought 2 copies of “Radio City” by Big Star (2009 reissue) – but only recorded 1 in Discogs (they are identical – so I didn’t notice that there were 2). I have a couple of different reissues of “Horses” by Patti Smith – though the first one (Music on Vinyl) was perfectly fine. I have 4 copies of “The Crossing” by Big Country (who knew) – in three different colors. I bought reissues of albums that I already had – and the original was better (the 2010s reissues of ELO albums – no better than CD and seriously squelched dynamic range). A second copy of London 0 Hull 4 by Housemartins – that I never remember buying. Two copies of Jim Goodwin’s solo album – why? Obviously space is limited – so – which copy does one keep (the other will go to a less valuable space – no way am I parting from these records – see below): the original pressing of No Sleep till Hammersmith – or the pristine – but similar sounding reissue? I have stacks of albums by some artists (Paul Weller, Lucinda Williams, Ron Sexsmith) but hardly any by ones that I would have expected (Bowie – no “Hunky Dory” or “Aladdin Sane” or “Scary Monsters”). I have loads of duplicates of albums that came in box sets (Beatles, Traffic, Police, Credence, Springsteen, Petty, Steve Miller etc). I found albums in my Amazon wish list that I have already bought!
The issue/problem of duplicates in one’s collection is not unique to me (there are threads on both the Discogs and Hoffman forums). The problem is the unwillingness of most of us to give up our duplicates – i.e. sell them on Discogs (for me not worth the effort). This is probably an example of the “Endowment Effect” described by Danny Kahneman. The other psychological problem is “loss aversion”. I have had a copy of “Communique” by Dire Straits since it came out in 1979 – an original but unspectacular pressing. It is missing from my collection. I am really bothered about that (despite having a perfectly good copy in the the Dire Straits box set bought in 2013) and I didn’t rush to buy the Mofi audiophile version – so why am I bothered (maybe it’s in my parents’ attic)? And – what happened to 24 Carat Purple?
The major reason for sorting out your record collection is to make you aware that you probably have enough records already – stop buying them. But, of course, that’s like quitting smoking, opioids or worse – carbohydrates. It also risks the opposite – the inescapable urge for complete-ism (just one Radiohead album and I have the lot!).
Now that I have sorted out one part of my record collection, I run into the problem of just what to do with Jazz. Going alphabetically, I end up with Albert Ayler and Louis Armstrong side by side. Should one mix fusion with bebop. Japanese imports with Music Matters? Should 21st Century jazz be kept separate for 1980s neo classical jazz? What about labels and series? Valuable vs inexpensive records? Albums that I have cleaned vs the ones that are still a bit…..musty?
I decided to deal with the problem by using my usual method – procastination. Unfortunately, the usual benefit of that approach – i.e. put the job off and 1. it will never need to be done, 2. someone else will do it for you – will not work. So what will it be – A to Z or sorting by decades?
Needless to say – everything about sorting your records makes one reflect on John Cusack’s character in High Fidelity who sorted out his collection after breaking up with his partner. I didn’t realize that Hulu revisited the story last year in a gender reversed remake series – which – as with most good series in the USA – was cancelled after 1 season.
I realize that probably nobody else is interested in reading this blog entry – it was really written to remind myself – next time – to sort the records out properly the first time.
audioexchange 
Funny read!
To me separating by genre does not make much sense. Garage, punk, post punk, ‘classic rock’ , grunge etc… its just all pop music really if you relate to the original meaning of the term. Plus not all the albums can be so easily assessed, which makes things even more confusing especially for future access which for me should be the main criterion.
So I store them by artist (last name, first name) and year. Nothing too fancy.
I Just separate fell that separating Jazz from the rest holds some logic. I do not perceive it as ‘pop’ music.
To add some salt I file these by label + cat number.
So far, as the section is not certainly big, it is manageable and keeps me focused on who recorded what and when.
There is nothing worse than spending an hour looking for an album that you are not certain is even there! For anyone undertaking the “Great Sort Out” – I would strongly advocate cataloging your collection in Discogs – so you know what you have and don’t end up with 3 copies of “Feats Don’t Fail Me Now.”
Am still procastinating about jazz – but I have decided to divide jazz up into pre 1970 (classic jazz era) and post 1970 (fusion, neoclassical, ECM, ACT and contemporary). Strangely, having split the collection, I find myself reaching for the newer recordings more often than I had expected…..
Having everything on discogs is vital for me just to double check my want list when I bump into some interesting version of a record I am interested in.
Problem with the collection it is that the export sucks. So although I maintain it up to date, I also have an excel spreadsheet which is definitely my master collection date . It is based on the london jazz collector file template, whom I am sure you must be familiar with, with a few bespoke modifications to suit my taste and needs. There I can quickly and easily access matrices, conditions, pressing plant , price, notes… you name it!