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.
30 years ago. Alpine Valley (East Troy Wisconsin) – a natural musical amphitheater 90 or so miles from Chicago. There is a single road in and out. Getting home after a concert takes – literally forever! Eric Clapton was the headliner. Three helicopters had been lined up to extract Clapton and his entourage back to Chicago after the gig. His tour manager decided to stay at the venue, opening a seat on one of the helicopters – a seat that was made available to the supporting acts. Wanting to get back early, the guitarist leader of one of those acts took up the offer and climbed aboard for the short flight on a warm but foggy August night. The helicopter never arrived in Chicago. All aboard, including the guitarist, Stevie Ray Vaughan (SRV), had died when the chopped slammed into an nearby hill. The date was August 27th 1990: it was the day the blues died.
Last week I sat through “Top of the Pops – the best of 1989.” It was not a pleasant experience – aside from an appearance from the Stone Roses, mainstream music at that time was horrible manufactured pop, house music, cheesy pop rap and hair metal. While there was a thriving alt rock scene around in those days – before the internet all we had was commercial radio, MTV and whatever they were paid to play on the TV. Sonic Youth, Husker Du, Inspiral Carpets, Dinosaur JR – they were not in the radar. There was, however, a quiet revival of blues rock that had gradually been building stream throughout the decade: old blues folk like Buddy Guy, Albert King, BB King, Lonnie Mack, Roy Buchanan, Otis Rush, Koko Taylor, Taj Mahal, John Lee Hooker, Albert Collins, Johnny Copeland, Fenton Robinson, were joined by a host of younger stars – Robert Cray, Joe Louis Walker, The Kinsey Report, Robben Ford, Eric Johnson, Jeff Healey, Gary Moore, Bonnie Raitt etc. The Rolling Stones and Eric Clapton were rediscovering their blues roots. At the forefront was a 35 year old journeyman blues guitarist from Dallas, signed to a major label (Sony/Epic) – who was just emerging into national prominence (crossover appeal): SRV. The 1990s promised to be his decade. When he died, the blues revival petered out and Grunge, Shoegazing, Baggy and Britpop came to define guitar music.
I’m sure that he was best seen playing live and jamming: although everybody is familiar with the the “In Session” video/CD with Albert King, my favorite 
Aside from a good bit not great “live” LP, the albums recorded with Double Trouble still sound fresh and engaging. The 1990 release, “In Step”, was notable for its more commercial veneer (“Tightrope”, “Crossfire”) and confidence indicated a group of musicians ready to cross over into the more financially rewarding rock genre. All of those records have been reissued by Analogue Productions – and are available as a box set and are a worthy investment. If I was to pick one to own it would be “Texas Flood” – a raw rough debut recorded live in the studio – but there isn’t much between it and “Couldn’t Stand the Weather”. “Soul to Soul” is ok – but at that stage the drugs were a problem.
originally, joined later by keyboardist Reese Wynans) were reputedly a great live band. There are several available live albums and videos (Montreux Jazz Festival 1982 and 1985 
Just prior to his death, SRV recorded a co-leader album with his older brother, Jimmy Vaughan Family Style”). It was released posthumously – and for me represented one of the most disappointing albums I have ever queued up to buy – on the day of release. On cassette. I expected down a dirty Texas blues (like “Showdown” – the Cray, Collins, Copeland album). Instead they released a Nile Rogers produced AOR record, with that ghastly 1980s sheen and popping drum sound. I have never owned the record in vinyl or CD. Last week – out of nostalgia – I streamed Family Style in the car: it was far better than my prejudiced ears of 30 years ago recall.
audioexchange 