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Discogs Staff Top 30 Most Expensive Items Sold In Discogs Marketplace For May 2019

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This could very well mark Banksy’s first appearance in the number one spot of our Top 30. For reference, this appearance isn’t a record recorded or released by the famous street artists. It’s features a cover spray painted by him. Back in 2002, Röyksopp pressed an ultra-limited edition of their double-LP Melody A.M., with just 100 copies available. The Norwegian electronic duo asked Banksy to put his personal touch on every copy, hand spray painting each cover.

If you’re a Röyksopp completist with a few grand burning a hole in your pocket or a swanky speculative art collector looking to add an original Banksy to your portfolio, it’s worth the eye-popping price. For the rest of us, that original Wall Of Sound pressing will have to suffice.

Looking in the top 10 entries, you’ll see the usual rare and obscure singles — but one in particular stands out. A copy of the rarest ABBA record ever pressed landed in the number three spot. It’s a red 12-inch maxi-single recorded for manager Stig Anderson’s 50th birthday. This specific copy even had Anderson’s signature, from an event in his hometown where he signed 100 of the singles.

There are more gems in this month’s Top 30 list, but we’ll leave the rest of the exploration to you. Dig in!

  1. The Dick Morrissey Quartet - Have You Heard?

    The Dick Morrissey Quartet – Have You Heard?

    Sold for $1531.00
    Label: 77 Records
    Format: LP
    Country: UK
    Released: 1963
    Genres: Jazz
    Styles: Post Bop

  2. Ebba Grön - Antirock

    Ebba Grön – Antirock

    Sold for $1570.00
    Label: Efel
    Formaat: 7″, Blu
    Country: Sweden
    Released: 1978
    Genres: Rock
    Styles: Punk

  3. Sarah Webster Fabio - Jujus/Alchemy Of The Blues

    Sarah Webster Fabio – Jujus/Alchemy Of The Blues

    Sold for $1600.00
    Label: Folkways Records
    Format: LP, Album
    Country: US
    Released: 1976
    Genres: Jazz, Funk/Soul
    Styles: Poetry, Jazz-Funk

  4. John Heartsman And Circles - Music Of My Heart

    John Heartsman And Circles – Music Of My Heart

    Sold for $1600.00
    Label: Not On Label
    Format: 2xLP, Album
    Country: US
    Released: 1977
    Genres: Jazz, Funk/Soul, Blues
    Styles: Modern Electric Blues, Soul, Soul-Jazz

  5. Irish Coffee (2) - Irish Coffee

    Irish Coffee (2) – Irish Coffee

    Sold for $1679.00
    Label: Triangle (9)
    Format: LP, Album
    Country: Belgium
    Released: 1971
    Genres: Rock
    Styles: Hard Rock, Prog Rock

  6. David Bowie - David Bowie

    David Bowie – David Bowie

    Sold for $1700.00
    Label: Philips, Philips, Philips
    Format: LP, Album, Gat
    Country: UK
    Released: 1969
    Genres: Rock, Pop
    Styles: Folk Rock, Country Rock, Space Rock, Psychedelic Rock

  7. Paul Gonsalves Quartet - Boom-Jackie-Boom-Chick

    Paul Gonsalves Quartet – Boom-Jackie-Boom-Chick

    Sold for $1708.00
    Label: Vocalion (3)
    Format: LP, Album, Mono
    Country: UK
    Released: 1964
    Genres: Jazz
    Styles: Post Bop

  8. Gboyega Adelaja - Colourful Environment

    Gboyega Adelaja – Colourful Environment

    Sold for $1750.00
    Label: EMI
    Format: LP, Album
    Country: Nigeria
    Released: 1979
    Genres: Jazz, Funk/Soul
    Styles: Afrobeat, Disco, Funk, Jazz-Funk

  9. Hank Mobley - Lee Morgan - Peckin' Time

    Hank Mobley – Lee Morgan – Peckin’ Time

    Sold for $1794.00
    Label: Blue Note
    Format: LP, Album, Mono
    Country: US
    Released: 1959
    Genres: Jazz
    Styles: Hard Bop

  10. Paul Chambers Quintet With Donald Byrd, Cliff Jordan*, Tommy Flanagan, Elvin Jones - Paul Chambers Quintet

    Paul Chambers Quintet With Donald Byrd, Cliff Jordan*, Tommy Flanagan, Elvin Jones – Paul Chambers Quintet

    Sold for $1910.00
    Label: Blue Note
    Format: LP, Album, Mono
    Country: US
    Released: 1958
    Genres: Jazz
    Styles: Hard Bop

  11. Mandy Morton And Spriguns - Magic Lady

    Mandy Morton And Spriguns – Magic Lady

    Sold for $1931.00
    Label: Banshee Records (4), Banshee Records (4)
    Format: LP, Blu
    Country: UK
    Released: 1978
    Genres: Rock, Folk, World, & Country
    Styles: Folk Rock

  12. Eminem - Infinite

    Eminem – Infinite

    Sold for $1931.00
    Label: Web Entertainment
    Format: LP, Album
    Country: US
    Released: 1996
    Genres: Hip Hop
    Styles: Hardcore Hip-Hop, Boom Bap

  13. Bengt Nordström - Natural Music

    Bengt Nordström – Natural Music

    Sold for $1961.00
    Label: Bird Notes
    Format: LP, Album
    Country: Sweden
    Released: 1968
    Genres: Jazz
    Styles: Free Jazz

  14. Monique (22) - If You Love Me (Show Me)/Never Let Me Go

    Monique (22) – If You Love Me (Show Me)/Never Let Me Go

    Sold for $1999.00
    Label: Maurci
    Format: 7″
    Country: US
    Released: 0
    Genres: Funk/Soul
    Styles: Soul

  15. Samhain - Initium

    Samhain – Initium

    Sold for $2000.00
    Label: Plan 9
    Format: LP, Album, Whi
    Country: US
    Released: 1984
    Genres: Rock
    Styles: Punk

  16. Sahib Shihab And The Danish Radio Jazz Group - Sahib Shihab And The Danish Radio Jazz Group

    Sahib Shihab And The Danish Radio Jazz Group – Sahib Shihab And The Danish Radio Jazz Group

    Sold for $2247.00
    Label: Oktav (2)
    Format: LP, Album
    Country: Denmark
    Released: 1965
    Genres: Jazz
    Styles: Hard Bop, Modal, Big Band

  17. Terveet Kädet - Rock Laahausta Vastaan

    Terveet Kädet – Rock Laahausta Vastaan

    Sold for $2358.00
    Label: Ikbal
    Format: 7″, S/Sided, EP, W/Lbl
    Country: Finland
    Released: 1980
    Genres: Rock
    Styles: Punk, Hardcore

  18. The Arnold Corns* - Moonage Daydream/Hang On To Yourself

    The Arnold Corns* – Moonage Daydream/Hang On To Yourself

    Sold for $2499.00
    Label: Philips
    Format: 7″, Single
    Country: Netherlands
    Released: 1971
    Genres: Rock
    Styles: N/A

  19. Bizet*, Paris Conservatoire Orchestra*, André Cluytens - L'Arlésienne Suites 1 & 2/Carmen Suite

    Bizet*, Paris Conservatoire Orchestra*, André Cluytens – L’Arlésienne Suites 1 & 2/Carmen Suite

    Sold for $2531.00
    Label: Columbia
    Format: LP
    Country: UK
    Released: 1964
    Genres: Classical
    Styles: N/A

  20. The Search Party - Montgomery Chapel

    The Search Party – Montgomery Chapel

    Sold for $2613.00
    Label: Century Records (4)
    Format: LP, Album
    Country: US
    Released: 1969
    Genres: Rock, Folk, World, & Country
    Styles: Folk Rock, Psychedelic Rock, Religious

  21. Sonny Clark - Dial

    Sonny Clark – Dial “S” For Sonny

    Sold for $2750.00
    Label: Blue Note
    Format: LP, Album, Mono
    Country: US
    Released: 1957
    Genres: Jazz
    Styles: Bop

  22. David Bowie/Harry Nilsson - The Jean Genie/Remember

    David Bowie/Harry Nilsson – The Jean Genie/Remember

    Sold for $2808.00
    Label: RCA
    Format: 7″, Single, Promo
    Country: Japan
    Released: 1973
    Genres: Rock
    Styles: Glam

  23. Einar Iversen - Me And My Piano

    Einar Iversen – Me And My Piano

    Sold for $2840.00
    Label: NorDisc
    Format: LP
    Country: Norway
    Released: 1967
    Genres: Jazz
    Styles: Bop

  24. David Bowie - Memory Of A Free Festival

    David Bowie – Memory Of A Free Festival

    Sold for $2840.00
    Label: Mercury
    Format: 7″
    Country: Norway
    Released: 1970
    Genres: Pop
    Styles: N/A

  25. Candi Staton - Now You've Got The Upper Hand

    Candi Staton – Now You’ve Got The Upper Hand

    Sold for $2911.00
    Label: Unity Record Company
    Format: 7″
    Country: US
    Released: 1969
    Genres: Funk/Soul
    Styles: Soul

  26. The Misfits* - Cough/Cool b/w She

    The Misfits* – Cough/Cool b/w She

    Sold for $3000.00
    Label: Blank Records (11)
    Format: 7″, Single
    Country: US
    Released: 1977
    Genres: Rock
    Styles: Punk

  27. Led Zeppelin - Houses Of The Holy

    Led Zeppelin – Houses Of The Holy

    Sold for $3000.00
    Label: Atlantic
    Format: LP, Album, Mono, Promo
    Country: US
    Released: 1973
    Genres: Rock
    Styles: Hard Rock, Classic Rock

  28. ABBA - Hovas Vittne

    ABBA – Hovas Vittne

    Sold for $3879.00
    Label: Polar
    Format: 12″, Maxi, Red
    Country: Sweden
    Released: 1981
    Genres: Pop
    Styles: Vocal

  29. Johnny And The Brothers Of Soul - Goodbye, Sam

    Johnny And The Brothers Of Soul – Goodbye, Sam

    Sold for $3999.00
    Label: Lifetime Recordings
    Format: 7″
    Country: US
    Released: 1971
    Genres: Funk/Soul
    Styles: Soul

  30. Röyksopp - Melody A.M.

    Röyksopp – Melody A.M.

    Sold for $6962.00
    Label: Wall Of Sound
    Format: 2xLP, Album, Ltd, W/Lbl
    Country: UK
    Released: 2002
    Genres: Electronic
    Styles: House, Downtempo

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Mike Duquette Timeless Tracks Of 1985: Feeling Those Stranger Things 3 Vibes

Once upon a time, going back to 1985 required a souped-up DeLorean and a bolt of lightning. This month, all you have to do is queue up the third season of Netflix’s Emmy Award-winning Stranger Things.

This time, it’s summer in Hawkins, and the band of plucky kids from the series are dealing with more than just a Mind Flayer — though that’s certainly trouble enough. In Stranger Things 3, young love is blooming under the Indiana sun, and even the strongest friendships risk turning Upside-Down.

Stranger Things is a hit thanks not only to the captivating storylines inspired by the works of Steven Spielberg, John Carpenter, and Stephen King, but the aesthetic of 1980s suburbia that permeates every scene of the show. Just looking at the Starcourt Mall, the third season’s newest set piece, and you’ll reflect on your best days at the neon-lit food courts and snappily-designed Sam Goodys of yesteryear.

Of course, those memories are nothing without a soundtrack, and this season reminds us of some of our favorite hits from the year of Live Aid and VH-1. Inspired by the show’s newly-released soundtrack album, here are five jams from 1985 we’ll never get tired of.


REO Speedwagon – Can’t Fight This Feeling

This Champaign, Ill.-based quintet spent more than a decade turning out rock records with limited success — but everything changed with 1980’s Hi Infidelity, which spun off the chart-topper Keep On Loving You and the Top 5 follow-up Take It On The Run.

In 1984, Wheels Are Turnin’ became the group’s third consecutive Top 10 record, and spun off one of the decade’s best power ballads: Can’t Fight This Feeling. It came crashin’ through the pop chart’s door in the spring of ’85, spending three weeks at No. 1 on the Billboard Hot 100. Play this at a prom today, and we bet everyone will have forgotten what they started fightin’ for!


Madonna – Material Girl

1984 was a year for hitmakers that were easily identifiable by one name (Michael! Prince! Bruce! Lionel!) — but that could’ve applied anytime for the woman born Madonna Louise Veronica Ciccone. Madge was the first American chart-topper of 1985, when breakthrough Like a Virgin continued its run at No. 1 from the end of ’84.

The pounding Material Girl was hot on its heels, peaking at No. 2 later that year. Madonna was just as hot off the charts that year as well: She appeared in two films (Vision Quest and Desperately Seeking Susan, her first starring role), began a rocky marriage with actor Sean Penn, and defiantly shrugged off a series of nude photos published in Penthouse and Playboy that summer. As the No. 1 debut of last month’s Madame X would indicate, she has yet to miss a beat more than 30 years later.


Limahl – NeverEnding Story

By the time you’re reading this, it’s a safe bet that Gaten Matarazzo and Gabriella Pizzolo’s goofy romantic take on the theme to big-budget fantasy epic The NeverEnding Story hasn’t left your ears since you heard it in the new season of Stranger Things. Even though both film and song were released in the summer of 1984, the fantasy-loving kids of Hawkins were almost certainly still spinning it a year later. And can you blame them? That addictive melody, supplied by co-writer/producer Giorgio Moroder, flies even higher and longer than the mighty Falcor.


“Weird Al” Yankovic – Dare to Be Stupid

Mike, Will, Lucas, and Dustin love Dungeons & Dragons, go as Ghostbusters for Halloween, and hang out with their science teacher after class. They’re nerds! And no one spoke to nerds in the ’80s better than “Weird Al” Yankovic. The polka-playing parodist scored an unlikely Top 20 hit in 1984 with Eat It, a note-perfect take on Michael Jackson’s Beat It with a killer video to match, and 1985’s Dare to Be Stupid, his third album, is still one of his best.

It contains more of his signature side-splitting parodies, including Like a Surgeon (reportedly suggested by Madonna herself) and Yoda, a salute to Star Wars’ little green Jedi master to the tune of The Kinks’ Lola. The album also possesses some of Al’s sharpest original writing, from the unimpeachable Devo homage Dare to Be Stupid to One More Minute, a doo-wop breakup anthem that goes to hilariously extreme lengths.


Foreigner – I Want To Know What Love Is

Love is in the air for Mike and Eleven this season on Stranger Things, so we’re opening and closing with two of the year’s biggest ballads. Fans already knew Foreigner for a quartet of Top 5 albums in America and rock radio staples like Feels Like The First Time, Cold As Ice, Hot Blooded, and Urgent — plus the dreamy ballad Waiting For a Girl Like You, which peaked highest of all at No. 2 on the Billboard Hot 100.

The stage was set for even more greatness with I Want To Know What Love Is, which featured a typically powerful lead vocal by frontman Lou Gramm, moving synths from Tom Bailey of the Thompson Twins, and — as if emotions weren’t running high enough — a rafter-shaking guest turn from the New Jersey Mass Choir at the song’s end. (The choir even had their own Top 40 R&B hit with a version of the track.) Band founder Mick Jones later said that the track moved Atlantic Records co-founder Ahmet Ertegun to tears. You’d be forgiven if you felt the same way, decades later.


This article was produced in partnership with Sony Music.

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SoLil Crate Minds: Meet Sounds Delft

Meet the people behind the Discogs accounts in our series Crate Minds! This time, we asked Fabian Hofland, Manager at Sounds Delft, to tell us a bit more about their shop in the beautiful historical city of Delft in The Netherlands.

What’s your role at the store and your background in general?

I’m general manager of the store. I manage the staff and make sure the shop looks good and things run as smoothly as possible. I have worked in music stores for almost 20 years now. I started at Free Record Shop, the big commercial chain in Holland that collapsed several years ago. Then worked at vanLeest, the daughter company of Free Record Shop. Moved to London and worked for HMV for 2 years. And now I’m at Sounds for I think seven or eight years. Did some bar work and worked at some other places in between, but it’s mainly been music.

Can you tell us a bit about Sounds Delft, its history, and its team?

Sounds used to be a chain of record stores, but were sold off 16 years ago already, mainly to the store managers who were running them, or other people within the chain. Sounds Delft has been operating independently ever since. We try to offer as wide and deep a range of CDs and LPs as we can. We like for people to be surprised when going through the racks, so we try and get special editions, solo albums, side projects, and interesting tribute albums, or get more releases if we like a label, like recently we’ve been getting into all the amazing Turkish stuff on Pharaway Sounds. We are music lovers ourselves, so we want our shop to be the kind of shop we’d like to visit, basically.

Our team is growing, because it keeps getting busier both online and in our shop, but we are all music lovers in our own way. We have three team members who are in bands, and a singer of one of Holland’s biggest hardcore bands just left. So we either make music, are or have been DJs, or play a lot of records. The ages range from 18 to 55. Musical tastes cover every genre we have, from hardcore to jazz, from bossanova to dub, from country to electronic. Everything but blues. For some reason we have never had a blues fan amongst our staff. Not sure why.

Sounds Delft Interior1

How did you get into selling records?

I finished my degree in screen printing. Figured that was not what I wanted to do. Saw a vacancy at Free Record Shop. Applied. Got pretty much hired straightaway. Because of my musical upbringing, I knew way more music than most 18-year-olds at the time in those pre-internet days where hearing a record meant buying it, borrowing, or listening at a friends house. Started on a zero-hour contract. Worked my way up, became manager, and it all progressed from there.

What do you enjoy most about your work?

Selling people great music. It’s as simple as that. We sell loads of different records and are happy and thankful for everyone who chooses our shop to buy their records. But for me personally, I like it when people come in for suggestions for themselves or gifts. Especially when you hear back that the person really loved the album. Or when you get talking about one band, make a connection or reference to another, and then get people excited for that band as well. I got a regular customer of ours hooked on Cave In just two weeks ago. That really makes my day. Or when we sell a record that is playing in the shop, that is always great, too. There is so much great music, and there is so much left to discover. We like to push the music we believe in. We have a monthly Spotify playlist with about two hours of new music. And we sometimes highlight albums on our social media that we think deserve extra attention.

What has been your most unexpected find in recent years?

We have been very lucky with some of the vinyl collections we bought in the last couple of years. There was one from a collector who bought a bunch of seven-inches and records every week from the late ’60s till the late ’70s. So a lot of first pressings, some in ridiculously good condition, some records and especially singles that were never repressed, a lot of amazing things in there. We also got the whole collection of the local hospital radio. They also bought a few new albums and singles every week for decades. It had all kinds of stuff in there. We had some wicked krautrock records like the first Kollektiv album from 1973 or some weird electro/hip-hop single from 1984 by Hashim called Al-Naafiysh (The Soul), which both sold for a couple of hundred euro each. Great fun to get to browse through and discover all the amazing stuff first.


If we were digging through your personal collection, what would we find?
I’m all over the place, but I think that goes for most people who work in a record store. You get to hear a lot, your ears open, your taste expands. You can’t work in a record shop for a few years and not pick up a couple of things.

I grew up on Stones, Beatles, The Who, and Queen from my dad. Got into ’80s stuff from my older sister, but I ended up listening to other ’80s stuff later on, but got into the sound from her. She was into Duran Duran, I love Talk Talk and the heavily underrated Tears For Fears. I started buying and properly getting into music in the ’90s, so big grunge kid. Got into Deftones, Korn, Machine Head, Slayer, the main things if you were into heavy around that time. At the same time I started getting into dance via Underworld, Chemical Brothers, and The Prodigy. Got into drum and bass heavily, DJed that for years and years. Became obsessed with Aphex Twin and all things Warp, Rephlex, Planet µ, etc. Then I started working in record stores and came the jazz, all types of world music but mostly afro-beat and bossanova. Still later dub, modern classical, and from my young colleagues now both country (weirdly enough) and emo/hardcore stuff like Code Orange, La Dispute, and Turnover. The last Turnstile record was even in my top 10 of last year. Artists I own the most records of are: Gary Numan, Aphex Twin, Underworld, Radiohead, Future Sound Of London, Pearl Jam, Therapy?, and DJ Shadow.

What is your best memory about the shop?

There are loads of course, but the one that sticks out is rather bittersweet. We had a very gentle and rather shy regular customer who we all really liked. He had quite a few different types of music he liked, and he always bought great records. Always. One day his brother came to the shop and told us he unexpectedly had just passed away. He always spoke fondly of us and the talks about music we had with him. Which is great to hear in itself. But the brother and the mother had no idea which music he liked best and they asked us if we knew what music was really special to him, so they could play the right music at his funeral. The funny thing was we all connected with him over different artists, so we all had a different memory and therefore came up with different artists. I knew he was really into The Sound (and Adrian Borland solo), the owner knew he had everything of Natacha Atlas, and another colleague said he really loved The Cinematic Orchestra. Even though it was really sad he had passed away much too soon, it was really nice to be able to help with the music and give him a musical send off he would have loved.

What is your favourite release that you have in stock right now, and why?

I’m known in the shop as the guy who likes female singers, so only fitting to name my favorite female singer album of the moment, of an artist I have only just discovered: Rozi Plain. Her fourth album What A Boost is a great record. Nice atmosphere, interesting songs, great lyrics, and a very intriguing voice. I also like the cover. You see her back, and she has her hoodie up. It’s like she wants you to follow her, or maybe she doesn’t. Again, intriguing. I have sold a few copies already from just playing it in the shop, which is always a good sign.

What does the record scene in The Netherlands look like?

That might not be my place to say. We saw a big surge in vinyl, like everywhere else. We are also selling a lot of CDs, still more than vinyl, but that might be because a lot of other shops don’t have as many in stock. And especially for the website that helps that you have it in stock. People want their stuff the next day, so it is a big advantage that we have over 100 different Frank Zappa CDs, to name one artist. We also see that we sell a lot from the genres we have more of than most other indie shops. We sell a lot of metal, always have. We sell a lot of soul, funk, jazz, bossa/latin/world, because that is stuff we love, and people know that we are a good place for that. It’s also the stuff we sell a lot of on Record Store Day. We will get the big names in, but we focus more and more on those genres, wicked ’70s soundtracks, and that kind of stuff. We love a good reissue.

We also noticed that people have their own ways of finding new music, and people listen to albums online first. You don’t have that many records you sell a bunch of in the first week. We sell a lot of records, but mainly a whole lot of different ones. Albums used to get hyped and people jumped on them. Now everybody takes their time and they might not get it on day one; they might wait a week or even longer. I think that is a good thing, because you only buy stuff you really like. Because we all have records we bought too hastily and barely — if ever — listen to anymore, right?

What is your favorite record shop to visit, and why? (Apart from Sounds Delft of course!)

Because we have so many different suppliers where we can get stuff for low prices, other indie shops don’t really appeal to me anymore, because I can order it at Sounds. So why pay more elsewhere? Therefore one of the great places for me is Plaatboef Rotterdam. They, like us, have more stuff than they know what to do with, and that messy, packed vibe is something I feel at home in, I guess. They have a great selection secondhand, and I always walk away with at least a handful of records. I always bump into some nice unexpected finds, some old single or EP, or an unknown Mo’Wax release I’m still missing. Just a great place to browse, always good music on, and the people that work there are great.

Sounds Delft Interior2

What, in your mind, does the future hold for Sounds Delft?

We are just in the process of selling secondhand CDs. We noticed that more and more old titles aren’t getting repressed, so there are some great classics you can’t get anymore, like De La Soul‘s old albums or the early 2000 albums by Tori Amos, to name just two. So that is one reason. On the other hand, same as secondhand vinyl, it’s nice to offer people the option of buying it for €9.99 new €5 secondhand. People on a budget can get more for their buck.

Apart from that, we are actively looking at what does sell and what doesn’t. We have too much stock at the moment, so we are getting more and more careful with what to buy and are looking more closely at what doesn’t sell. It’s an ever changing market, so you have to keep on top of things. Some artists you used to sell loads of, suddenly stop selling. You have to be aware of these changes. It’s a tricky game.

Do you have a number one tip for buyers and/or sellers on Discogs?

Sellers: Be fair. List the item as is. You don’t want the hassle of giving refunds and getting bad reviews or having to return records. We list our items mint/mint with description: “Brand New Sealed Copy” via an automated tool, because manually is undoable. When we see any discrepancies, are unsure about the color of the vinyl, or if there is a dent or damage, we always try to let the buyer know and won’t ship before they confirm to be OK with whatever the issue is. It’s always better if they find out from you than when they open the package.

Buyers: Please note we are a record store, not a warehouse. There are a lot of collectors on Discogs, and when they identify themselves as such, we become very cautious immediately. Our records are in the racks, get handled by customers, so 100% pristine can never be guaranteed. We work with music because we love the music. We buy albums because we want to play those albums, not because we want to store them sealed on a shelf. So if you want every copy of every album by your favorite band and they all need to be perfect, please look elsewhere. We are not the place for you. If you want amazing music that will blow your mind or hit you straight in the heart, than please visit us and buy some great records.

Anything else you would like us to know?

Yeah: Please play your records. You’re not collecting stamps. Let the music live!

Can’t make it to Delft? Check out SoundsDelft on Discogs!

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dharmachine The National’s Top Five ‘Cincinnati Nights’ Records

The National have always seemed to be cut from the same cloth as Bruce Springsteen — the arc of critical acclaim (and modest sales) through their first three albums alongside the blue-collar determination of touring. With the release of 2007’s Boxer, The National landed in the ears of everyone on the planet with an album that Pitchfork named “Best New Music” when that christening could make or break an artist. Boxer, along with 2010’s High Violet and 2013’s Trouble Will Find Me, should be atop everyone’s indie rock primer alongside Radiohead, Arcade Fire, and Interpol.

Fast forward 12 years, and The National have graduated to bonafide festival headliners — who even curate their own fests! They just released the latest in a string of acclaimed records, I Am Easy To Find.

Below, The National’s frontman Matt Berninger dives into the city of their birth, Cincinnati. Matt’s theme of Cincinnati Nights is a perfect look into Cincinnati when The Breeders and Afghan Whigs ruled the world.

Matt Berninger’s Top Five Albums From His Cincinnati Nights

Ohio in the early ’90s had a very intense and intimidating rock scene. I was in my twenties and going to every rock show in Cincinnati and Dayton that I could. Around this time is when I met Scott and we started the band Nancy with Casey Reas and Mike Brewer. Members of Brainiac came to see us play once in Casey’s basement and left after two songs. Meanwhile, Bryan and the Dessners had a different band balled Project Nim that was this academic hippy thing.

These are some of the bands we would see around town and then suddenly in magazines and on MTV. We realized that Seattle was dying and everything cool was coming out of our neighborhood now. But we weren’t really in the scene, just fans and students of it all. Bryan literally took lessons from the Afghan Whigs’ first drummer. Another completely different kind of scene happened around us later in New York.

The National's top 5 Cincinnati records: Afghan Whigs - Congregation

1. Afghan Whigs – Congregation

It’s hard to separate listening to this record from seeing them live at Bogart’s on Short Vine. They were terrifying and sexy and fucked up and they were from our town. The cover with the naked black woman holding the white baby was pretty intense in Cincinnati. These guys were complicated and serious. At one show Greg Dulli spit his cigarette at the crowd as he launched into the opening riff of ‘I’m Her Slave’ and it hit this girl next to me in the face. To me, these guys made the grunge scene in Seattle seem kinda like a bunch of dumb stoners.

The National's top 5 Cincinnati records: Brainiac - Bonzai Superstar

2. Brainiac – Bonsai Superstar

Seeing this band perform was something that would re-wire your idea of a rock band. They were doing things both musically and performance-wise that seemed entirely free and unburdened by self-consciousness and insecurity. And it was organic and honest and fearless and unhinged. They were channeling something very healing and potent. They were way out on a strange limb all by themselves.

The National's top 5 Cincinnati records: The Breeders - Pod

3. The Breeders – Pod

There was a black and white photo of Kim Deal in a flannel shirt buttoned all the way up that I was in love with. The Pixies were the coolest band on the planet and she lived 45 minutes away. And here’s this other band she has with her twin sister, and the cover is a naked Vaughn Oliver wearing a huge eel as a dick. The Breeders are badass and brilliant and singular.

The National's top 5 Cincinnati records: Guided By Voices - Bee Thousand

4. Guided By Voices – Bee Thousand

A school teacher with a shitty attitude and a drinking problem makes records for years in his garage with his pals, and they’re brilliant. This was the record when everyone noticed.

The National's top 5 Cincinnati records: Morphine - Cure For The Pain

5. Morphine – Cure For Pain

Although they’re not from Cincinnati, I saw them at a laundromat bar there called Sudsey Malone’s when this record came out. Not many people were there, and after the show, Mark Sandman was selling the record out of a box from the stage and he seemed pissed. A dude in front of me bought the record for five dollars and when I got up there I gave him a 20 and waited for my change. He looked right at me and said “What?! For you it’s 20.” That actually made sense to me and it was worth it.

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Lloyd Evans Crate Diggers NYC Profile: Panagiotis Boutsikakis

On Saturday, July 27 Crate Diggers touches down in New York City at the PlayStation Theater. In the build up to the event, we’ll be speaking to some of the sellers you can find there – starting with Panagiotis Boutsikakis of Motion FM.

How long have you lived in New York?

I’ve been here for three years but before then I lived in Canada and Hong Kong. I’m originally from Greece. 

What music did you listen to growing up in Greece? 

Like all of us, I’ve always been into music from a young age and I can remember recording tracks off the radio to make my own compilation tapes when I was 10. As I got older, I discovered dance music through the record stores in Athens and radio stations in Europe. 

How have your tastes changed since those first compilation tapes?

It’s become much more eclectic – from the acid jazz scene of the mid ’90s, through to house music in the early 2000s and most recently the disco re-edit scene. In 2006, I set up my own online radio station called Motion FM and this has been instrumental in that.

So you went from recording compilation tapes off the radio to having your own radio station?

For sure. Radio has been such an informative part of my musical journey and it’s still something that’s very important to me now. 

get tickets for Crate Diggers New York

What does your own personal collection look like? What’s the most recent record you bought?

Danny Krivit’s Mr. K 7″ Classic Club Box is a good snapshot into my collection now. I really appreciate the love, care, and attention that goes into a compilation like this. A couple of other records that I recently bought were Love Committee – Pass the Buck (Joe Claussell edit) and Francis Harris – Trivial Occupations

Do you have any favorite spots in New York?

Joe Claussell’s Sacred Rhythm Music & Cosmic Arts is my favourite record store here in New York.

When did you start selling records? What’s the most expensive record you’ve sold?

I started selling records on Discogs in 2008. I’m constantly finessing my collection and selling records has been a great way to do this. I remember a copy of The Lower East Side Pipes – Disorganized Corruption selling well recently. 

What can we expect to find at your table during the fair?

Lots of near mint condition house, disco, funk, soul, and jazz!

Will you be digging at Crate Diggers yourself? Anything in particular that you’re hoping to find?

Yes, of course. If anyone has a mint copy of Pacino – Scusami then please let me know!

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dharmachine Jason Mantzoukas’ Top Five ‘Beach’ Records

With Independence Day in the US upon us, summer is officially in full swing. Fresh off his role in John Wick: Chapter 3 – Parabellum, actor/comedian Jason Mantzoukas (The League, Brooklyn Nine-Nine, How Did This Get Made?) is here to help us get by with his favorite literal “beach” records. Little known fact: Jason is an accomplished jazz drummer and has a solid collection of jazz records.

Jason Mantzoukas Shares His Top Literal “Beach” Records

It’s summer, baby! Here are five literal beach records that you should play as the perfect day at the beach soundtrack.*

1. Beach Slang – The Things We Do To Find People Who Feel Like Us

These guys are one of the many great bands coming out of Philadelphia the last bunch of years (The War on Drugs, Swearin’, Hop Along). Put this record on while you’re making coffee, packing the car, and driving. It’s going to be a great day!

2. Beach Boys – Pet Sounds

Not much to say except that this record is perfection.  Play it all day in between all the others and your life will be better for it. Just listening to it now, while I write this list, has vastly improved my mood, from pervasive melancholy to now merely grumpy. GREAT WORK PET SOUNDS!

3. Beach Fossils – What A Pleasure

You just got out of the ocean, it’s time for a game of paddle ball, a PB&J sandwich, and this record. This is your midday record. Full of jangly guitar lines and near whispered vocals, this record has your midday beach vibes covered.

4. Neil Young – On The Beach

When the the sun starts going down and it gets a little chilly, put on a sweatshirt and this record. Start building a bonfire while Motion Pictures (For Carrie) plays.

5. Beach House – Bloom

This is your sitting around the fire, drinking your drinks, sharing your secrets, and making out record.  When the 16 minute closing track Irene hits you should be on the road, wiped out, windows down, music cranked.

* While this all sounds lovely, I fucking hate the beach.

In honor of Jason’s days of drumming in Jazz combos… Dig into some excellent records by Elvin Jones and Art Blakey here!

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Sean Cannon How ‘Magic Science Fiction’ Technology Made The Massive Woodstock 50th Box Set Possible

For decades, the only way to know what it was really like at Woodstock was to have been there. Michael Wadleigh’s Oscar-winning documentary gives you a feel for the vibe, and the original companion albums showcased some tasty nugs — but at the end of the day, they were broad brush portraits of a moment in time. 

Some performances remained entirely unheard, and many details of those legendary mid-August days in 1969 had been lost to time. Until recently, there wasn’t even consensus on things as basic as the festival’s schedule. 

Enter acclaimed reissue producer Andy Zax. In 2005, he visited a Warner Bros. storage space and encountered their collection of Woodstock tapes. Wide-eyed and in awe of everything in front of him, Zax got to work sifting through the material, quickly realizing how much there was and how many holes there were in our understanding of the festival.

“It seems strange in an era where we’re used to going online and Googling up the basic facts on things, but most of the basic facts that were online about Woodstock in 2005 or 2006 were all wrong,” Zax said during a recent phone call. “When I started to piece it all together in 2005, there was no definitive order of who played, when they played, and the actual setlist. That was basically because anybody who had ever touched these tapes in the past had only gone in to cherry pick. Nobody had ever dealt with this stuff holistically in terms of thinking, What is this thing in totality? What actually happened?

Zax eventually pieced things together and released a six-disc set for Woodstock’s 40th anniversary in 2009, at the time the most comprehensive collection of recordings from the fest. At the time, he wanted to release the entire collection of tapes but couldn’t. Part of that was due to a lack of buy-in from some stakeholders, but part of it was more basic. Some of the music was in bad shape. Really bad shape.

Fast forward a decade, and things have changed. Zax got his wish for Woodstock’s 50th anniversary with Woodstock – Back To The Garden: The Definitive 50th Anniversary Archive. Limited to just 1,969 copies, The Definitive 50th Anniversary Archive is an immense 38-disc, 432-track reconstruction of the festival that includes stage announcements and other ephemera alongside every artist performance from the festival in chronological order. There are also 10-CD, three-CD, and five-LP versions for completists or fans on a budget.

Right about now, you’re probably thinking, “Wait a second. Business situations can change, but you can’t fix messed up tapes.” However, thanks to pretty amazing advancements in technology, some previously unsalvageable material was able to be salvaged. While there were a few instances of technology making the 50th anniversary compendium possible, below you’ll find Zax’s account — lightly edited for length and clarity — of one specific situation where music was saved thanks to “magic science fiction stuff,” as he called it. 

Woodstock 50th anniversary box set

Andy Zax Describes How Technology Saved Ravi Shankar’s Woodstock Performance

One of the very first Woodstock-related recordings that was ever issued — either the first or second recorded artifact — is a record called Ravi Shankar At The Woodstock Festival that was released by World Pacific Records. That record is a fraud. It’s a studio re-recording of Ravi Shankar’s performance at Woodstock with some crowd noise and stage stuff dubbed onto it.

The story of that record is that Ravi Shankar’s producer, Richard Bock who ran World Pacific Records, had an idea that they were going to make a live at Woodstock record long before the festival happened. If you look at the printed program that was given out at Woodstock, there’s even an advertisement that says something like, “Watch for Ravi Shankar live at Woodstock coming soon.” They had success with the Monterey Pop live record a couple of years before, so they were hoping lightning would strike twice.

They took the multitracks from Woodstock back to LA, and Shankar wasn’t particularly happy with his performance. He listened to it and thought, “Well, I can do better than this and I’m not technically crazy about the record. Let’s just redo it.” So they redid the whole thing in a studio in LA, and that’s what came out as Ravi Shankar At The Woodstock Festival.

In the process of doing that, no one knows what happened to the multitracks of Shankar’s actual performance. I’ve been trying to find them now since about 2006 when I figured out what the deal was with that record. They do seem to be really gone. I’ve talked to everyone alive who might have any clue whatsoever as to what happened to them. My guess is that they’re in a landfill, or maybe completely forgotten about in a storage locker or basement. Maybe by dumb luck, they’ll surface in 30 or 40 years, but probably not.

The only surviving record of the Shankar performance at Woodstock is on a mono tape from the soundboard. It’s not a fantastic recording. Some of those mono reels sound a lot better than others, and this is not one of them. That’s all have, and it’s like all we’ll ever have. I had used 10 minutes or so of it in the box we put out back in 2009. It always sounded bad to me, but it was what it was.

Fortunately there’s an engineer in Abbey Road named James Clarke, and a long time ago he began thinking about teaching machines how to recognize sound. I think his theory was, “The human ear has no problem distinguishing between a voice and a piano and a drum, so why can’t I teach a machine to make those kinds of distinctions?” 

That eventually led to this process that he has — there are other people doing work on this, but he’s further along than anyone else — which he refers to as “de-mixing.” The process is able to take a mono recording and break it apart into its constituent elements. Basically, you can turn a mono recording into multitracks.

James was able to take the Shankar performance and get three clean tracks with the sitar, tabla, and tanpura. When the machine is trying to identify the things it’s been taught to recognize, it rejects the set of sounds which are not what it’s looking for. This inadvertently got rid of a lot of hum and grit that was on the tape, so delightfully enough we got a really lovely set of multitracks which Brian Kehew was able to mix into a clean sounding stereo version of Shankar’s performance. 

To me, this is like magic science fiction stuff. It’s like the Great Gazoo descended down, waved a magic wand, and suddenly here’s this remarkable thing! We were able to reclaim that performance which was, despite Shankar’s ambivalence, a truly excellent performance. We were able to reclaim that from oblivion. Every time I think about it, I get excited.

This article was produced in partnership with Rhino.

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falsepriest Staff Picks: Our Favorite Music Biographies, Memoirs & Music Books

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It probably doesn’t come as a big surprise that as huge music fans, we’re voracious readers of any and all music news, artist biographies, autobiographies, memoirs, album reviews, music criticism, analysis, and everything in between (we’ve been banging on about it all week). Our bookshelves are almost as crowded as our record crates.

There are times when a music book has turned us from casual listeners into rabid super fans of a band. The background and context made us feel closer to the artist, more connected. They’ve lent new perspectives to a scene. They’ve lead us to new places – both real and imagined. Even changed the way we talk about, think about, and even listen to music.

Getting between the pages of music books is a charged experience we want to share. The passion in the commentary provided by my colleagues on why they chose these books really is palpable. So join us, headphones on, pages open. And as always, we’re all ears for your music book recommendations – let us know in the comments, and make sure you add your favorite books to Bookogs.


Ska'd For Life book cover

Ska’d For Life Horace Panter

The cover and title of this book jumped at me when I was at Bengans Skivbutik in Stockholm on my way back from the Hova Record Fair last year. I had seen The Specials live once, years back, and I just knew this was going to be an interesting story. It didn’t disappoint. With a brilliant sense of humour, Horace Panter describes the struggles and successes of the band from the very beginning, and the surreal stories make an excellent read. From the band getting blisters on their hands from stamping the covers on their own records, their van breaking down, getting stuck without money in a foreign country, long nights, epic hangovers, their shows with other Two-Tone bands etc. It made me wish I had been there at the time. Even if you’re not into The Specials, this is a captivating and fun dive into music history.
– Lilian

Goodbye 20th Century book cover

Goodbye 20th CenturyDavid Browne

Looks like we only have the German version in our database! And unfortunately, my copy is halfway around the world in my parent’s crawlspace. But that doesn’t diminish how much I still love and think back on this book! I learned so much not only about Sonic Youth, who at the time I knew next to nothing about, but also the scene surrounding them, with the likes of Swans, Dinosaur Jr, and Nirvana all getting big mentions as well. I picked this book up at Rocking Horse Records in Brisbane in 2010 and Sonic Youth ended up soundtracking much of the rest of my time in Australia. Sonic Youth remains one of my favourite and most respected bands to this day because of this book.
– David

Things The Grandchildren Should Know book cover

Things The Grandchildren Should KnowMark Oliver Everett

The autobiography of Mark Oliver Everett (better known as Eels) is seriously one of the most heartbreaking stories you’ll read in your life. I quite often read music books and I can safely say that this autobiography goes above and beyond what you’d expect from it. Narrated as if a grandfather is telling his grandchildren his life story, Everett doesn’t hold back while speaking about a lifetime plagued with mental illness and other misfortunes I won’t spoil for those of you who haven’t had the pleasure of reading this book yet.
– Javi

Bass Culture: When Reggae Was King book cover

Bass Culture: When Reggae Was KingLloyd Bradley

Rarely am I so enthralled by a 500+ page book as I was with “Bass Culture”. Author Lloyd Bradley pays meticulous attention to detail without sacrificing any of the excitement and turmoil that came out of the birth of Jamaica as an independent nation and Reggae as one of its greatest exports. With a foreword written by Prince Buster and firsthand interviews with the likes of Jimmy Cliff and Burning Spear, a lot of love was put into this by both Bradley and the many musicians and producers he spoke to. My favorite bit is an entire two pages dedicated to Joe Gibbs and Errol Thompson’s African Dub All-Mighty – Chapter 3 and its cosmic zenith, Tribesman Rockers.
– Stevie

Bill Graham Presents: My Life Inside Rock And Out book cover

Bill Graham Presents: My Life Inside Rock And OutBill Graham

As my music collection has stemmed from gig posters for the last 20+ years, it’s little shock to me that the biography I’m most attached to is that of Bill Graham, the man most directly responsible for the Fillmore Auditorium, Fillmore East, and Winterland as venues, and for being the driving force behind most of the Bay Area’s psychedelic poster scene in the 1960s. Seriously, the man has multiple series of gig posters named after him! The BG, BGP, and BGF series which carry over 2000 posters from the late 1960s through today. In any case, this biography explores Bill’s life with an array of stories, many autobiographical from his start in life to his early meetings and discoveries of various artists, to the expansion out of SF to other areas and venues it taught me a great deal about the business part of the man behind the early rock poster scene. And while not the most loved figure of the poster world, he’s undeniably one of the most important.
– Brendan

Energy Flash: A Journey Through Rave Music and Dance Culture book cover

Energy Flash: A Journey Through Rave Music and Dance CultureSimon Reynolds

Simon Reynolds brilliantly chronicles the musical, economical, social and chemical aspects of UK dance music culture for over 30 years. His focus on scenes and “scenius” rather than specific individuals or groups mimics how dance music culture is (or was?) less concerned about the stars on stage and talks more about the people on the dancefloor.
There are hilarious anecdotes, critical analysis, Marxist theory, vivid descriptions, and all the other things that make a music book great. The musical genealogy and the concept of the hardcore continuum has been very influential in how I talk, think and listen to music. Highly recommended.
– Karl

Just Kids book cover

Just KidsPatti Smith

Just Kids is a punk rock coming of age story. In the gritty depths of 1980’s NYC, a poet and a photographer strike their first marks on the underground art world. It’s incredible to hear about the early days of CBGB, the diverse community of the Chelsea hotel, and Patti Smith’s frequent recounting of peeing into bottles. It’s a love story, a young-love story, where the game is low stakes but everything seems on the line. As someone in their 20’s struggling to make sense of my place in the world, Patti Smith’s vulnerable perspective is priceless. As for her music, I will forever listen to Horses with profound appreciation knowing all that poured into the creation of it.
– Steven

Steven got in first but this is my fav music biography too! Reading about Patti Smith‘s days living in the Chelsea Hotel and how her music career started got me even more addicted to her music. I even visited the hotel in New York after reading this bio. She is such a talented writer which makes reading this bio a dream.
– Claire

Musicophilia book cover

Musicophilia ‎– Oliver Sacks

Don’t know if it really counts, but I read the book as soon as it came out. I was already a big fan of Oliver Sacks as a kid, thanks to my parents who thought that his case studies were appropriate bedtime stories! Even if it is not, per say, an autobiography, I feel that Musicophilia gives readers a quick view into real peoples’ lives, and how they are affected through music, whatever their affliction may be. I was always fascinated by the fact that Sacks is always talking about people, and how music not only brings us together, but is something fundamentally human. I re-read it every couple of years, and I am still fascinated by Sacks’ incredible prose, sensible comments, but most of all his humanity. If you haven’t read it, I can’t recommend it enough.
– Nathanaël

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falsepriest 33⅓ Music Books Are the Ultimate Album Companion For Serious Music Nerds

The 33⅓ series revolutionized the music book. If you’re not familiar with the format, it’s a pocket-sized book series (usually just a little bigger than a CD case), that gives an author free rein to crystallize their favourite albums’ spot in the canon and cut to the quick of what fans want to know: How the album was made, what the principals thought, what the producers contributed, how fans reacted, what else happened while it was made. 

In a world where analysis of any kind seems increasingly scarce — but especially music analysis — it’s no surprise that fans of vinyl records and physical media are so drawn to the deep wells of scrutiny and ideas made available by 33⅓. These are basically longer-form liner notes that we spend hours obsessing over. After reading every available volume in 2014, Slate’s Stephanie Burt said of the series, “I’ve learned more than I thought I could learn, and sometimes more than I wanted to learn, about acts I loved and acts I learned to enjoy, acts I discovered and acts I still loathe (sorry, Ween fans).” 

No note is left unturned in the quest to discover the intent, feeling, and meaning of each track and how that divine alliance of songs forms the album. Getting beyond the headline act, 33⅓ books often give you a closer look, giving credit to collaborators (there are always many, even when it appears otherwise) who otherwise escape the spotlight, especially studio engineers.

The series was founded in 2003 by editor David Barker and published by Continuum. At the time, Continuum was focusing on philosophers. Barker, a music obsessive, thought the concept would be great applied to albums. As the series started to saunter from its academic roots and adopt more creative interpretations, the future wasn’t looking so bright. Bloomsbury, buoyed by the huge success of Harry Potter, acquired Continuum in 2010 and took it from there. 

The series has stuck with its academic ethos. As with most music writing these days, it’s a passion pursuit rather than an economic one. While in the early days the going rate for a 33⅓ volume was $2,000 per book, as author Daphne Carr — who wrote the volume on Nine Inch Nails’ Pretty Hate Machine — put it, “the standard rate is zero dollars, all of which is paid immediately.” In a turn of art imitating art, authors are compensated with royalties, which might not be much, unless it’s picked up by a professor for coursework.

Being anything but strict and prescriptive in the rules for the series, 33⅓ takes the opposite approach, allowing the books to be as creative, experimental, and groundbreaking as their subject matter. It’s allowed music writing to evolve in a way that it couldn’t have otherwise. Some volumes are straight musical analysis; OK Computer’s volume is written by a musicologist at Oxford University and takes quite an academic slant, while the dissection of REM’s Murmur offers linguistic analysis.

Others take heavy strains of personal narrative. Sign O’ The Times takes you on a journey through the author’s personal relationship with the album. Even more tangential is Celine Dion’s Let’s Talk About Love: A Journey To The End Of Taste. The much talked-about meta-study delves into the status of musical judgement, the history of kitsch, “bad taste,” and the history of Quebec to boot. 

Some of the more interesting takes on the 33⅓ imprint put a fictional character or narrator between themselves and the subject. The volume on Band’s Music In The Big Pink from John Niven has been dubbed a “factional novella.” It retells the story of how the album came together through the eyes of the fictional Greg Keltner. Other fictionalized takes include PJ Harvey’s Rid Of Me: A Story, which is a series of short stories by Kate Schatz. Mountain Goats frontman John Darnielle, a former psychiatric nurse, employs therapy notes to retell a character’s love of Ozzy Osbourne in his 33⅓ volume on Black Sabbath’s Master of Reality.

Their 135-book (and growing) catalog is diverse, starting with Dusty Springfield’s Dusty in Memphis and covering albums from Sly And The Family Stone, A Tribe Called Quest, Tori Amos, and The Magnetic Fields, to name a few. While more mainstream and already celebrated albums do get a look in, it’s as much about celebrating the underground and giving a voice to the subcultures that don’t necessarily generate the same kind of online traffic as Taylor Swift and Nicki Minaj. 33⅓ gives us deeper access to the unsung heroes of modern and alternative landscapes, like My Bloody Valentine, Sonic Youth, LCD Soundsystem, J Dilla, and Ween. 

While many fear that as the pervasiveness of the album declines, a book series like 33⅓ is also under threat. The volume on Talking Heads’ Fear of Music by Jonathan Letham was slated to be the last volume back in 2012, but series editors Ally-Jane Grossan and Barker continue to rally for it. “Just imagine trying to explain Sleater-Kinney to a room full of British publishers who have just concluded a discussion of the potential market for a linguistics monograph on the semiotics of Che Guevara.” Well, I know which I’d rather read.

If anything, the book series is more important than ever in an attention-deficit world, forcing the reader to slow down and think about the album as a whole — the nuances in each song and the work that goes into producing art (both album and book). For a younger generation who perhaps has less appreciation for the album as a cohesive format or understanding of why it should be embraced, it’s a key education piece, and way to communicate with future generations.

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