At the time, I thought it was a silly question.
Back in the summer my editors at Bloomsbury asked me to do a little interview for their website, all of the authors in my “class” were doing it, a way to introduce ourselves, talk about the albums we were writing about, what we were trying to bring to the table. By the time my turn was up, I started to get this itch like I wanted to jazz it up, do something new, not because I thought the interviews were getting repetitive, but because I didn’t think I had anything interesting to say. So I asked the editors if I could throw together a video instead. It was fun, I always like flexing those muscles, even if I did blatantly rip off the rhythms and style of a million other video bloggers.
One of the later questions in the interview concerned how I listen to my music: vinyl, CDs or MP3. At the time I said that as much as I enjoyed spending an afternoon flipping through stacks of records, living in a bachelor apartment in Toronto’s Parkdale neighbourhood presents certain realities of storage space (not to mention the financial barriers) so most of my music had to live on my laptop.
A few weeks later I was back in my hometown staying at my parents’ house. The plan was to get out of the city, to the peace and quiet of small town living where I wouldn’t have as many distractions and could bang out the first terrible draft of the book, spending the rest of the month tweaking and polishing. I packed a gift I had received for my birthday the previous year, a copy of Donuts on vinyl. My folks had a turntable and I was curious to see if I’d hear anything different in the album in that format. Donuts is intentionally constructed as one continuous piece of music, meant for a compact disc. Listening to it on vinyl adds an entirely different dimension to it because the listener has to change the record every five tracks or so. None of this ended up in the book, but it was a worthwhile experience nonetheless.
The draft didn’t really get done while I was down there. In all honesty, it was one of the worst trips home I’ve ever had. In addition to opting for the couch instead of my father’s bed, which had been known to give me backaches (the couch gave me worse backaches) I also received some upsetting information of a personal nature that put me in a panic for most of the week. The plan was to wake up early every day, shower and coffee by 9.00 and put in a solid workday of bashing out pages. That happened maybe once. The rest of the time I was texting friends, emailing colleagues for advice or lying on the floor and generally trying to avoid things in any way possible.
This is where I fell in love with vinyl again.
As later documented on Instagram, I spent an evening rooting around my parents’ crawlspace and digging through their record collection. It was filled with what one would expect to find in crates belonging to white people of a certain age: Fleetwood Mac, Elton John, Journey, some disco, a little new wave. I grabbed a stack of LPs known and unknown and took them out to the stereo. My father’s had all of the same equipment for as long as I can remember, so even the act of turning it on was nostalgic and wistful: the chirp as I flicked the power switch on the receiver, the clicks of the levers on his old Dual turntable as the tone arm lifted and positioned itself at the edge of the disc, the pop and crackle through the speakers. There wasn’t much that made me feel good on that trip, but that evening I spent sitting cross-legged in front of my father’s stereo, as I had as a child and teenager was a happy moment. I started thinking it would be cool to have a turntable in the house. Back when I lived with a woman, we talked once about how cool it would be to take the CDs, rip them to a hard drive, sell them, then buy the essential, desert island discs on vinyl.
It’s an idea that never really went away, I just figured it would be too much of an investment. When you start digging through websites about this sort of thing, people will have you convinced that a minimum of 500 bucks is the minimum investment required to really hear the nuances of the recordings and blah blah puke.
Last weekend I took a stack of birthday money and bought an Audio-Technica LP60. Cost me a hundred bucks. I’m running it through my iPhone dock. I couldn’t be happier.
Cause you see, what I was reminded of back at my folks’ house, what I had forgotten in recent years, is how vinyl forces you to really connect with a piece of music. When I’m walking the streets with my headphones on, I’m constantly skipping through tracks. Three hundred songs on my phone, I don’t want to hear any of them. You probably do the same thing. And walking the street or riding the train is the place for that. Thing with vinyl, though? I put that record on, I’m stuck with it. I have to listen to it. Sure I could skip songs or swap out the record, but that’s a pain in the ass. Putting on a record has forced me to reconnect with music in a way I think I’d maybe forgotten about.
What’s also fun about all this is how little I care for the ancillary concerns that fuel most other collectors. I’m coming at this as a fan, not an audiophile. An audiophile would see my setup and laugh me out of my own house (foremost among the reasons why, in my investigations at least, “audiophiles” are the worst). I don’t give a shit about original or Japanese pressings. I’m only buying albums I consider classics. I’ll get to my hip-hop essentials eventually, but at the moment I’m into soul, funk and jazz. I’m not really into 45s because they seem too disposable to me. I know I should splurge on the 180g reissues, but I love a record that feels like it has some history. When shopping last weekend, I had to choose between the remaster of Stevie Wonder’s Talking Book or a cheaper copy in a dingy, weathered sleeve. Of course I chose the latter.
I’m giddy with the excitement of having a new obsession. I love drafting my wishlist in my head, I love the idea of heading out to the shops in this city, looking for the cheapest copies I can find. Comic books were probably the last thing that gave me a similar sense of meditative peace (sad as that is), but comics could only be found at comic shops. You can find records everywhere. I love the fact that you can spend 10 bucks on a used record and feel like you really bought something. CDs never made me feel like that. I love that the Donny Hathaway album I bought had a gatefold with liner notes by Nikki Giovanni.
Mostly, I just love feeling like a music fan again.
Actually a lot of the 180 re-presses come from digital sources, so you could argue the sound on your weathered vinyl is better (depending on when it was recorded)
Any shop recommendations downtown? My biggest indicator of a “good shop” has been leaving and feeling like I left a bunch of gold on the table I just couldn’t carry, vs. trying to scrounge to find something to go home with.
Sweet! Here’s to frugality paying off.
I’m still very much in the shallow end of digging around here, but the Kensington location of a Sonic Boom and Rotate This both impressed me, and fit your criteria of quality. I walked out of both feeling like I could have spent ten times more than I did.
Wow. I really loved reading this. I have just shy of 2,000 records myself and I oftentimes fail to articulate why it is that I vie for vinyl as much as I possibly can. You’ve really nailed it.
It took me a few years to obtain some giant wooden speakers from the ’50s and buy a nice mixing board, but I got there eventually! I consider myself an audiophile because I’ve always had a knack for finding intricacy in sound that’s lost on many people, but I certainly agree in that it doesn’t matter how you enjoy your music as long as you’re actually ENJOYING your music. Audiophile seems to be synonymous with douchebag these days and I unfortunately vouch for that. lol.
I think it’s neat that you found a renewed source of inspiration for your Dilla book through listening to it on a new format. I felt that way about the first Nine Inch Nails album when I found the record copy. The CD sounds good enough, but there’s a certain dynamic brought to the table with listening to a well-pressed record. The vocals resonate in an eerily distinguished manner, the bass hums with perfect vibration, and the drums reverberate with the punch of a shotgun blast. Vinyl is God’s greatest gift to the world besides the musicians themselves.
I’m quite excited to read your Dilla book because it seems like you’re a true appreciator with the greatest intentions of emphasizing all the tiniest details of one of the most underrated musicians of all time. All the books I’ve read from the “33 1/3” series were fantastic, and I’m sure this will prove to be just as well written and constructed. as those before it were. Thanks for this wonderful blog and your contributions to the small, but untarnished world of appreciative music journalism. The non-snarky music writer is a prophet in my eyes.
Gipson Shoemaker IV