My unwritten rules for record collecting... written

Reflecting on the how, why, and what have you of a lifelong thing

Last week, I happened upon a Hoffman Forums (long-time lurker, rare poster) discussion of an interesting topic that, I don’t think, involved The Beatles.

(Sooner or later, every Hoffman Forum conversation somehow involves them.)

Someone asked if people had rules for their record-collecting madness.

It prompted me to think about mine.

They have been evolving for years and years.

I would like to think that, by now, they are highly refined, but this hobby, or compulsion, has evolved since I first began buying 45s as a wee bairn.

My first rule when I find myself in any record-buying situation is to be open minded.

When I started collecting, I drew on books like the Rolling Stone Record Guide and Christgau’s Record Guide for direction.

Their opinions were regarded as canon.

But as I explored their pages, I realized that taste is personal, and people have some biases that are problematic, especially critics represented in those publications.

Over the years, I’ve had to learn to ignore those voices or my own skepticism and just take a chance or two, which is how I wound up with not one, but three Sheena Easton albums.

I mean, if you have Nile Rodgers producing and a song co-written by Adele Bertei, there has to be something going on there, right?

I usually start any record store visit with the ‘dollar’ bin—the albums that no one seemingly wants, are not in the best shape, or are just so ubiquitous that the best the vendor can hope for is to claim a dollar or two from you.

This is always my favorite part of shopping.

It’s an opportunity to find something I didn’t know I wanted or reacquaint myself with something I didn’t think I needed, either because it was too pop, to familiar, or I had been told it was not worthy of my time.

Then, I’ll check the new arrivals, the clearance bin—still-sealed albums that maybe didn’t move as the vendor expected they would that have been reduced in price—and pick up any orders I have on hold.

That leaves out a lot of rules I have for myself when I am buying, be it in record stores or thrift stores.

So I’ll expand on it.

If I get to a bin of dollar items or thrift store LPs, I hang back or start where I think they’ve already done a thorough flip.

In other words, I try to give them space to continue finding what they are looking for without feeling pressured or scrutinized.

I never buy with the mindset to flip.

I know what it is like to find a grail you never expected to see in great shape.

But I do on rare occasion help myself to that grail, mainly because I want to check it against a compromised copy I have or it essentially pays for a couple of new items at my record store.

I avoid anything that has any signs of mold.

One time I rescued a bunch of highly collectable jazz albums from garbage bags that I probably shouldn’t have and while I didn’t regret it at the time, I’d never, ever do that again.

I try to keep my pile out of the way of others as I build it, mainly because I don’t want to inconvenience anyone who is starting on a row I’ve finished.

I grab anything that looks remotely interesting or that is an opportunity to check a bias, which could be anything from a mass sung in Congolese style to a Kenny Loggins album talked about in a Yacht Rock documentary.

Controversial opinion: the title track of Nightwatch suggests Loggins had a really cool prog/art rock album in him.

In looking for albums, I don’t really have a list I am ticking off.

I mean, there are things I would love to find, but I don’t feel like working from set parameters.

Again, it’s about discovery.

Which also means that I don’t buy anything for the sake of having a perfect collection that has every album you are meant to own.

I try to select based on what I think I will enjoy, whether that is Christopher Cross’ debut album or Silver Apples.

As I noted in a previous post, I try to assess whether the scuffing and scratching is such that the juice isn’t worth the squeeze.

This is the only time I am apt to check Discogs for advice, because rarity and price will always give me an indication as to how likely I am to find any copy again, let alone one in decent condition I can afford.

When I have my pile from the bins, I try to find a spot to do a couple of things.

One is to at least get a sense as to what I am getting.

As in scan the credits or take a quick look online to find some basic information.

A few weeks ago, I saw an album by a group called High Cotton that I’d have passed over but for the fact that I saw Allen Toussaint co-produced it.

Sometimes, I look at Rate Your Music for any kind of insights on the contents that might help me decide if I need to add even more vinyl to my household.

So if I see something like Smith, Perkins, Smith, I know that there is a song or two that someone has compared to Big Star.

(I would share one that really gives off a Big Star vibe, but you’ll have to go to YouTube to see for yourself.)

And then, I check the condition because the last thing you want is an unpleasant surprise, like discovering the record in the jacket is not the one it should be, or a missing chunk, a nasty pressing flaw, or a warp that your tone arm should never be subjected to, among other things.

I will also admit that I am more likely to play the dollar bin finds first than the new album I had been waiting for.

And if I find an album I want in more than decent shape that doesn’t have the right cover, I’ll take it with the hopes of making it whole one day.

When I’m done looking, I ensure whatever bin I’ve gone through is put back to neat and proper order, sometimes even refiling a record that has been misfiled.

I also never haggle with any sellers—I either accept the price on the sticker or I walk.

I don’t know if I have rules beyond that, other than I do try to listen to a few songs off of new releases before I ask for them because vinyl is egregiously expensive these days and it reduces the risk of disappointment.

I also try not to judge an album on first spin because some of my favorites took a while to become favorites.

But I have a lot so it is hard to be patient sometimes.

And I also believe in being considerate to all of the staff in any record store just as a general practice and not because I logged my own time working in one.

For all that, there are a few things I haven’t worked out to my satisfaction.

The biggest one is how many songs should I like to certify an album a keeper.

If I ever figure that one out, I’ll let you know.