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The Cultural Importance of Vinyl

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Source: Studies in Popular Culture

“‘To Renew the Old World’: Record Collecting as Cultural Production” by Professor Kevin Moist was published in the journal Studies in Popular Culture in the Fall of 2008. The piece explores the idea that record collecting is more than just a hobby, serving as both a form of cultural expression and preservation. Moist attempts to convey this view to a scholarly audience through the use of individual stories of record collectors and communities. 

Moist writes this article in order to bring light to the importance of self-expression through art and creativity. He analyzes the vast variety of vinyl record collectors and how they all share a collective appreciation for past and present artwork. 

One collector that the author writes of is Harry Smith, a key archivist and spokesperson of 20th century American culture. He was able to gather over 20,000 records over his lifetime, preserving many songs that would have likely been lost to time. In the 1950s, Smith released an anthology of American folk music in LP format called the Anthology of American Folk Music, which would later become a major influence in the revival of folk music. Smith stated that, “The whole Anthology was a collage. I thought of it as an art object.” Through creating a system of cultural organization, Smith was able to curate a piece of art from art itself.

Source: Smithsonian

Professor Moist applies this story to a greater population, arguing that Harry Smith was fully aware that his work would be of great influence upon future culture. Reviving musical artwork of the past led to a renaissance of renewed creativity. One study that motivated this article’s study on the significance of Harry Smith’s anthology was Eric Weisbard’s “The Folk Slingers: Alan Lomax, Harry Smith, Bob Dylan, and the Shaping of an Ideal.” The article examines how folk artists, influenced by Harry Smith’s revival of folk, changed the American folk scene.

I find Kevin Moist’s article to be of great relevance to my own research. The purpose of this blog, according to my subtitle, is to “explore the obsession of vinyl record collecting,” and I think this article gives great insight into a few of the many reasons why people collect vinyl. Vinyl records contain an inherent link to the past that greatly supports artistic expression in a physical manner. I think this is why so many individuals are drawn to the idea of preserving and sharing these records.

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What Does ChatGPT Know About Vinyl?

(ChatGPT, produced 4/1/2025)

Today I was given the task of questioning the AI chatbot, ChatGPT, about vinyl records and record collecting to determine whether AI truly knows what it's talking about.

When asked about the process of how to play a vinyl record, ChatGPT honestly hit a homerun. The chatbot explained the process to a T, providing an answer that was way above expectation. It even included information about how to properly store a record once done listening. It also surprised me with its knowledge of different rotations per minute associated with different styles of records. The chatbot stated, “Check that the speed is set correctly—33 1/3 RPM for LPs (long play, usually 12-inch records) and 45 RPM for singles. Some older records might need 78 RPM, but those require a special stylus.” This is all correct, according to my knowledge.

It began to seem impossible to get ChatGPT to give with just one mistake until I asked this question: “What was the first song released on a 33 1/3 record?” The chatbot responded with, “The first song ever released on a 33 1/3 RPM vinyl record was The Voice of Frank Sinatra, released by Columbia Records in 1946.” This response was close to being correct, however, this album was actually released by Columbia Records in 1946 as “a set of four 78 rpm records”, according to Wikipedia. The first 33 ⅓ RPM record was actually released by Columbia Records in 1948 and was called Mendelssohn's Violin Concerto in E Minor, also according to Wikipedia.

Overall, I am very impressed with ChatGPT’s capabilities. I made sure to give the chatbot a good scolding about its mistake, so hopefully the next user to have the same question will not be met with the same misinformation.

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Taylor Swift - Trend Exploitation?

Source: Northeastern Global News

Within the last 5 years or so, Taylor Swift has successfully utilized the rising popularity of vinyl records to drastically boost her album sales. With the release of her album The Tortured Poet’s Department in April of 2024, Taylor was able to sell 859,000 individual vinyl records. According to Herb Scribner of The Washington Post, this sale was “the largest of any vinyl album in the modern era, per Billboard.”

With this great success came some mixed reviews, with Chris Richards of The Washington Post critiquing the album as “sour theater, fixated on memories of being wronged and stranded, sodden with lyrics that feel clunky, convoluted, samey, purple and hacky.”

Taylor’s success in vinyl record sales can be partly attributed to the multiple editions she releases for each album. For her album Folklore, she released nine different color variants, while her next album, Midnights, had six color variations. Keep in mind that these albums are practically identical sound-wise, with slight changes in color design and imagery on the cover and vinyl itself. 

Source: New York Times

Fionnuala Boyle of The Daily Record states that “more than half of fans own multiple copies of the same Taylor Swift album on vinyl, with some super fans possessing up to eight copies of a single album.” Reporter Ben Sisario theorizes that this growth in physical media obsession amongst fans is a “global phenomenon, driven in part by the far greater revenues that artists can earn from physical products in the age of streaming, when per-click royalties are infinitesimal.”

A controversial issue that has risen amongst both fans and critics of Taylor Swift is the environmental impact of her mass vinyl production. According to Fionnuala Boyle, the average vinyl record is “manufactured from polyvinyl chloride PVC, widely considered to be among the most environmentally damaging plastics.” She also states that a research study by the University of Glasgow found that 1 in 4 fans of Taylor would consider purchasing plastic-free, physical media alternatives.

Source: plastic expert

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A Review of Record Store Days

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Source: The Christian Science Monitor

Record Store Days is a non-fiction book written by music producer Gary Calamar and writer Phil Gallo, published in 2010. It features stories and interviews about record stores, offering firsthand accounts of both old and new shops worldwide. Through presenting these experiences, the authors highlight the enduring culture of record stores, emphasizing their resurgence and growing prominence in today's music scene. Casual dialogues and personal anecdotes from the authors and their interviewees highlight the relationships that can be forged through record stores, resonating with both vinyl enthusiasts and a broader audience.

Record stores have been around longer than most can remember, serving as hubs for bargains, entertainment, and community. The book states, “Without record stores, there would be far less joy in our lives. We’ve tasted their transcendent buzz, and are now joyously addicted.” Even the decline in vinyl's popularity during the late '80s and '90s could not keep record stores down, as vinyl made a legendary comeback in the 21st century. 

In the chapter “Vinyl Revival,” the authors share a story that reinforces the idea that record stores have not faded away in the last couple decades, but have instead flourished. This story takes place in 2009 at a wine and beer bar called El Prado in the Los Angeles area. After closing for the night, the local vinyl record store named Origami had set up shop in this bar. They were ready to begin their weekly record club session. Favorite albums were passed around and listened to, creating a scene that was “clearly united by a love of vinyl records.”

Source: The Vinyl District

This club event was the ninth in a series hosted by Neil Schield, the owner of Origami Records. A variety of music genres filled the air, including classic rock, hip-hop, and electronic music, drawing in hipsters, bands, and local fans from the streets. Schield states, “It gets people excited about the music.” He also references his use of Twitter to blog and share the event in real time, bolstering a sense of community and following within his community and abroad. The authors cite the desire for community as a key driver behind the growing number of record stores and record sales in the 21st century, with many artists and entrepreneurs capitalizing on this emerging trend.

Another chapter that stood out to me was "Dancing in the Aisles," which focused on in-store performances, also known as "in-stores." These shows were originally created to showcase up-and-coming bands, providing a significant boost to both the artists' sales and the host record stores’ business. These shows were once an essential part of an artist’s growth, but gradually declined in popularity over the years, alongside the supposed "death" of vinyl. Together with the revival of vinyl in the mid to late 2000s came a resurgence of in-stores, such as the legendary concert held by Paul McCartney at Amoeba Music in Hollywood on June 27, 2007.

Source: The Screen Door

I find Record Store Days to be a great testament to vinyl record collecting and the community it fosters. In relation to my research topic, it provides a deeper understanding of the ever-growing passion for vinyl record collecting and why it can become such a deeply personal experience. Humans are naturally social beings, and in an age where digital isolation is common, vinyl collecting offers a way for people to engage in meaningful interactions and build connections with others who share the same interest. 

It is worth mentioning that this book is highly enjoyable to read, packed with exciting images, insightful quotes, and meaningful sidebars. Every page looks different from the next, creating an engaging atmosphere for the reader. A lengthy index is also included, allowing readers to easily find stories about specific artists or record stores. Additionally, photo credits are provided, adding a layer of appreciated authenticity.

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From the Source

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Photos courtesy of Mark Goodwin

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I recently had the pleasure of getting in touch with Mark Goodwin, the manager of Young Ones Records in Kutztown, Pennsylvania. I’ve become somewhat of a monthly visitor of the shop, seeing Mark every other visit, so I knew he would be the perfect guy to reach out to with some questions about vinyl records. 

Growing up in Wales until he was 10 years old, Mark states that he always had a love for music. He shares, “In 1980, I told my mom I wanted Adam And The Ants : Prince Charming. We hopped on the bus and went to the nearest record store to buy it. In the later 80’s and 90’s I shifted to mostly cassettes and CD’s, however I did keep buying some records here and there.” 

Since then, Mark has amassed a collection of around 1,200 LPs. About 150-200 of these records fall into the category of movie scores, which he says “gets played the most at home.” His favorites are horror, fantasy and sci-fi scores, with Halloween III by John Carpenter being one of his coups de cœur. When asked about his all-time favorite album, Mark declares Master Of Puppets by Metallica, of which he owns an original pressing. He also cites Reign in Blood by Slayer as a close contender, admitting, “to pick out a favorite album is really tough. I grew up with metal, punk and hardcore, then shifted to liking other genres also.”

After inquiring about Mark’s relationship with vinyl, I decided to hit him with the long-debated question of whether vinyl records sound better than digital or CD formats. He responded with, “People will argue this until the end of time.” According to him, what really matters is the quality of the device the music is being played through. For example, “A Crosley turntable with built-in speakers isn’t going to sound better than a “Boombox” CD player. A boombox isn’t going to sound [as] good as a CD player / turntable with receiver and speakers. Then turntables can sound different, cartridges on the turntables, receivers / amplifiers can sound different, speakers can sound different. It all comes down to what is entering your earholes.”

Mark explains that vinyl itself is nowhere near a perfect medium, referencing the crackles and pops that many records inherently present. He notes that he owns a mostly vintage stereo system that he has built over the years, which he favors for its “warm” sound. What he loves the most about vinyl is how it practically “forces you to experience [the] artist’s full picture.” The inability to skip tracks, coupled with the ability to peruse the physical artwork and liner notes of each album, is what makes the experience unique for him.

When asked about the recent rise in vinyl’s popularity, Mark recalls exponential growth over the past 20 years, with the first Record Store Day taking place in 2008. He recollects the initial fall of vinyl, stating, “The end of the 90’s and early 2000’s saw the emergence of the online music sites, such as Napster, and formats such as MP3’s really started to change the music scene. The “collector’s market” had cooled and many stores were struggling.” Mark theorizes that what brought back the love for vinyl was the introduction of limited edition colored vinyls and a “backlash to online media from people who wanted physical copies of an album.”

One aspect of vinyl collecting that I find myself constantly revisiting within this blog is the growing obsession among younger generations. Getting Mark’s perspective on this was of great interest to me. He infers that “the parents' love of music has something to do with it. Music has never stopped. And again, it is something to collect. There’s a good chance that a black/green splatter colored record will rise in value, as long as there aren’t many made, and the owner keeps it in good shape. And it’s fun to show your friends.”

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Special thanks to Mark Goodwin for his insight and to Young Ones staff for passing on my inquiry.

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Vinyl by Alan Zweig

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Source: IMDb

Alan Zweig’s documentary, Vinyl (2000), explores the hobby of vinyl collecting not from a physical angle, but from an obsessive, social perspective. Zwieg attempts to bolster his theory that collecting may be sourced from deep rooted emotional issues through both brutally inquisitive and inciting interviews. He does this in order to bring out the harsh truth from his interviewees that the passion of vinyl record collecting may not always be sourced from the love of music. Through his use of casual and deeply personal rhetoric, Zweig attempts to connect with his viewers and fellow collectors, aiming to incite self-awareness amongst them.

There is no doubt that vinyl record collecting can be a very rewarding and meaningful endeavor. Many collectors pursue this hobby for a variety of reasons, such as the thrill of searching for a record they do not yet own, or for historical and archival purposes. However, is this really all that there is to the obsession of vinyl record collecting? Based on Alan Zweig’s personal experience and the stories of the individuals he encounters in his search for the truth, collecting may have a darker meaning than what appears on the surface.

Alan Zweig starts off his documentary with a quick, goofy introduction of himself. From the beginning, he goes about his presentation with a very self-deprecating, relatable vibe. Being a vinyl record collector himself, he understands what it is like to experience the excitement of growing a collection. At the same time, he states his desire to free himself from the physical and social restrictions that come along with it.

Getting to the meat of the subject, Alan Zweig starts off his interviews with a wide variety of collectors with collections varying from hundreds to thousands of individual records. He begins his interrogations with an air of neutrality, asking basic questions about favorite records or collecting practices. Zweig then quickly transitions to chipping away at his interviewees with intensely personal questions and accusations in order to get an emotional response. 

Source: MUBI

A recurring theme that seemed to come up in many of Zweig's interviews was the idea that collecting may be sourced from parental abuse or neglect, creating a need for affirmation and belonging. Record collecting allows for a sort of distraction from self issues, a form of denied self neglect. Collecting may be fun, but it can quickly become an expensive, compulsive, complicated way of living. An aspect of vinyl collecting that was not necessarily discussed within the documentary, but was unavoidably visible, was the sense of elitism and superiority that many collectors presented. It is clear that many collectors have a desire to be seen as unique or different than others. This could be sourced from many things, including loneliness or a lack of identity.

On the other hand, one interviewee stated that collecting had become a form of self-improvement for himself. However, after being pried at by Zweig, admitted that he also sees collecting as a ritual of escapism that can easily be used as a form of emotional avoidance. Another one of Zweig’s interviewees stated that, after he sold off his entire record collection, he felt as though he was able to take his life back and pursue more meaningful hobbies. His obsession with vinyl record collecting had become his life’s meaning.

This documentary was truly an eye-opening experience, as it made me question a bunch of my own personal reasons for record collecting. It made me realize that vinyl records can just as easily become a vehicle for social connection as they can for social isolation. As this documentary was made in the year 2000, it makes me wonder how different it would be if it were filmed today. A whole generation of collectors was not even alive yet at the time of production. Nostalgia is often stated as a major driver for many vinyl record collectors, but how would this apply to a generation that missed out on said nostalgia?

[dabobba]

Recent Pickups!

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Here's a pic of some vinyl records I recently grabbed at my local farmers' market and record store!

On the left is Lou Reed's "Transformer." I really enjoyed this album, as it was a very unique listening experience with amazing storytelling and depth of sound. My favorite song off of this one is without a doubt "Take a Walk on the Wild Side". David Bowie was involved in the production of this album, and you can really hear his influence within the piece. Lou Reed's vocals can be a bit off putting, but you will quickly realize after a few songs into this album that the message is the real focal point.

The album in the middle is "In the Heat of the Night" by Pat Benatar. I was honestly blown away by the range of vocal styles that Benatar utilized within this album. I would say that most people are familiar with her upbeat, more aggressive tone that she uses within her popular song "Heartbreaker". It was a delightful surprise to hear her more delicate side. I hope to come across more of this style listening to her other albums, as it was a nice change of pace.

On the right is “Green River” by Creedence Clearwater Revival. Creedence is one of my favorite bands, so whenever I see one of their albums out in the wild, I absolutely have to grab it. This album is one of their more popular releases, containing the hit "Bad Moon Rising". I highly recommend listening to this album in one sitting. The album's funky folk style, combined with its legendary guitar performances, makes for a fun experience.

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Marc Maron Profile

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Source: Craft Recordings

This is Marc Maron. He is a comedian, actor, and writer, well-known for his podcast WTF with Marc Maron. According to Vinyl Me, Please, Marc has an intense passion for music and has been involved in the vinyl record scene for many years. Not only is he an enjoyer of vinyl, he has released many of his stand ups and other comedy specials in record format. Even though Marc met many financial challenges to release his content on vinyl in the past, he pushed for their production due to his love for authenticity.

So, what’s so special about the vinyl record format? Marc states that “The idea of analog, even with its crackle and pops, the idea of this sound being pulled off this rotating disc through these other elements, I think there's integrity to that, as opposed to this mystifying sequence of zeroes and ones that make that digital sound. I have no idea how the hell that works. It seems detached, inhuman.” 

Source: The Guardian

The first time Marc noticed the real difference between digital and analog format was when he listened to Lou Reed's “Transformer” on a high-end tube amp. What stood out to him was how each and every sound was noticeably separate from one another. In contrast, most modern music formats are designed to be ultimately compressed and as loud as possible for busy commutes to work.

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Nostalgia Has No Bounds

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While vinyl records can be a real pain to haul around, I find them to provide a great sense of connection to the past. In the modern age, where any and every piece of entertainment is contained behind an ageless screen, being able to hold a piece of physical history in your hands can feel like a breath of fresh air. Personally, I feel as though I've hopped into a musical time machine every time that I pick up an old record.

In my introduction post, I mentioned the ever-growing cult following that the younger generation has formed around vinyl the last decade or so. I have always wondered if this interest could be a form of pseudo-nostalgic connection to a time that was never experienced.

Source: The Times of India

According to writer Jim Juliano, "Looking through an LP collection is a great deal like looking through a family photo album." Not only does vinyl collecting present a way for the younger audience to connect to the past, I think it also creates a sense of detached belonging.

In a future post I hope to explore the idea of "soul scratches" and the personality that every used record carries.

Source: FreeRange

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Electrical Perfection

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Source: The Wall Street Journal

Record collector Takeo Morita went all out to secure the cleanest level of sound by installing a personal utility pole next to his home. He believes that powering his record player system from his local community's pole results in "music filled with noise."

I find this notion to be a bit reaching, but I respect the intention. Such "electrical impurities" would most likely be filtered out by Takeo's over-the-top system, let alone an average record player bought off Amazon. However, this is the perfect example of how far hardcore audiophiles will go to achieve the ultimate listening experience.

Source: The Wall Street Journal

According to Takeo,"Electricity is like blood. If it is tainted, the whole body will get sick."

I cannot deny that high-end sound systems enhance the music listening experience, but you can only go so far pushing the boundaries of electrical physics.

[dabobba]

This blog has a lot in common with my own in how it discusses a drift from traditional, physical forms of music. Even though my blog focuses more on the reasons as to why physical media is making a comeback, I think the connection is still there. Times are changing, and methods of music production and consumption are always evolving.

I really like your topics! I am excited to see where this goes.

Guitar riffs & licks

I originally planned to kick off this blog by talking about the evolution of music and how technology has shaped it. But then I realized there's one thing I've been thinking about a lot lately: how technology has changed the way we play guitar. While it’s made playing more accessible, it also seems to be shifting the focus away from mastering traditional techniques.

Thanks to digital tools, apps, and learning platforms, more people than ever can pick up a guitar and sound decent in no time. But in a world where you can learn a solo with the help of a tutorial or an app, are we losing that raw, hands-on experience of actually mastering the instrument?

This blog isn’t going to be about arguing whether tech is good or bad for music—it’s more about how these advancements have made guitar playing easier, but might also be taking away from the deeper skill and connection that comes with traditional methods.

Music always reflects the culture of its time, and guitar playing is no different. So, let’s dive into how these changes are shaping the way we approach the instrument and what it means for the future of guitar playing.

[dabobba]

Beyond the Groove

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I originally intended to start this blog with an explanation of what vinyl records are, along with a lengthy description of their history. However, I quickly realized that this wasn’t necessary, as the popularity of vinyl records has absolutely skyrocketed over the last decade or so. It seems like almost everyone I know owns a record these days. Many of them don’t even own a record player!

Keeping that in mind, my intentions with this blog are not to inform you of the origins or physical characteristics of the record, but to explore the reasoning behind their growing obsession amongst many collectors.

So what’s so special about collecting vinyl records? Some may think that it’s the flashy covers or “wanna-be-hipster” aura that draws people into collecting them, but I think that it’s something deeper.

Modern, digital media has lost its connection to the physical realm, leaving many music enjoyers craving a tangible listening experience. I believe this desire, combined with the common obsession with collecting, is a major factor behind the ever-growing stacks of vinyl filling many Gen Z-er’s cramped apartments.

Source: KnowYourMeme

In this blog, I also intend to examine the vinyl record market and explore what makes it so enticing to the average vinyl junkie. According to American music journalist Brett Milano, it's the "Love for the music, love for the artifact, the thrill of the chase..." that keeps collectors collecting. I know from personal experience the euphoria that comes along with discovering an absolute gem after digging in record bins for hours. Finding that album you’ve been endlessly searching for just scratches an itch that is hard to explain. 

Source: The Vinyl Vault

A major contributor to the growth of vinyl collecting is the sense of community it fosters. In the increasingly digital world that we live in today, it can be a challenge to find physical communities outside of the internet. However, vinyl collecting has created many opportunities for people to come together and enjoy a common interest in both public and private settings. Roy Shuker suggests that record collecting establishes “a core component of individual social identity”. This sense of identity is further strengthened through online forums, record stores, and fairs, which connect collectors on a larger social scale.

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Brian, a vinyl record collector native to Britain, shown with a portion of his massive collection.