2023 Recap: A Record Year

Around December of each year, usually influenced by the influx of Spotify Wrapped posts drifting around the internet, I take time to browse the records that I bought over the course of the year. This is a good time for me to reflect on how my year went; I am often transported back to how I felt, what was going on, and the situation surrounding each of my purchases and finds. One of the many reasons why I love physical media, and hold it in such high regard, is that very ability to take me back in time to a very specific feeling and moment. Whether for good or for bad, I truly think an end of year reflection is necessary to begin the New Year with a fresh and healthy mind. Whether you think you need it or not, closure is inevitable. Last year, 2022, was the first year that I wrote about my year collecting; I had no idea how much emotion and mental state played into my record buying habits until I sat down to write. I enjoy the act of looking back on the year, as well as writing about each album that cracked my Top 10 list. In last year's post I mentioned that 2022 had been my most successful and noteworthy year collecting, so it was difficult to choose just 10 records... if last year's list was biking across the United States, this year's list was climbing Mt. Everest. After countless hours laboriously compiling the list, and weighing hundreds of choices, I have settled on a year end list that puts last year's to shame:

Top 10 Finds of 2023:

John Coltrane, A Love Supreme (OG 1965 US Mono Promo, Impulse)

Wondering how I was going to beat last year's number one spot, which was occupied by Let It Be by The Replacements, I was surprised to find that I had at least three records that were worthy of this coveted number one spot. Ultimately, of course, this spot belongs to one of the most influential records of all time - John Coltrane's A Love Supreme - which also happens to be one of my favorite records. I will spare you any analysis of the record, for I am not skilled enough to justly review this Goliath of a recording, nor will I say anything that hasn't already been said a million times before. Instead I will point you in the direction of one of the many literary works dedicated to just that. Look them up and take your pick.

For those nerdy few curious about how I stumbled upon a promotional copy of A Love Supreme, which is undoubtedly the most valuable record in my collection, this find was truly once in a lifetime. For context, this record was found at the Austin Record Convention, which is a biannual convention held in Austin in May and October. This copy was found at the second event in October. At the May event I had found this original 1965 Mono copy for $50, whose omission from this list is a testament to how difficult it was to make.

I got to the convention about one hour after the doors opened on its first day. My approach to these conventions, as there are hundreds of vendors with millions of records, is to just go with the flow. I often have a shortlist of items I would like to find, but if I don't, who cares. I dig through any box or bin that seems interesting. I start off by walking down the second aisle and come across the distinct image of this album; it was set at the front of a blue transparent storage tote. It grabs my attention, and out of curiosity, I stop to take a look. Upon looking at the cover I sense that it is an original, or at the very least an early reissue, so I search for a price tag - nothing. I put it back in the tote and continue flipping. It becomes obvious that the cramped storage tote, a pretty obvious giveaway to regulars at the convention, is filled with a random assortment of music all priced at $10-$20. The majority of the tote was tejano music, with a few rock pressings from Mexico. This was the only jazz album in the entire tote. I ask the booth attendant how much for the record and he immediately gestures to his buddy who told me the price, "$20." Although I already had the aforementioned mono copy of A Love Supreme at home I did not hesitate to whip out a fresh $20 bill and hand it over. I checked to make sure the record inside did indeed match the cover; what I pulled out was a near mint white label promo copy in the original company inner sleeve, which nearly sent me into shock. I put the record back inside the jacket and walked away truly distraught. I spent some time looking the record up, as I knew a rough value, but nothing could have prepared me for what I saw. Throughout the day vendors would ask me what I had found - my reaction was to pull the record out, show them the label, and watch their jaw drop - to think that some vendors have been doing this for 40+ years and have never even seen that record in person is remarkable to me. I grapple with the responsibility that comes with owning this album. There can't be many of these left in existence, much less in the condition that mine is in. A nearly perfect jacket (with zero lamination issues that Impulse titles are infamous for), and a flawless disc. Listening to this album is an experience, and I want as many people to benefit from that. Keeping it for myself seems selfish, but then again, $20 is $20.

Rush, Rush (RP 1974 Canada, Mercury)

The number of people who will appreciate this find is on par with, or less than, the number of people who cared about the Coltrane story. Forever dwelling in the land of niche bands, Rush has yet to experience the level of recognition they deserve. Known for having an absolutely fanatic fan base, who side with topics of obscurity and geek-dom, Rush got their start in Canada in the late 60s. Although formed in the 60s, they are most known for the period of time following the release of their debut album, which came out in 1974. Striking out on getting signed in Canada, Rush self-released their debut on Moon Records, which was created and owned by their management company at the time, SRO. The original and true first press of this album is on Moon Records, but following the success of their music once introduced to the Cleveland airwaves, Mercury Records signed Rush. Sensing an opportunity to capitalize on their rising fame Mercury re-released their debut album using their label, which of course had far greater distribution and production levels than Moon. This particular copy is the 2nd overall Canadian copy, second only to the original Moon pressing. However, as this is the 1st Canadian Mercury copy, it still used the same Moon stampers (metal disc used in the record making process), meaning that it is nearly identical to the original. The only difference is the label on the record itself, as well as Mercury branding on the album jacket. In fact, this copy maintains the original color for the Rush text on the cover, as it was supposed to be red, but on subsequent pressings the color became a paler pink shade. It is rumored that roughly 3,500 copies of the Moon pressing were made, whereas 1,500 copies of this copy were pressed. Having both the Moon and this pressing on my want list, I came across this copy on Discogs which shipped from Canada. This find quickly became the crown jewel of my Rush collection and deserves second place on my list.

Townes Van Zandt, Townes Van Zandt (OG 1969 US, Poppy)

Who would have guessed that I would spend 2023 falling deeper and deeper into the Townes Van Zandt rabbit hole? The answer to that question may be obvious, but I never thought I would have ever crossed this one off of my want list. For those of you who are unfamiliar with TVZ, he was a singer-songwriter who wrote of pain, loneliness, love, and despair. Although not always depressing, his music has the innate ability to crush. Combining poetic lyrics with sublime fingerpicking, Townes mastered the art of story telling by way of beautiful and harrowing musical compositions. The pinnacle of his career, according to most listeners, came in 1969 with his self-titled third studio album. Included on this record are his most famous songs in their most well-known form; Townes struggled with perfectionism, and the overproduction of his first album led him to re-record songs throughout his career. The 1969 self-titled album is a more stripped down approach to his work, including four new takes on previously released tracks, which seemed to be what suited Townes the best. The album in its original form on the Poppy label has been near impossible for me to source. I have never seen it for sale in person, and when it pops up online, it's the cost of a rent payment. In late October I finally found a copy at a reasonable price, and it was accepting offers as it was graded low on the condition scale. I sent an offer that I expected the seller to decline, but instead was happily met with the Discogs invoice indicating that they had accepted my offer. Once I received the record in the mail I quickly threw it on my table only to be met with immediate disgust and regret. The record began skipping all over the place, which was not in the condition description on the listing. I messaged the seller and let him know of my experience, but that I was going to try to get it ultrasonically cleaned in hopes it would correct the issue. Luckily, the cleaning eliminated nearly all imperfections. This record, to this day, is still the most that I have ever spent on a single album. The number of times that I have played it, however, is probably the most out of all my finds this year. As it is one of my favorite albums front to back I hold absolutely zero regret for buying this one. Unless it is buried with me or handed off to future family members, this album will not leave my collection under any circumstance.

Television, Marquee Moon (OG 1977 Specialty Pressing US, Elektra)

Television, much like The Replacements, was a love of mine that developed in college. I became obsessed with the post-punk guitar tone that Tom Verlaine and Richard Lloyd put on display in Television, and I believe that Marquee Moon is one of the greatest albums of the late 70s. Sharing bills with Talking Heads and The Ramones at CBGB in New York City, Television grew to become legends that walked amongst legends. Influenced by heavy jazz legends, such as John Coltrane and Albert Ayler, Television utilized a dual-guitar approach that relied on counter-melodies, which created the interlocking sound that they became known for. When Tom Verlaine passed away in January of 2023, the entire scene felt the pain of his absence. I grabbed this copy online as soon as I heard of his death; it had been on my list for years, and because I feared secondary market prices would inflate (as they always do following a death), I succumbed and bought it online. I had yet to find a copy in store; the funny irony behind it all was that as soon as my copy arrived in the mail, I found 3-4 copies in various record stores within the next few months. Funny how that works sometimes. Regardless, it has brought me immense joy, nostalgia, and happiness reconnecting with a college favorite, and I play this record at least once a month.

Pearl Jam, Vs (OG 1993 US, Epic)

Although I was a big Pearl Jam fan growing up, I had never purchased any of their records until this year. One of the most difficult pills to swallow is that 90s music is notoriously hard to find on vinyl; the music industry was making a gigantic shift from cassettes and vinyl to CDs, so production numbers reflected that. Because of this, anything remotely popular in the 90s is automatically 3x more likely to fetch a premium when purchased on vinyl. For whatever reason, 2023 was the first year that I can remember finding original Pearl Jam records at reasonable prices. Vs is my favorite album by PJ, so when I came across a sealed copy at Waterloo Records in April I was very surprised. The notes on the copy said that it was sealed, but also that it was a reissue from 2003. Knowing that the only way to make the distinction between an original copy from 1993 and a reissue from 2003 is to check the inner gatefold for a specific line of text, I knew there was a 50/50 chance it was original despite the sales note. For the price this was a gamble I was willing to make. I ran home and broke the seal on what was a 30 year old relic; to my surprise, and luck, I had found an original copy from 1993. Obviously this was not sealed long, and it felt incredibly surreal to have the honor of being the first person to ever place a needle on such an influential and powerful album that is home to countless high-octane tracks, such as “Animal,” and “Rearviewmirror.” Having become my go to when testing out new stereo equipment, or wanting to amaze friends, I am so glad that I stumbled onto this record.

Jawbreaker, Dear You (OG 1995 US, DGC)

Perhaps one of the greatest records that single-handedly destroyed an otherwise powerful and promising band, Jawbreaker’s swan song, Dear You, is one of the most tragic examples of how the music industry shows no mercy. Having cut their teeth in the East Bay punk scene in the late 80s and early 90s, Jawbreaker was the rare example of a punk leaning band with something of substance to say. Led by the poetic genius of Blake Schwarzenbach, the band saw rapid success after the release of their third album, 24 Hour Revenge Therapy. The attention they garnered following took them from the dingy and pretentious DIY venue 924 Gilman St to opening for Nirvana on one of their US legs in support of In Utero. Seen as an act of selling out, although still on an independent label, Jawbreaker was banned from returning to 924 Gilman. Disheartened by their dismissal, especially by those once considered friends, Jawbreaker decided that they were tired of touring and recording under less than ideal circumstances. After signing to David Geffen’s label, Jawbreaker was given a massive bonus and recording allowance. After making the album that they wanted to make, the fans that they had earned over the years stopped supporting the band as they were on a major label, DGC. In severe instances of opposition, fans sold out multiple shows and sat with their backs towards the band as they played songs off of the new album, Dear You. Frustrated with the industry, fans, and themselves, the band entered a tumultuous period that reached its climax when Blake and Chris, the bassist, got into a physical altercation after a show. This led to a break up of the band, one that would last over 20 years. After reforming and making their return at Riot Fest in Chicago in 2017, the band has toured with some regularity and success within a niche group of punk fans. Because I was introduced to them while in college, long after the industry had blacklisted them, Dear You was the album that resonated the most with me. A true masterpiece of a recording, many fans and industry executives have expressed regret and remorse for exiling Jawbreaker; after all, the band was simply ensuring that they knew when and where their next meal would be coming from. This album is my most recent purchase, and it comes in the same year that I got to finally see Jawbreaker perform in San Antonio, Texas. I had been looking for an original for a while, but since many of them were destroyed (due to poor sales), and the already limited number they produced in the 90s, copies are hard to come by. A truly cathartic listening experience, if you listen to only one album from my list, please let it be Dear You.

De La Soul, 3 Feet High and Rising (OG 1989 US, Tommy Boy)

Occupying the one lone rap and hip-hop spot on my list, 3 Feet High and Rising is a masterclass in conscious flow, rhyming, and sampling. De La Soul is a hip-hop trio formed in New York in 1987, and consists of members ​​Posdnous, Trugoy, and Maseo. Having reached international fame and recognition following the release of their debut album, 3 Feet High and Rising, listeners grew to love their wordplay and skits that filled the space between tracks. I first listened to De La Soul after stumbling across them in college, and I was a quick fan. Their positivity and love presented on 3 Feet is apparent and plentiful making it almost impossible not to be instantly happy and smiling. Full of quotable moments, one-liners, and iconic beats, this is an album you need to put into your rotation immediately. I came across this original pressing at the record convention in October for a great price, albeit minus the original inner sleeve which featured a comic-style story. With a runtime of over 90 minutes, I was curious about how it would sound as a single LP. Surprisingly, it sounds great.

Nick Drake, Five Leaves Left (RE 1976 Terre Haute US, Antilles)

Nick Drake was another artist who lived in relative obscurity until years after his passing. Not truly appreciated while he was active, people caught on once they understood the mission he was on. Nick released three albums from 1969 to 1972, and would end up dying at the young age of 26 in 1974 due to an accidental overdose from his antidepressants. That should give you all the insight you may need on the material that Nick wrote and sung, and I implore you to see for yourself. Go in chronological order and start with Five Leaves Left, move to Bryter Layter, and finish your crying as you wrap up the somber Pink Moon. I found this 1976 reissue, but first US pressing, at Waterloo in September. It has University of Texas School of Communication markings on it, complete with organizational spine tape, so I can only imagine the number of students this depressed when it was played over KVRX’s airwaves.

Little Beaver, Party Down (OG 1974 Monarch US, Cat)

I first remember listening to Little Beaver (Willie Hale) in 2020, and Party Down was my introduction to his work. He specializes in an infectious funky-soul driven guitar sound that makes it near impossible to listen to while sitting down. Living up to its name, Party Down makes you want to move and party. I first had a reissue of this classic and sample-ridden album, but was always on the hunt for an original copy. After striking out at the record conventions and local record stores I finally pulled the trigger on a cheap copy bought through a discogs seller that had another album on my want list. I have zero regrets, as would you if you stop what you are doing and listen to this album.

Massive Attack, Mezzanine (OG 1998 Europe, Circa)

Rounding out my list is a downtempo classic by Massive Attack, Mezzanine. Massive Attack is an experimental/electronic group from England consisting of Robert Del Naja, Tricky, and Daddy G. They helped pioneer trip hop and are regarded as leaders and innovators in that and adjacent genres. In touch with the art and message behind the music, Massive Attack effuses a mysterious quality that hangs ominously over their work. I first fell in love with their 1991 album Blue Lines and quickly made my way through their discography. Incorporating samples into Mezzanine, Massive Attack borrows from the likes of Bernard “Pretty” Purdie, which gives the album a certain level of soul and depth. I found this original copy from Europe at a local record store in February and did not hesitate to pick it up. Standout tracks for me include the popular “Teardrop,” as well as “Inertia Creeps,” and “Dissolved Girl.”

If you endured all of that insufferable ramble, thank you! I enjoy writing about these things, and the pressure of people actually reading it does not affect me. If anything it serves as a tangible record of my life and experiences, which I am sure I will appreciate (or look back on with embarrassment) in the future.

Top 10 Honorable Mentions of 2023: Lee Morgan - Sidewinder (OG 1964 US Mono, Blue Note)

White Stripes - Elephant (OG 2003 US Journalist Only Promo, V2/TMR)

Townes Van Zandt - At My Window (OG 1987 US, Sugar Hill, Signed by Townes)

Miles Davis Quintet - Workin' (OG 1960 US Deep Groove Mono, Prestige)

Townes Van Zandt - Live at the Old Quarter, Houston, Texas (OG 1977 US, Tomato)

Karen Dalton - In My Own Time (OG 1971 US, Paramount)

Johnny Cash - American IV (OG 2002 US, American Recordings)

Link Wray - Link Wray (OG 1971 US, Polydor)

A Tribe Called Quest - Midnight Marauders (OG 1993 US Green Frame, Jive)

De La Soul - De La Soul is Dead (OG 1991 US, Tommy Boy)