A few weeks back, I was interview by The Ringer’s Justin Sayles for an article he just published about the last 20 years of crate-digging and sample-based production since the release of DJ Shadow’s Endtroducing. It is a sprawling long-form essay that covers a great deal of territory and I suspect it’d be of great interest to many of the readers of this site.
At the essay’s end, Sayles includes this section based around our convo:
Wang says that the internet has been both an “asset and a liability” for the world of crate digging. Yes, it’s had an effect of diluting hyperspecialized knowledge, making years’ worth of collecting accessible to anyone who can get online, but it has also brought together like-minded music aficionados to share knowledge, and has connected people with, for example, a rare LP a collector in the United Arab Emirates is selling.
That last line is specifically referring to an album I last wrote about in 2008: Manu Dibango’s African Voodoo (I re-upped the sound files for it today). I did, indeed, buy the album from a seller in the UAB that I was connected to via the old GEMM.com. For a long time, it was the closest I came to having anything approaching a “come up” story even though, in the grand scheme of things, “finding a record for cheap on the internet isn’t exactly the stuff of legend.1 In any case, what I had forgotten about was what I wrote in that 2008 post:
Why not post this earlier? I actually had planned to at one point but then noticed it had shown up, in full album form, on other blogs. That took the proverbial wind out of the sails, not just because I’ve been beaten from the punch (which I could care less about) but rather, once a $400 record becomes just another download, part of its unique magic dissipates. Under those circumstances, I’d rather post up something more meaningful to me, personally, than “check out this rare record I have” (especially when it’s not so rare once it becomes more mass available). Ah, but such is the reality of music going online.
Again, I wrote that in ’08 and I suspect many folks would have already begun feeling the same way back in ’98. My point here isn’t to rehash the debate but rather to point out that we’re still having it.
Sayles’s article doesn’t arrive at any clear conclusions and that seems exactly right: the internet is still transforming how we accumulate and disseminate both knowledge about music and the music itself. My own site embraces part of the irreconcilability of it all; it’s a digital space inspired by old analog ephemera and the existence of that site might be helping contribute to both/either the scarcity of that ephemera (as collector’s items) or its greater distribution (via comps, reissues, digital releases, etc.) The only thing I can say is that I should have posted African Voodoo earlier than 2008; I was too self-conscious back then and it is a great album and worthy of notice regards of how many other blogs posted about it back then.