Record Store Day 2024?

When records were reasonable I would go to purchase but now the prices are so high I only purchase used or in the case of things I really want have started buying the CD versions.

RSD has become quite the money grab.  I went with the ''Talking Heads Live '77' and the 'Yardbirds B sides' titles.  Other items looked promising, but were prohibitive in their pricing.  Unfortunate.  

I didn't bother going to Rough Trade Records in NYC.  Was able to order directly from them on Sunday morning.  Fulfillment took a few days, as opposed to taking weeks in previous years.

Rich 

I’m no fan of Record Day.

No way in hell would I wait in a line to get anything, go in a crowded store, especially a crowded record store, and I buy what I want, not whatever they choose to promote.

Oh yeah, did I mention I don’t like people much? My wife, her twin sister and niece have an annual garage sale in OUR driveway. I'm not allowed to be there because I basically want to tell the customers to "get off my property".

RSD, nope; not my thing either. With digital being so good, I am no longer buying every record that comes out wrapped with marketing BS. Space is limited and the record has to be very special to occupy my shelf space. 

I'm good with RSD, though I don't go to the stores; I'm not one for queuing up. I tend to buy titles the following day from stores selling them online. Just got a Wall of Voodoo Live album from 1979.... 

Yep, the prices have certainly crept up, higher each year. Here are the prices for my titles:

- The Bottle Rockets: $48.99.

- Gene Clark: $49.99

- Lowell George: $36.99

- Chris Isaak: $38.99.

- Tommy McLain: $25.99

- The Ramones: $26.99

- Mavis Staples: $40.99

- Television: $32.99

- Sister Rosetta Tharpe: $50.99

- and the Sweetheart set, as I said $79.99. But as Norman Maslov said in his YouTube video on RSD 2024, that's cheaper than tickets to the show were.

Many of the titles were double-LP sets, but still.....There were other titles I was interested in, but not enough to pay the price required to acquire them. At least Oregon has no sales tax. 😉

To each his own. A Portland buddy and awesome dude @spiritofradio was gracious enough to pick up the Dead box and L George for me as i toiled in line in California sunshine at Lou’s in Encinitas….

Fun…

@tomic601: At least this year it wasn’t raining in Portland!

Did my shopping online next day. I wanted that Chris Isaak but it was not to be. I got the Television At The Academy and was very impressed. 

Wilco " The Whole Love expanded" 

Got several more.

@slaw: I too missed out on the Chris Isaak 2-LP set in Millennium Music (by the time I was in the store it had already sold out.). I bought my copy online the day after RSD, from The In Groove in Phoenix Arizona. This 2-LP set is already out-of-print, a sure design of a future collector's item.

Not my cup of tea. It’s not a celebration of vinyl or music. It’s record labels trying to fleece buyers. It’s probably 50/50 (perhaps a generous estimate) that the pressings sound any good. Usually it’s a trumped-up exploitation of the idea of “exclusivity” even though they often get released a few month later anyway…so much for “RSD Exclusive”…it’s really a racket. Poorly-mastered cast-offs (live shows, a 45 that includes some cover of some song, a cover you could find digitally for a fraction of the price, etc.), or just reissues with really nothing special about them at all. Some cute little box set of 45s, nothing one couldn’t get at a fraction of the price in a digital format without the hassle of standing in line for a long time, only to pass the gauntlet of Black Friday-esque, manic, elbow-wielding shoppers taking the last copy of one of the 2 or 3 overpriced things you were somewhat interested in.

I’ve never met a record store owner who likes it. I’ve only heard commentary that expressed resentment. They said no matter what you order, you’re always stuck with whatever they ship you, so you can’t tell customers who want certain RSD releases that you’ll have it, because you won’t know until you open the box when the order comes in a few days before RSD.  
Lots of customers come expecting to get a certain RSD release and get nasty when they don’t have it. If a record store just decides to pass on Record Store Day because they just want to skip the hassle and stress and not get stuck with a bunch of over-priced stock they can’t sell, people show up and get really poopy when you tell them, “sorry, we didn’t participate in Record Store Day this year”; now the store owner is dealing with the bad blood being spread in the community by the one customer who never really goes to the store anyway but just showed up that one day because it was Record Store Day telling everyone what a “bad store” they have.

Didn’t make it to a proper record store.

But, the chain store in the local mall got a bunch of titles, and I found a copy of Everybody Digs Bill Evans.

Was surprised to find it there. Plus, they had  20% discount if you spent more than 100.

So, naturally, I picked up so other records - not from their other RSD titles however.

I think the pricing and artificially created scarcity of RSD are obscene. 

I haven’t been to every RSD but I’ve been to several. Been to large stores that go all out and a small store that participates grudgingly. One year, at the small store, I was there to get an obscure record I was sure no one would want. There were 9 of us in line before the store opened. The couple that was first in line had a good-sized box with them. When the store opened, they ran in, to the table that had all the releases and basically raked every single one into the box. I was shocked that they got out of there in one piece.

Every criticism I hear of this event is valid. I think the best way to handle it would be this:  when the list is released, allow customers to order one of each, pay for it, and then select a participating store to have it sent to. Pickup has to be on RSD. This solves the problem of having to show up real early, wait in line, and wondering if you’ll even get what you want. The stores won’t be stuck with unwanted, unsellable stock, and customers will still show up on RSD to pick up their orders (which is the main purpose, to get people into the stores) and at different times of the day (most stores, it’s pretty much over two hours after opening).

Thoughts, comments, suggestions…..

yeah, the limited quantities is like door to door salesman telling you, "if my manager approves": .... nasty, insulting treatment of customers.

@nicholsr - I think there is much sense in your suggestion. It's not that different from how some ticket sales are handled by certain artists and/or venues who try to minimize scalping...

I know a couple of the founders of Record Store Day, and a current Project Manager. To me, RSD has lost its focus. What started as an event to save Independent "Mom and Pop" new and used vinyl shops, similar to "Black Friday" for major retailers, has now become a cash grab by the labels by intentionally limiting the supply of highly hyped releases and charging ridiculous prices for those scarce releases. The sad part -- MANY of the releases are never opened, much less played. They are bought by groups who camp out at the stores, and immediately turn around and sell them for double, triple, or higher prices to "collectors" who couldn’t give a shit about the music, they are banking on it being an "investment".

I stopped attending RSD years ago when the music fans began being replaced at the front of the line by "scalpers" -- just like the current system for trying to buy concert tickets anywhere but the small venues all around the Country. Ticketmaster "bots" guarantee that the best seats are gone within 2 minutes or less of when the ticket sales begin. Then, 5 minutes later, every ticket reseller site on the Internet have the best seats relisted for sale at 5 times face amount or higher. That’s why I only go to clubs that have capacity of 500 or less. It’s the only way to see a live concert for under $30. I fear that the Record Store Day is almost that far gone...I hope I’m wrong.

Rather than initiating a new thread, I believe I’ll post this video of Mazzy reporting from the Austin Record Show here. I assume this video will result in people who think LP’s in general---and "collectible" ones in particular---are nonsense expressing their disapproval.

Mazzy, by the way, characterized the $79.99 price for the Sweetheart Of The Rodeo 2-LP set as "obscene", but bought it anyway. Kinda like buyers of ultra-high priced hi-fi equipment.

mixed emotions for sure…. blessed to be able to go and buy or not buy…. as i choose… possibly it has outlived its founding purpose. Carry on.

@bdp24 We got to hang this year. i’m hosting a gig during Pacific Audio Fest. Do be in touch. Some great Portlandia connections 2. it didn’t rain in SD but i met the dude who does the art for my watering hole / music venue…. scored a copy of his 1974 BB concert poster…. oddly he also sees fit to do a local to Lou’s RSD poster…. 

Music Millennium has copies of some of this year’s titles still available, and even some from Black Friday RSD 2023. MM has store-wide sales throughout the year, so one can wait and buy then at 15-20% off retail.

Let me anticipate a post from those who will accuse me of having financial ties to Music Millennium. I don’t, other than having bought records at the shop since discovering it’s existence in 1976. In 1977 I bought a copy of the Sex Pistols album at MM (the UK pressing with a blank back cover) for ten bucks or so, and the album now sells (in Near Mint condition) for $300-$400.

How much are your downloads worth? 😉

downloads = Asymptotic about zero $€£¥…

Most RSD shops i’ve been to in 4 states (  so far…. ) have had prior year inventory of some kind…  Dr Freecloud has a decent sized prior RSD 50% off bin… which yielded a nice sealed 2x Jerry Garcia - Ragged but Right…..

@tomic601: Jim, I recently picked up a copy of the Old & In The Way LP. I bought it when it was released in ’75, but didn’t consider it good enough to keep. The recorded sound quality was certainly top notch, however. When I saw it on the wall at one of my favorite local used LP shops at a bargain price I decided to give it another chance, 49 years later. 😁

I know Garcia loves Bluegrass and Hillbilly music, but I just don’t think he’s very good at playing or singing it. Okay, I admit my standards are rather high, but David Grisman alone is worth owing the album for. I have a bunch of David’s albums, some including the playing of upright bass by a guy who was in the same San Jose cover band as I, though at different times.

In ’71 Todd Phillips was exiting the band just as I was entering, to concentrate on learning to play mandolin. He went up to Marin to take lessons from Grisman, who told him that there were plenty of real good mandolin players, but a dearth of upright players. Todd took David’s advice and learned upright, good enough to work with the cream-of-the Bluegrass crop, including Tony Rice (not to mention Grisman himself). Damn!

I jammed with Todd in San Jose in the early-2010’s, so I know what his bass should sound like when reproduced. Demo material!

Here’s a different perspective on RSD. 
1. no question that some record companies use RSD to generate dollars on some possibly questionable releases.

2. That said, no one is required to buy anything. If the record is worth the price to you, buy it; if not, don’t.

3. I appreciate the opportunity to buy/hear unreleased recordings, especially live recordings, of bands during historically important times. A good example from RSD 2024 is the Doors release from Sweden, which shows a very good working band on its first visit to Europe. Numerous similar jazz recordings are released on RSD every year and many are high-quality releases that offer unique insights into their careers.

4. Regarding the “limited edition” discussion, I’m sure some companies use this to create scarcity and justify high prices. However, why would a record company produce only 5,000 (or 2,500 or 1,200) copies of a record if they thought they could sell 50,000 or 100,000 or more? It’s way more likely they know the release will have limited interest and so produce a number in line with their expectations. 
I generally buy 5-6 RSD releases and I appreciate the opportunity to hear rare often extremely good recordings that would likely not be available if it weren’t for RSD. I also pass up releases that I think aren’t likely to add to an artist’s legacy or that I think are unreasonably priced. 
 

Just a bit more food for thought!

I'm not going to complain. Glad to have another option.

@slaw: And a good opinion it is Steve! Thanks @aheydorn, you make excellent points.

Yep…good constructive points…. @bdp24 yep… i have a fair bit of the various Grisman / Garcia collaborations… enjoy them…

I try to get a steady diet of acoustic bass and upwards…. harmonic textures extend heavenward 

Jim, I enjoy knowing that Jerry had been playing acoustic (guitar and banjo) around the Stanford University campus in Palo Alto only a coupla years before I started playing at that school’s frat parties in ’68. Those frat boys know how to party, and have the money to do it.

I saw The Dead live in the Summer of ’67, performing on a flatbed truck in the Panhandle of Golden Gate Park (along with The Airplane and Country Joe & The Fish). At that time they sounded like a Garage/Biker Band, and a real good one. They didn’t yet display the effects of LSD in their music (extended improvisation), sounding more like they were drinking and taking little white pills. 😉 And you would never know Jerry had been playing acoustic music only a few years earlier. It wasn’t until the Workingman’s Dead and American Beauty albums (both released in 1970) that their music reflected Jerry’s acoustic roots.

In ’68 Dylan’s John Wesley Harding album came out (actually in December of ’67), as did The Band’s Music From Big Pink, The Byrds Notorious Byrd Brothers and Sweetheart Of The Rodeo (two albums in one year, six months apart!), The Beau Brummel’s Bradley’s Barn, Dillard & Clark’s The Fantastic Expedition Of, The Everly Brothers’ Roots album, Buffalo Springfield’s Last Time Around, and Neil Young’s s/t debut. Those albums led the charge against the prevailing winds in Rock music: Psychedelia and Blues-based music (Cream, Hendrix, etc.), and showed the way forward. At least amongst my peers and I. And The Grateful Dead, if only temporarily.

@tomic601 

Funny you mentioned Ragged But Right. I just listened to it a week-ten days ago. I started collecting Jerry Garcia music years ago and somehow never heard it before.  Looks like I’ll be buying the CD soon.😁

@bdp24 Yep… I’ve a wonderful sounding MoFi 45 rpm of American Beauty… possibly my fave Dead album….

@curiousjim Glad to hear that ;-) enjoy.

My fave bluegrass album is Chris Thile, Yo Yo Ma, and Edgar Meyer playing Bach trios. Very early bluegrass...gotta love them 18th century German hillbillies.

@wolf_garcia: J.S. Bach is my favorite composer, Baroque my favorite Classical period, Bluegrass my favorite Pop genre these days. Have you also heard the Goat Rodeo album? It’s Thile, Meyer, and Ma, along with Stuart Duncan on Fiddle. A 2-LP set on Sony Records.

Another of my favorite Bluegrass albums is Wires & Wood by The Johnny Staats Project. Johnny is an excellent mandolin player (and a decent singer), and on this album he is provided musical accompaniment by a who’s who of Bluegrass musicians and singers: John Cohan on upright bass, Tim O’Brien, Sam Bush, and Tammy Rogers on fiddle, Scott Vestal on banjo, Jim Hurst on guitar, and Jerry Douglas on dobro (one of my very favorite guitarists), along with Kathy Mattea, Jon Randall, and Sara Evans on harmony vocals. A perfect album! Released in 2000 on CD only.

Reading the the post it seems like I don’t know most of the artist except Kathy Mathea. I just wait for some old records reissue. Music direct has plenty of used vynil in their building. Acoustic sounds as well very expensive.

The sad reality for many music fans is that, in my opinion, these very limited pressings are less about celebrating the music and more so about driving up the price. And I'm sure many of these will end up on secondary markets like Discogs at even higher prices. Considering the fact that 50% of the people buying the vinyl don't even own a turntable to listen to their purchase indicates to me that much of the hype driving RSD sales & asking prices is caused by the vinyl flippers. 

I'm at the point in my life, where I'm making vinyl or CD purchases of particular artists because I'm interested in having their complete catalog. I still buy one-offs of certain artists. If I'm seeking older LPs I prefer the used, originals to overpriced re-mastered re-releases that might have questionable dynamic range and listenability.

I also buy music that I enjoy listening to and want to own forever, so if I commit to purchasing a recording I'm going to listen to the damned thing as well, not keep it sealed in hopes of flipping it for profit years from now. 

I purchase all my records online. Great buys for mint and new records on eBay too. I’ve purchased 50 or more there. Just got a 180 gram version of a 1971 tower of power lp reproduced in 2022 brand new for $25. So yeah online. 

Glad to have these: 

Nat King Cole 

Television 

Cranberries 

@bipod72 - that is true, but here are any number of good titles that are still available days, weeks, months, and/or years after the RSD they were released on. Of course, some titles are guaranteed to sell out right away.... 

A big plus for the mentioned Yo Yo collaboration s… both fantastic…. ANYTHING Jerry Douglas !!!!!!!

I suppose that if there was a title or two that I really wanted I would stand in line here at The House of Records , Greg was giving out numbers and limiting 15 people in at a time . The shop sold all but about 10 records and when I went there a week after RSD I purchased the Tribute to Lou Reed ! Not great enough to stand in line for but good enough for a Lou Reed fan to own ( $33.00 ) , excellent quality.

I look forward each year for Rhino's " Start Your Ear Off Right " releases .

Yeah Jim, Jerry Douglas is a monster musician. I went to the taping of Dolly Parton on the Tonight Show at the time of the release of her first Bluegrass album, The Grass Is Blue (Sugar Hill Records, 1999). I was sitting in the balcony, directly above the little stage Dolly and her band performed on. Alison Krauss and her band Union Station (of which Jerry is a member) provided Dolly with musical accompaniment, and sounded absolutely fantastic!

I saw Jerry and his band live here in Portland a while back, and though they were stunning---all being virtuoso musicians, I prefer my Bluegrass Traditional, not Progressive. Traditional focuses on the song and the singing, Progressive being mostly instrumental, with a lot of soloing (Deadheads should check them out!). Too Jazz-influenced for my liking.