Vinyl Excursions: Scarce Sounds in Canberra


Australia National University, June 2019

Happy Saturday! I’m sorry to never have completed my entries on my trip down under, especially considering how fantastic Hobart and IAG were in general. I still hope to post about some highlights. In the meantime, I’m finally enjoying an hour or so of downtime out of my box-filled house, so I thought I would finish this post on one of the highlights of my first week in Australia – a meeting with author and archivist Ross Laird, known to the internet community as Scarce Sounds.

I’d been in touch with Ross off and on since I first began the Ben Irving project in earnest roughly five years ago. He came up in internet searches as an expert on the Okeh records catalog, so I emailed him to ask if he had any record of the Ben Irving Orchestra (or any proof that Ben recorded and released any music). He got back to me quickly and thoroughly, running through expansive evidence that there was no record of anyone by that name in Okeh’s catalog.

I got back in touch with him earlier this summer in the weeks leading up to my trip down under. It turned out that as a longtime employee of the Australian National Film and Sound Archive, he was based in Canberra and would be in town when I was there for the IASPM meeting. We met up in his old haunt on the Australia National Uni campus to chat a bit more about where our respective projects had brought us.


Ross Laird and a bottle of Mount Majura 2009. Canberra, 6/28/19.

In an unanticipated bit of hospitality, he and his wife invited me to their home in the suburbs, where I’d be able to see one of the most unique and expansive record collections in the world. At least, I saw part of it. He mentioned that he had a shed full of shellac records (not so nimble and as prone to weathering as vinyl) and an additional office/storage room other than the one I saw. Here are some photos.

Thousands of records from his archive (including very rare ones) are for sale on his Discogs page, Scarce Sounds. As he explained to me, Ross doesn’t view himself as a collector as much an a curator. Pursuant to the name, most of his records are rare and don’t really exist within the public archive. He aims to change that for many great overlooked artists from the Global South, then sending the recordings afield to other music lovers. It’s a worthwhile pursuit and a point I hope I can reach one day.


He sampled a bunch of 78s and 45s for me, most of which were still shrouded in mystery (most, if any information that exists about them on the internet, he put there), but my single favorite song I heard all night was a bubblegum pop song by Rita Chao and Sakura, entitled “Bala Bala.” The song has a driving baritone sax lead, fantastic female duo vocals, about 4 different words in the whole song, and I loved it to death. Some good Samaritan put a piece of “Bala Bala” on a supercut they uploaded to YouTube about ten years ago.

New Article Published in ‘Arts and the Market’ Journal


aamcoverJust a quick announcement that I have a new article out this week! I wrote a piece about the idea of the vinyl record as a souvenir for the Emerald Publishing journal Arts and the Market. Thanks to the editorial staff for helping me sculpt this one, which originated as a research paper for a seminar on tourism. I drew equally on some older MA thesis research on the marketplace around vinyl as well as some PhD research on the seismic legend around harDCore.

Sonnichsen, T. (2017). Vinyl tourism: records as souvenirs of underground musical landscapes. Arts and the Market 7 (2), 235-248.

You can check out this issue as well as prior issues of Arts and the Market on the Emerald Insight page here. Depending on your institutional access, you may be able to find the HTML or PDF version of the article directly from there. If not, then don’t hesitate to contact me and I can help get you a copy.

RIP Wombleton Records


via the LA Weekly

In planning my trip out to Los Angeles for EmoGeo (the Emotional Geographies Conference) next month, I stumbled upon some sad news. Wombleton Records, one of the three shops upon which I focused my chapter in The Production and Consumption of Music in the Digital Age (2015; B. Hracs, M. Seman, T. Virani, eds), closed its doors this past February. I somehow missed this news when it first came out in February; their normally fantastic newsletters stopped arriving and I guess I didn’t notice because I haven’t lived in California for a while now.

I’m mostly disappointed on behalf of anyone who stumbles upon my chapter in that book, gets excited to visit the store, looks it up, and realizes they’ll never get to. I hold no grudges over one of my case studies disappearing; it only emphasizes how transient these types of places are and how difficult it is to stay solvent in the modern urban economic landscape. It mainly sucks because it was such a cool little shop; the owners Ian and Jade emphasized design and atmosphere and curated their vinyl collection beautifully. I couldn’t even count the number of UK and European titles I found there that I would be highly unlikely to find anywhere else in the United States. I was already getting excited to flip through their 7″ section in the back trying to find any rogue single by the likes of Blur, Supergrass, or Manic Street Preachers.

At least LA (even the Highland Park area) isn’t particularly starving for good record shops these days. Wombleton was a clear labor of vinyl love, and the LA Weekly published a great retrospective on the storefront’s 7-year history the week it shut down. Best of luck to everybody who was involved!

Have a great weekend, everyone. More info about my California trip soon, as well as (while on the subject of Blur, ‘Grass, Manics, et al) a lengthy diatribe about the value of Britpop in Geography. Also, why Blur are categorically better than Oasis.

“Watch Me for the Changes and Try to Keep Up…” (Summer Update)

Here’s a quick update to what I’ve been up to so far this summer. If you have any questions about the status or background of anything I may have not explained thoroughly enough, please send me an email.


via UI Press

I am currently reading this neat book about the “golden age” of postcards (I hadn’t realized that was a thing) from Illinois by John Jakle and Keith Sculle in order to review it for the journal Material Cultures. I’ve always been fascinated with the shifting discourse on depictions of place throughout the years, especially given how integral postcards have been in these constructions of twentieth century America. I’ve posted a few items about vintage postcards on this site, but Jakle and Sculle take that analysis to the next level with the book. From what I’ve read so far, they aim to juxtapose the images of pre-Depression Chicago with that of rural Southern Illinois, arguing that the two were light years apart ideologically, yet inextricably tied together via the icons of industry. I’m pretty excited to learn more about the Chicago of that era. I might argue that few world cities are more interwoven with the “Roaring 20’s” mentality and urban blue-collar America, even to this day. I love that city, and I can’t wait to visit it next year for the AAG Meeting. Who wants to join me at the Oakwood at 3:30 AM? I really hope that place is still around. Anyway, I apologize in advance for getting sentimental about my visits there. No apologies for rooting against the Blackhawks in the Western Final, though. I still have a soft spot for the Kings after those two years in Long Beach. Now that I think about it, I’m grateful to not be at the Oakwood while I write this.


I have been fortunate to collaborate with Dr. Ronald Kalafsky to be second-author on a groundbreaking work he has been piecing together on our GEO 451 – The Global Economy course. For those unfamiliar (which I was before TA’ing this course, with no real foundation in macro-economics), the S.W.O.T. Analysis is an analytic paradigm that companies use to evaluate locations before investing resources. It stands for Strengths, Weaknesses, Opportunities, and Threats. It was an interesting experience, especially since many of our students had never participated in a SWOT Analysis before, and should hopefully be interesting for anyone involved in the overlap between economics, geography, and teaching. More updates on this as it develops, but for now the research seems to be in good hands with Ron.


Wombleton, the best British record shop from the 1960s that happens to be in Highland Park, Los Angeles (Timeout LA)

At AAG 2013 in LA, I participated in a panel that Brian Hracs (Upsalla University) organized about the “New economics of the music industry.” Well he recently announced that he will be turning several of the papers presented into a published book about new approaches to studying the confluence of place, music, and money. My chapter is currently titled “Emotional Landscapes and the Evolution of Vinyl Record Retail: A Case Study of Highland Park, Los Angeles.” I still have a lot of revision to do, but my argument is, as my Master’s Thesis argued, that relying on consumers’ emotional attachment to places (both concrete and imagined) is a key component in operating a physical music retailer today. While artists do their part in luring listeners in with iconic cover art that evokes place, the retailers are doing the same, and three businesses I got to know in Highland Park (one of my favorite places in all of Los Angeles) were perfect examples. Stay tuned for more details about this one.


“Watch me for the changes and try to keep up…”

I don’t think I can leverage that as a title for the chapter, but I’m going to begin a chapter on the soundscapes of Hill Valley, CA. How exactly does the diegetic sounds (specifically, the music) in Back to the Future formulate our perceived landscape of Marty McFly’s hometown? We’ve had this project in the works for well over a year now, and we’re excited to see if slowly kicking into motion over this fall. I’m very excited to have a “Back to the Future” panel at AAG 2015 (naturally) featuring a number of the chapter authors in “Save the Clocktower! Imagined Geographies of Hill Valley 1885 – 2015.”

I’ve been getting more emails from interested writers for the project, and I’m still anxious to see what materializes over the next year. Ideally, I’ll get my own drafts done before long (including an introduction for the book with my good friend Teresa Anderson-Sharma), since I’m going to be teaching GEO 101 in the Fall here in Knoxville. A busy time, but I’d never get anything done if I didn’t stress myself out from time to time.

THE ERGS! on One Week // One Band

Philly, 2008

This one doesn’t have as much to do with Geography, but it’s nonetheless great for anybody interested in my music writing. I’m very excited to be contributing a week’s worth of entries on the kings of Jersey dork-pop for the great site One Week // One Band over the week of June 23rd. I wish I spent more time in New Jersey so I had more to write about their humble middle class middle-NJ origins… wait, no I don’t. But if there’s one positive thing New Jersey has given us by the boatload over the past few decades, it’s been great music. Perhaps no band has encapsulated the pissed off turn-of-the-century zeitgeist with as much humor as The Ergs! did. They stopped playing formally in 2008, all three members are still very musically active (Jeff in Black Wine, Joe in Night Birds, and Mike in every band that isn’t those two) and their legacy is growing.

So…. that’s what you can find me up to this summer. I’m also on board with your bike ride around the Knoxville area or spontaneous regional road trip. If I don’t see you around, I hope you have a great break, too and get out enough. See you back here soon.

New Steve Propes volume ‘Old School’ now available

I really do have a (long overdue) post coming up about media geographies and the magic of A/V clubs in the 1980s, but I wanted to take a quick moment to plug a new book by Stephen Propes, a longtime Long Beach resident and a very helpful collaborator during my thesis research on vinyl record history. OLD SCHOOL: 77 Years of Southern California R&B & Vocal Group Harmony Records 1934 – 2011 may be the most comprehensive compendium ever written by Steve (or anyone else) on this style of music in Southern California. It is available on Amazon, where I found the following abstract:

A never before published chronological compendium of musicians and/or groups, titles, original record labels, local and select out-of-town radio and record store chart positions…combined with the stories of the records, either from those involved or from original research…and in notable cases, an idea of the value of these discs. Popular music in Southern California has a surprisingly short history prior to World War II. Though a recording scene existed in the early 1920s, for all intents and purposes, the aggressive recording, pressing and marketing of phonograph records in the L.A. area didn’t really take hold until the 1930s, and in fact, many of these 1930s releases were party records with double-entendre themes. However, the post WWII era was a different matter. With the emergence of some L.A.-based pop and race music stars, generally with radio, nightclub or motion picture connections in the early 1940s, the serious business of recording for the mass market began in earnest. The development of rhythm and blues and soul in any major market has never been fully documented in the way this book portrays over 1,400 record releases by over 850 groups or artists described here. Many of the records featured in this work hit either the local or national popularity charts, or both, however not all records made a visit to those lists of best sellers. Some of the artists described within had spectacular multi-decade careers, but many of them were of the one-off or best case, one hit variety. Though the work concentrates on rhythm and blues and soul music, there are other genres, such as novelty, jazz, gospel and pop sprinkled in when the story supports inclusion.

The “Greatest” Music Collection in Crisis

While I do not want to suggest that anybody could draw solid conclusions based upon this one (albeit massive) collecting case study, I would like to weigh in on the topic of Paul Mawhinney’s record collection.

My favorite record store in the DC area is actually fairly far from DC – it’s a beautifully-curated shop in Annapolis that sits in the shadow of the Maryland State House called KA-CHUNK!! Records (capitalization and punctuation are formalized). Everytime my friend Jessica and I would venture out from DC, we would each find something eye-popping in stock and always wound up having a great conversation with the owner, Matt Mona.

Mona recently posted this commentary to Facebook about this “article”* he found on Gizmodo regarding the “world’s greatest music collection” belonging to Pittsburgh-area veteran Paul Mawhinney.

“If you’re looking for a sign that we live in a digital world that cares not for the physical manifestations of our analog past, you need only look at Paul Mawhinney’s record collection.” UGH! NO! It’s a couple million records collected absolutely indiscriminately! He just kept one of everything he sold in his store at a time when LP’s were the dominant format and weren’t limited in nature. They’re not expensive records because they made a bazillion of them and most are probably terrible. That and we’re talking about a multi mullion dollar collection where the buyer is going to an insane collector or a large chain store like Amoeba who would struggle to flip all these records when there’s only a small percentage of records that are truly valuable. It’s not a barometer of people’s lack of caring about physical music, it’s a barometer of insane millionaire collectors. Write this article again when someone can’t sell an affordable record collection sized at a couple hundred to a couple thousand and then you might be on to something.

Mona brings up a key point regarding something widely misunderstood about record collecting and modern archivism in general. As Russell Belk has written extensively, (paraphrasing) discrimination is what separates the collector or archivist from the hoarder. While Mawhinney does know a great deal about vinyl and is clearly as passionate as any music fan, the volume of his collection creates myriad problems. Even more than a decade ago, before mainstream publications were coveting vinyl as the next great hope of tangible music, thousands of ostensibly valueless records were just as available as they are today at dusty shelves in Goodwills and other thrift stores.

David Lowenthal, who (for some painfully bizarre reason) did not figure too heavily into my thesis research, wrote in “Possessed by the Past:”

Beleaguered by loss and change, we keep our bearings only by clinging to remnants of stability. Hence preservers’ aversion to letting anything go, postmodern manias for period styles, cults of prehistory at megalithic sites. Mourning past neglect, we cherish islands of security in seas of change.

This is probably the most sympathetic paragraph in the entire book. His acerbic tone doesn’t suggest that he belittles our collective mourning of a socially constructed past, but he does fear that by allowing the lure of heritage of outpace other modes of retrieval, we cheapen everything that our forebears stood for. The short film that the “article” decorates is a well-made vignette that gives the owner a mouthpiece, but really lays on the appeal to nostalgia and ignores the pragmatic reality behind Mawhinney’s situation. A lot of press and the narrative on vinyl’s “revival” does this, as Jason Heller illustrated by his rant on Record Store Day earlier this year.

So, the long and short of it is: if the average record nerd had $3,000,000 to spend, what could they possibly do with this collection? Just to transport it would require extensive human-power and would cost a fortune, and finding a place to store it before even making motions to sell it would cost money unless this mystery buyer had his/her own warehouse space. It reminds of an episode of Pawn Stars where Rick speculates buying a fighter jet, but balks at it, because it would ultimately cost up to $10,000 a month to hangar that thing if nobody buys it off of him. The commitment-laden overhead would just prove too big. I know that fighter jets aren’t exactly a popular collectors’ item, but such are the risks that come with the new collectibles economy.

Mawhinney’s collection is the fighter jet of pawn-shop items. It’s disappointing that he’s having such trouble selling it (at least, for the big handful of gems buried among his shelves), but it’s definitely no indicator of vinyl’s role in today’s world. Almost in spite of the digital world, analog will always have a place, and its redefinition within that place is what is so interesting right now. At least, I hope it’s interesting enough for people to read my thesis (which, if anyone’s interested, should be filed with the CSULB Library within a few weeks [/plug]).

via The Independent

* I don’t like referring to embedded videos with a couple paragraphs of commentary around them as “articles” because it disrespects the work that good journalists and social scientists do on writing actual heavily researched pieces for reputable websites and journals.

** The “article” on Gizmodo, coincidentally, was written by someone with whom I attended undergrad, and who does know his music. He introduced me to (smog)/Bill Callahan, so I do owe him a modicum of gratitude. Additionally, he may (partially, if my memory serves) have introduced me to The Dismemberment Plan, so for that alone, my hat is permanently tipped in his direction.

The sad part [a…


The sad part [about iTunes-style downloading] is, I guess, a lot of songs don’t grab you right off the bat. But they grow on you, and you don’t have a chance for that to happen if you’re only going to download the things with the big hooks. Sometimes, the quieter or the subtle song is the one that gives the counterbalance to the loud and brassy one that preceded it. There’s a balance. There are shadings of personality that this band is coming forward with. Life isn’t just about parties.

David “right about everything” Byrne, as quoted in Travis Elborough’s highly opinionated, pretty funny book The Vinyl Countdown: The Album from LP to iPod and Back Again (2009, Soft Skull Press). To see Byrne dance with a lamp (and you have no idea how much you need to), see this video.

Dispatches from Research Land (Movement One)

"Do you remember asking Run-DMC for permission to... oh, no one ever has? Okay."

Cultural capital that you can buy in T-Shirt form. You have to admit that the “RESPECT” one is really cool, though.


The 2-Day swap meet took place right in the core of LA’s historic Chinatown district, which made for an interesting juxtaposition of landscapes.

This weekend, I kicked off the first of what will probably be innumerable rounds of research on place-as-motivator for vinyl collecting at the 5th Annual Beat Swap Meet up in Los Angeles. Thanks to the tireless efforts of the organizers and the participation of a prodigious amount of vendors, collectors, rappers, deejays, artists, producers, and a bevy of the type of characters that only LA can generate, it was an unbelievable (and almost overwhelming) celebration of vinyl culture that took over the core block of Chinatown over the course of the weekend. I met a generous assortment of cool people, and I also dug up a few new gems for my own collection, including the single weirdest unauthorized issue LP I’ve ever seen. More on that later.

On Saturday, I visited the Swap Meet as a consumer and observer, going from post to post around the Grand Star Jazz Club, speaking with vendors and crate diggers about their love of vinyl. Two particular conversations stood out. The first of which was with a journalist who confided that he wasn’t a huge vinyl collector, but he had just bought the Grandmaster Flash “White Lines” 12″ “because that was his high school’s unofficial anthem,” and he didn’t have the money to blow (no pun intended) on records back in 1984. I asked him where he went to high (no pun intended) school; he is from the Bronx. A coked-up (no pun necessary) Jerry Bruckheimer couldn’t have produced a more formulaic script.

Another person I met, a young woman who grew up in Bakersfield with a musician and collector for a father, admitted to me that she loved crate digging because it reminds her of spending time at thrift shops with her dad back in the day. We spoke initially when she saw me holding an ESG record, exasperated that I had beaten her to it. She raved about ESG (who were another Bronx institution…not as formulaic of a conversational turn as if they had been from Bako, but I digress). I ran into her later and we had a long conversation about how certain songs, especially “Moody” remind her of very specific moments of her youth in The Central Valley. If only Dwight Yoakam or Korn (stupid lack of backwards letters on WordPress!) were this funky.

On Sunday, I attended as a vendor. As far as my research was concerned, being tethered to a table certainly put me at a disadvantage. I wound up taking fewer notes than I did just wandering around on Day One, and my conversations were not as involved, since most of the people who came up and looked through my records were loathe to get too deep into conversation. There were plenty of exceptions, of course, but as one of the owners of a Highland Park record shop told me, that time the vinyl junkie spends flipping through a crate of records is “sacred, and you don’t want to interrupt that.” In retrospect, I wish I had tabled on Saturday, because Sunday was the immeasurably bigger day for the swap meet. Also, more dealers specializing in punk and hardcore were around, so perhaps I would have done better than simply break even on the day. Thanks to my friend who watched my table, though, I was able to drift for a little while, do some observation, and take a few photos.

"My collection of 'T.R.O.Y.' remixes is almost complete!"

The Beat Swap Meet is setting an example for vinyl fairs in attracting higher numbers of female record lovers.

The Beat Swap Meet is remarkable for a number of reasons. Where most record conventions and vinyl-centric events attract a stereotypically male, white, older demographic, most of the music and vinyl-lovers in attendance this weekend were markedly more diverse in terms of gender, race, and age. Considering the BSM’s attention to underrepresented demographics in vinyl collecting culture, they also did an excellent job ensuring that kids were welcome and (very importantly) occupied. Signs posted around implored people to keep the Beat Swap Meet safe and friendly for children. All over the grounds, kids of all ages and races danced, played, and in my single favorite photo I took all weekend (see below), did arts and crafts.

Who wouldn't want their kid to be dressed this well?

Three girls decorate 7″ records, re-purposing one of the festival’s most sacred items. The two sisters who ran and organized the craft tent rescued these old 7″s (right before somebody threw them all in a dumpster) and found a great use for them.

Needless to say, I’m still recovering from the two days. On my way out the other day, I wound up getting into an argument with an older collector about my thesis topic. (More accurately, he started the argument with me when he saw my research flyers, but let’s not split hairs). He told me I’m “on shaky ground” with my argument and that one would need about 10,000 LPs in his/her collection to be taken seriously, at least from where he stands. I told him I would love for him to take my survey and he said he did not own a computer. Attracting passionate criticism from this individual (who once told me I’d “grow into” Van Morrison’s Astral Weeks; I’m almost 30 and still don’t get it) can only mean one thing: I’m probably doing something right. If the Beat Swap Meet proves anything, it’s that the subcultures that preserved vinyl through its near-death in the late 80’s and early 90’s (dance and hip-hop) have grown back up and aren’t afraid to spread the ownership.

So, Upwards and on-wards. If any of you were at the BSM this weekend, I’d love to hear what you got your hands on and what you thought of the event. sonicgeography [at] gmail.

– Ty

Bonus Tracks

  • Few things will make you happier (if you’re an aging punk fan) than to see a group of teenagers ask you for Ramones records, and then being able to recommend Masked Intruder to them. 
  • I really wish I’d written down the names of more of the emcees and deejays I saw perform this weekend, but most of them are listed on the BSM site. I met too many outstanding personalities to really go into detail about here, but my personal favorite quote came from one dealer on Saturday who specialized in punk records from the 90’s: “I’ve avoided moving for 12 years because I didn’t want to [go through the trouble of] moving my records. You can just sell and replace furniture, but not a record collection.”
  • I’m not going to bore you all (or entertain you, depending on where you stand on vinyl) with a full list of what I dug up while in the course of my research, but I have no choice but to share this Johnny Cash bootleg with you all. If you don’t notice what’s wrong with this in under two seconds (and realize why its hilarious in under five), then you lose the internet. "These bootleggers didn't see anything clearly, now."

Colony Records, Times Square, and The Clash

My mom was in NYC for a meeting recently, and she sent me a message to say that Colony Records had gone out of business. I had forgotten if I had ever been there, but then she reminded me that she took me there once a long time ago. I was probably 16 or 17 at the time, and it was a late-night visit. Suddenly, the shop and the environs came rushing back to my brain. The first thing I remembered was finding a narrow staircase in the middle of the cramped Times Square store space that led down to a dimly lit (yet still publicly accessible) basement of vinyl records. I didn’t own a record player at the time, so I just looked around for a minute, finding a copy of The Clash’s 1981 triple-LP “Sandinista!”

It cost $45, and I think I actually said out loud “No freaking way!” I hadn’t really gotten into this record at the time (and to a degree, I still haven’t), but I thought it was strange how this was my only lasting memory of Colony Records. I don’t even remember what I actually bought.

Anyway, as Times Square has gone in the past twenty years, there isn’t really room for the dirty old record shops. There isn’t even room for the big, shiny ones.

By the way, did it break anyone else’s heart to discover that Paul Simonon didn’t actually play this amazing bass line on the record? Just asking.