Yep, Los Straitjackets should go under S. Good point. And I have all the Stooges stuff under S and Iggy's solo stuff under P, since I always thought of "Pop" as his last name. And yeah, I have Lightning Beat-Man's stuff under L and Reverend Beat-Man under R. Maybe putting him in the B's would be better (or under Z for Zeller, ha!). That's a toughie. Mike said:

I used to do the number bands by letter, but I now find it easier to put them in front in numerical order, but there are a few that still throw a curve like 999 who on some releases go by Nine Nine Nine on the sleeve, but almost always 999 on the label. For now I still have them in "N".
The Stooges are another. You have Stooges, Iggy & the Stooges, Iggy Pop. I have any variation of Stooges filed under "S" and Iggy Pop under "I", not P as just saying Iggy is all it takes to know who you are talking about. But I do put artists like Johnny Thunders under "T". Comps/ Various Artists / Soundtracks/ and any splits with three or more bands I do as Kopper does and file them by title after the "Z"'s. Now here are my questions: 1. I'm an English speaker so I end up putting all the bands with Los, Las, and Die by those words ("L" & "D") though I know that is nothing more than "the". What do the rest of you do? 2. Split realeases, what to do?!? I generally put them under the band I view as being more significant (or that I just like better), but it makes it hard to remember what's on those other sides when I'm perusing a particular band whose split is filed under the other artists name. 3. My last question is what to do with someone like Beat-Man? Under "B" for Beat Man or under "L" when he's Lightning Beat Man, or "R" for his current Reverend Beat Man? I have his stuff scattered all over the place currently.

I used to do the number bands by letter, but I now find it easier to put them in front in numerical order, but there are a few that still throw a curve like 999 who on some releases go by Nine Nine Nine on the sleeve, but almost always 999 on the label. For now I still have them in "N".

The Stooges are another. You have Stooges, Iggy & the Stooges, Iggy Pop. I have any variation of Stooges filed under "S" and Iggy Pop under "I", not P as just saying Iggy is all it takes to know who you are talking about. But I do put artists like Johnny Thunders under "T".

Comps/ Various Artists / Soundtracks/ and any splits with three or more bands I do as Kopper does and file them by title after the "Z"'s.

Now here are my questions:
1. I'm an English speaker so I end up putting all the bands with Los, Las, and Die by those words ("L" & "D") though I know that is nothing more than "the". What do the rest of you do?
2. Split realeases, what to do?!? I generally put them under the band I view as being more significant (or that I just like better), but it makes it hard to remember what's on those other sides when I'm perusing a particular band whose split is filed under the other artists name.
3. My last question is what to do with someone like Beat-Man? Under "B" for Beat Man or under "L" when he's Lightning Beat Man, or "R" for his current Reverend Beat Man? I have his stuff scattered all over the place currently.

Compilations just go in a separate section after Z. This is exactly how I've seen them filed in record stores, too (which is where I learned all this). The only thing I do differently from how we did it at the record store is in regard to number bands, as I mentioned above. High Lord Mardy Pune said:

I've got a very convoluted system for my records. I used to use a purely alphabetical system to file em' but I still couldn't find what I was after or I would just start at the beginning when I wanted to listen to something and then not get very far into the collection.
So now I use a system based on band names, genre, label and then that's all filed using an alphabetical system. It sounds mad but it really works for me. I can remember where everything is and find anything in a couple of seconds. And to make sure I can find things when I want I use dividers to break up the collection. I always ignore 'The' or 'Thee' at the start band names and use the next word otherwise the 'T' section would be too big. I put all the bands that have numbers for names under 'Z' cause there's bugger all in there anyway. For instance; I collect musicals, you name it I've got it sometimes 3 or 4 copies of it! So instead of having them spread all through the collection I file them all under a divider named 'Musicals' which is filed in the 'M' section. So if someone comes around and wants to listen to say 7 brides for 7 brothers I can tell to look in a very specific place and then I get to abuse them when they put it back in the wrong place. And a question: where do people file compilations? under 'C' for compilations or under 'V' for various or just under the name of the compilation.

I've got a very convoluted system for my records. I used to use a purely alphabetical system to file em' but I still couldn't find what I was after or I would just start at the beginning when I wanted to listen to something and then not get very far into the collection.

So now I use a system based on band names, genre, label and then that's all filed using an alphabetical system. It sounds mad but it really works for me. I can remember where everything is and find anything in a couple of seconds. And to make sure I can find things when I want I use dividers to break up the collection. I always ignore 'The' or 'Thee' at the start band names and use the next word otherwise the 'T' section would be too big. I put all the bands that have numbers for names under 'Z' cause there's bugger all in there anyway.

For instance; I collect musicals, you name it I've got it sometimes 3 or 4 copies of it! So instead of having them spread all through the collection I file them all under a divider named 'Musicals' which is filed in the 'M' section. So if someone comes around and wants to listen to say 7 brides for 7 brothers I can tell to look in a very specific place and then I get to abuse them when they put it back in the wrong place.

And a question: where do people file compilations? under 'C' for compilations or under 'V' for various or just under the name of the compilation.

First: Here's why I don't file numbered bands in with the letter of how you'd spell the number... if you don't spell it, then it's a numeral. Numerals always precede letters in any filing system I've ever encountered. If the band wanted it spelled out, then they'd spell it out! The Five, Six, Seven, Eights would then go under F... IF they spelled it that way. But they don't. So it goes with the rest of the numeral bands at the beginning. I put ? and the Mysterians under Q because some of their records actually spell out "Question Mark," even though I don't think that was really how ? spelled it. His name was legally changed to ?, after all, not "Question Mark." Second: "Thee" is just "the" spelled with an extra e. Therefore it doesn't count and Thee Fine Lines should definitely go in the F's, esp. since you're already doing it right with Thee Mighty Caesars & Thee Milkshakes (btw, it wasn't always "Thee" Milkshakes... at least one or two of their records just say "The" Milkshakes). I rest my case. Third: With comps, I always just use the most logical title for the comp, and file them alphabetically by title. This caused some problem, though, when I got to the Teenage Shutdown series from Crypt, since technically "Teenage Shutdown" ain't part of the title. But I didn't want those comps scattered throughout the comps section, so I just filed them all in the T's between "Teen Blast USA" on Gyro Recordings and "Texas: A Collection of Texas Garage Punkers" on AuGoGo. I file my 10"s and 7"s the same exact way that I file my LPs and CDs. Numbered bands in the front, then alphabetically, and then I have splits sectioned off before comps (if there are more than two bands on the 7" or 10"). The splits are all filed alphabetically by the name of whichever band is on the A-side. whatwave dave said:

Gonna answer each section separatly as i'm pretty anal about filing stuff as i want to be able to find it quick...especially after some brews...
Where to alphabetically file certain bands/artists in relation to the others. If it's a band that begins with a number, for example, does it go at the *beginning* of the alphabet (in front of the A's), or do you file it by how the number would be spelled? I always file number bands, ie 63 Monroe, as if the number is a letter...ie sixty three goes right before Skeletons... I always filed bands like Davie Allan & the Arrows under A (for Allan), since it was clearly he and then his band. Mark & the Spies goes under M, even though it's his first name, because his last name isn't part of the band name. Those were easy. But then you have the case of band names that are also musician names: The Bobby Fuller Four, for example. Bobby Fuller also released some stuff before he named his band the Bobby Fuller Four, so I file that stuff under F for Fuller. But do you file the Bobby Fuller Four's stuff under B then, because it's a band name? What about other band names that also include the artist name? The Jon Spencer Blues Explosion or Jeffrey Novak One Man Band... JSBX under J or S? JNOMB under J or N? I do what you do Kopper...Allan for any Davie Allan stuff, F for any Bobby Fuller stuff, never B as i'd never find it. JSBE i file under Spencer, seems logical....JNOMB under N. Also, what about a band name that actually contains two names? The King Khan & BBQ Show, for example. I realize this one would just go under "K" because both "King" and "Khan" begin with "K," but do you file it by "King" or "Khan"? In other words, would it go before or after your Kingsmen, Kinks, and Kiss albums? Now for King Khan i had to go and check...LOL...so b4 Kingsmen, Kinks and Kiss LP's...Dunno why i file him by King, but whenever i speak about him, or to him, i always refer to him as King Khan even though that isn't his real name. Alice Cooper was the name of the band as well as the man. Go under "A" or "C"? Jethro Tull was a band name, not a person. It goes under J. Alice Cooper goes under C in my filing system, although A makes as much sense....Jethro Tull filed in the to get rid of milk crate... Also, just like you wouldn't file The Rolling Stones under "T" for "The," bands that begin with the word "Thee" would also not go under "T"... Thee Fine Lines go in the F's, Thee Mighty Caesars in the M's, and Thee Crucials under C. The Rolling Stones is filed under R for Rolling....but Thee Fine Lines dunno, still have to file that one as i got it recently. Thee Mighty Caesars i've got in the M's, right beside Milkshakes, which in this case makes a lot of sense with all of the incest between those 2 bands...but bands starting with Thee usually get filed by the name after Thee in my collection. To add to this, how do you people file your comps? I have literally thousands of comps.... Here's what i do, dunno if it's logical to you guys or not....all of my 60's comps are together. I put any series together, ie Pebbles, Back From The Grave etc, others i file by region, ie Texas or by country, ie Canada. This way i can usually find a 60's comp. All of my blues comps are together, again any series is together and rest by style or area. Trash comps are filed by any series and then by genre, ie surf or 50's. Rockabilly comps by series and then by region. 70's comps by series and then region, same with modern comps....but it ain't easy to find some comps as my logic deviates at times...LOL... Then there's the matter of 7" records.....my filing system is all of my US garage stuff is alphabetic. The exception to the ruler being that some labels i have all filed together...ie Get Hip, Dionysus, Dog Meat etc...Then each country has it's own alphabetic filing.....and that's only the garage records...Original 60's singles are filed by country alphabetically....all of my 7" flexis are together and man this is getting out of hand, better not let my wife read this...LOL...maybe i have a problem....

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That was pretty interesting. I never knew that Suicide was considered part of New York's No Wave scene seeing as it was common to find them sharing stages with the Ramones, Television, The Voidoids, and other New York bands who stood out from each other. As noisy and arty as they were, I always thought they were more talented than bands like the Contortions and Teen Age Jesus and the Jerks (I think Lydia Lunch is over rated). kopper said:

Click here for All You Ever Wanted to Know About No Wave But Were Afraid to Ask.

I'm not a huge L&R fan, but there is a cool shot of Daniel Ash playing a vintage Hagstrom Futurama somewhere about 3:30 and he's fucking wearing gloves to boot. I like the song when I'm at a club, I mean ...it's better than the hotel californee. I find that goth punks tend to come across and use great instruments http://www.youtube.com/watch?v=1SBs0g7qF-s

Click here for All You Ever Wanted to Know About No Wave But Were Afraid to Ask. You may be right about Ty Segall. I guess I sorta got on a role and included him without really thinking. I didn't really consider the subject matter of his songs, more just the general feeling of the music. But I still think Johnny should check him out. I like him better than Jay Reatard's solo stuff (although the Reatards [band] shit is top-notch!). SlimESQ said:

What exactly is no-wave? I mean I know all labels are vague, flexible, and sometimes ubiquitously meaningless, but I've heard no-wave a lot and never really had any idea or had any bands come into my head. Bands? Time period?

Also you find Ty Segall to be dark? I'd have to agree with whoever said he's a more positive, well-adjusted version of Jay Reatard.....happy go lucky west coast surfer + psycho garage rocker

kopper said:

I still listen to Bauhaus now and then. It's funny... the Dirtbombs' version of "Kung Fu" (where they basically incorporate "Bela Lugosi's Dead" into a cover of Curtis Mayfield's classic soul number) actually got me listening to them again when Ultraglide in Black came out in 2001. Listened to that album right after it came out almost non-stop while driving to NYC just a month after 9/11 for Cavestomp. CLICK HERE to listen. I'd probably avoided Bauhaus since the mid-'80s before then. Tones on Tail, Lords of the New Church, Southern Death Cult, etc. I like Joy Division a lot, too. I remember having the "Black Planet" album by Sisters of Mercy back then, too, but I just can't listen to that stuff anymore without laughing.

I guess the Damned could be considered goth punk, right? Still listen to them, although I've never been too crazy of their post-Strawberries stuff. Try Phantasmagoria, though. And once in a while I'll still listen to the Misfits, especially around Halloween (although I still prefer the Cramps). Do you like the Cramps? Not "goth" but they do sing about dead stuff, zombies, and whatnot. Kinda spooky! And the Mummies, haha! ;)

But seriously, here are some bands you should seek out. The following aren't typically considered "goth," more like dark-themed garage, punk/rock'n'roll, art punk, black metal, swamp rock, avant-garde, etc., but you might like them:

T.S.O.L.
The Wipers
Gun Club
Hoodoo Gurus
Satan's Cheerleaders
The Fiends
Wire
Nick Cave & the Bad Seeds
The Honeymoon Killers
Poison 13
The Gories (Mick Collins' band before the Dirtbombs)
Dwarves (Horror Stories or Lick It LPs)
Dead Moon
Destruction Unit
The Hex Dispensers
Lost Sounds
Suicide
Roky Erickson & the Aliens
The Horrors (from Cedar Rapids on In The Red Records, not the UK band)
The Hunches
The Blowtops
Mystery Girls
Television
Modey Lemon
The Monsters (The Lightning/Reverend Beat-Man's band!)
The Fuzztones
The Priests
New Salem Witch Hunters
The Nomads
Radio Birdman
The Nevermores
Rocket From the Tombs
The Original Sins
Demon's Claws
Cheater Slicks
Black Time
The Deadly Snakes
The Fall
The Screamers
Crime
Brian Eno
The Mirrors
The Daily Void
The Gris Gris
Subsonics
The Vipers
Ty Segall
Haunted George (ha!)
And you'd probably like the Black Lips, too, although you've probably already heard them. Try their earlier stuff, though.

And for '60s stuff, try the Monks, Sean Bonniwell's Music Machine, Love, the Seeds, 13th Floor Elevators, the Calico Wall, Electric Prunes, the Haunted, Can, the Velvet Underground, Zakary Thaks, Them, Stooges, Godz, Captain Beefheart, early (Syd Barrett-era) Pink Floyd, the Omens, Pebbles comps, and, yeah, ok, the Doors. Oh, and Screaming Jay Hawkins. ;)

I keep more or less that list handy whenever someone asks me if I like goth rock. I realize it's all over the place, but seriously, check some of them out if you haven't already. You might get sucked in!

Jamie said:

Hey would that be the AC-4tv? Man, that's a tempting little amp. It looks perfect for that early Kinks sound. I've heard it's kind of dark. What do you guys think?

Howdy folks,

I don't know. Did that sound like the Got MIlk ad? I tried.

I used to listen to a lot of hip-hip/rap back in college like 5-10 years ago. The "pop" stuff always sucked, but at least I could dance to it. But the rap I was most interested in was always the old school stuff like NWA, A Tribe Called Quest, Run DMC, and the like. I'll admit a guilty pleasure of Southern Rap for a few years, but these days, I've basically given up on all rap music.

As for the old-school Beastie Boys, they were definitely a hardcore band. Not very good, but definitely a hardcore band. Then they moved towards hip-hop. However In 1995, they released a hardcore EP for fun. It was called "Aglio e Olio". It commands a decent price on vinyl if you can find it. I've got it on CD, and it pops up on my iPod every now and then. It's a fun listen because it's not that good.

Beastie Boys were always about crossing genres. Check out their 1996 instrumental jazz album, "The In Sound From Way Out" or their 2007 instrumental "The Mix Up".

Another good act out of the early 90s era - Diamond D and the Psychotic Neurotics. Pure, from the source (Bronx) & untouched by mainstream bullshit. Not that gangster either, if you don't go for the NWA thug style...just rapping about regular shit, especially digging in the crates for records. He has interesting sample sources too. But another thing that got me thinking about it is this Mos Def song, which references all these white musicians like Elvis and the Stones vs Nina Simone and James Brown, etc. But mainly because listen to what it turns into around 3:50. Growing up in New York I'm sure the dude was conscious of what was going on with punk music. http://www.youtube.com/watch?v=I5H3IV1e1Ew

Well said, Marty. I've seen the SCRATCH documentary 5 or 6 times. I'd go as far as to say it's the best music documentary i've ever seen. It goes into great detail about the whole Hip-Hop culture and I think it's really well made. I was pretty fascinated by the whole turntable-ism genre [Cut Chemist, DJ Shadow, etc.] and how they were turning their turntables into musical instruments. Everyone with an interest in music should check it out. High Lord Mardy Pune said:

I totally agree with Ixnayray. The chart shit is just that; it's shit. But the kids keep buying into it and record companies like making money.
I like the early gangsta rap N.W.A., Ice T... A lot of people get offended by it but I think the rappers are just telling it like it is. I think the making of any good rapper though is the DJ sitting behind them. Kool Herc and Grand Master Flash were total musical revolutionaries and I think their attitude was totally punk; "fuck it this is how I'm doing it"

You have to remember that the term hip hop refers to the four corners as Hip Hoppers call it: Rappers, DJ's, dancers and Graph Artists. There's a great doco called Scratch which is mainly about DJing but sorta looks at the other three aspects of Hip Hop.

I totally agree with Ixnayray. The chart shit is just that; it's shit. But the kids keep buying into it and record companies like making money.
I like the early gangsta rap N.W.A., Ice T... A lot of people get offended by it but I think the rappers are just telling it like it is. I think the making of any good rapper though is the DJ sitting behind them. Kool Herc and Grand Master Flash were total musical revolutionaries and I think their attitude was totally punk; "fuck it this is how I'm doing it"

You have to remember that the term hip hop refers to the four corners as Hip Hoppers call it: Rappers, DJ's, dancers and Graph Artists. There's a great doco called Scratch which is mainly about DJing but sorta looks at the other three aspects of Hip Hop.

I liked some NWA, Cypress Hill and Wu Tang Clan.

Yeah definitely. I dig Dilated Peoples too. The RZA is probably the most original producer [Hip-Hop wise] working today. Kool Keith as well. Some great choices. Marty Shane, Pacifiction Records said:

Before Dee Dee King... The Original Wrapper!

I dig some underground hip hop with sci-fi, spy, retro themes like Deltron 3030, Kool Keith, Arsonists, Dilated Peoples, Bobby Digital a.k.a Rza. This stuff has more of the feel of the The Golden Age stuff that Ixnay mentioned than the mainstream garbage.

Wow, I totally forgot about Dee Dee King. I have that one, too, and I really dig "Brooklyn Babe": Pacifiction Records said:

Before Dee Dee King... The Original Wrapper!

I dig some underground hip hop with sci-fi, spy, retro themes like Deltron 3030, Kool Keith, Arsonists, Dilated Peoples, Bobby Digital a.k.a Rza.

Before Dee Dee King... The Original Wrapper!

I've been to some great gigs in my time but Public Enemy & Run DMC was probably the best thing i've ever seen. Public Enemy albums in general have a lot of great production and are always worth checking out. I'd say they are "beyond" Hip-Hop, they're almost in a genre of their very own. kopper said:

I have a Run DMC record, even though I can't even remember the last time I listened to it. I like Public Enemy a LOT, though, and once in a while I put that (It Takes a Nation of Millions...) on. I also like the Beastie Boys (at least their first few records). That's it, though, unless you consider the Warlock Pinchers rap, which I'm not exactly sure what to call them, but I sure do like 'em. "Where the Hell Is Crispin Glover" and "Morrissey Rides a Cockhorse" are two of my all-time favorite songs.

I have a Run DMC record, even though I can't even remember the last time I listened to it. I like Public Enemy a LOT, though, and once in a while I put that (It Takes a Nation of Millions...) on. I also like the Beastie Boys (at least their first few records). That's it, though, unless you consider the Warlock Pinchers rap, which I'm not exactly sure what to call them, but I sure do like 'em. "Where the Hell Is Crispin Glover" and "Morrissey Rides a Cockhorse" are two of my all-time favorite songs.

I listened to a LOT of Hip-Hop between 1987-1992 which is considered the "golden era" of that scene. This was before most major labels figured out the formula and saturated the music market with all the fake commercial gangster rap that still makes more money than anything else to this day.

Back then it wasn't about misogyny and violence. There were many artists out there who were very innovative - The Beastie Boys were the best of the bunch. You had artist's like Public Enemy, The Jungle Brothers, Gang Starr, Paris, The Pharcyde, Boogie Down Productions. You also had artist's like Ice-T who was like a Hip-Hop version of pulp writer Iceberg Slim [it's also how he chose his name]. His lyrics and stories were hilarious. He's collaborated with Jello Biafra, Slayer and Perry Farrell. If you ever get the chance, check him and Jello Biafra out on The Oprah Winfrey Show. There were some other great lyricists like Big Daddy Kane [who did a great track with Rudy Ray Moore], Guru and Rakim.

All of these artists were experimenting and forming something that was completely new and fresh at the time. Hip-Hop was considered the "Punk Music" of the 1980's due to it's DIY ethic. You have to remember how bad the music scene was in the 1980's...

So I can honestly say Hip-Hop has had a very positive influence on me, personally. It opened my eyes and ears because of it's use of sampling other music and i'd also say that in a weird way it's influenced me as a podcaster. Hip-Hop artists would sample James Brown and AC/DC... and sometimes in the same song. It showed me how you can mix things up, come up with something and make it work. Heck, I even snuck in a Prince Paul [producer of De La Soul and DJ from Stetsasonic] track on one of my shows and I doubt anyone even noticed.

I think the problem is that most people who criticise Hip-Hop probably never got to listen to the real hardcore underground stuff. They're really talking about the stuff that dominates the charts. Eminem, Dr. Dre, etc. It's like someone slagging off Garage because they've heard The Hives and Jet.

By the way, I went to a Bad Brains gig once and their support act was a Hip-Hop group called The Goats. Grandmaster Flash & The Furious Five supported The Clash. PWEI supported Public Enemy when I saw them. I guess everything's linked when you think about it.

Oh, and check out The Beastie Boys "Paul's Boutique" album, produced by The Dust Brothers who did the Fight Club Soundtrack.