2018 was the year that boutique soundtrack LP retailers started to take the piss. A growth genre, within a growth industry, the last five years has been furtile ground for record companies like Mondo, Waxwork, Enjoy The Ride and Real Gone. Releases are often first-time-on-vinyl, in weird and wonderful coloured vinyl and usually in limited numbers.
Take the recent release of the Beverly Hills Cop soundtrack, by Enjoy The Ride Records. This is the first time that Harold Faltermeyer’s full score has been available in its entirety on vinyl (only Axel F was included in the original soundtrack release in 1984). Fantastic! Yet before buying it, you now have to decide which of the four variants you want to pick up: red / black swirl, cop car splatter, banana swirl or palm tree splatter. Can you buy it in plain, good ol’ black vinyl? No. No, you can not.
Coloured vinyl used to sound terrible – not as bad as picture-discs – but bad enough. Thankfully, manufacturing techniques have improved alongside the vinyl revival, and for the most part, they sound just as good as a standard, black vinyl disc.
The increase in such releases – mainly involving cult film soundtracks – has given rise to a new breed of record collectors who seem to be more interested in the colour of the variant than the music itself. These collectors, comprised of entitled millenials or older, emotionally-stunted manchild horror fans, spend most of their time showing off their collections on Facebook and, in some groups, getting salty with each other.
In 2017, there was an outcry from certain sections of this community, when Waxwork Records released a soundtrack variant of the 1990 It TV-miniseries that was only available at the WonderCon convention in California. Waxwork already offered the release online – a triple LP set in red, blue and yellow coloured vinyl – but the exclusive WonderCon variant was in a different colour. The release looked and sounded exactly the same, only the discs were a different colour. Most collectors couldn’t attend the convention, nor pay the inflated prices offered by ‘flippers’ on eBay and Discogs, and so they took to Facebook to complain. You’ve never heard twenty-first century entitlement quite like it:
How could Waxwork do this to me? I’ve bought every single variant so far of everything they’ve released! My collection will be worthless without it! They’ve sold out, man. I hate them. They owe me!
The resulting fall-out led to many collectors either selling their Waxwork collections, or downsizing it, as though the inability to own 100% of their output was a fate worse than death. This level of manchild immaturity is on a par with the ‘It’s my ball; I’m going home’ schoolboy mentality.
Earlier this year, things got even worse for the completionists when the soundtrack to the 2018 Halloween reboot / sequel was announced. No fewer than eleven different variants were released as exclusives from different retailers: Waxwork, Sacred Bones, Books-a-Million, FYE, Newbury Comics, etc. It’s only a surprise that there wasn’t an exclusive Bed, Bath & Beyond variant.
Sadly, some collectors just couldn’t say no, and scooped them all up. At $30-$40 a pop, it makes for an expensive hobby. Still, if the gullibility of these unfortunate souls is somehow keeping the vinyl revival going, then good luck to the morons with more money than sense.
It would be one thing if the 2018 version of Halloween was actually any good, but it’s not. It’s dull, repetitive, and derivative. Upon its release, it was praised for not sucking as badly as its predecessors, but in a year that gave us the awesome horror film Hereditary, the latest Halloween instalment still sucked.
The horror nerds were taken in by the fact that it was the first Halloween sequel since 1982’s Halloween III: Season Of The Witch to have direct involvement from the series’ creator John Carpenter. As well as acting as executive producer and creative consultant, Carpenter also composed the soundtrack alongside his current bandmates (son) Cody Carpenter and (godson) Daniel Davies.
Again, this doesn’t make it a particularly good soundtrack. It just doesn’t suck as much as it could have done.
Hit: Halloween Theme
Hidden Gem: Intro