The MusicWeb Message Board: Re: Déjà-reviews

Michael, instead of continually accumulating CDs, I have a regular, ruthless clear-out so that I now have "only" a core collection of several thousand. I am entirely in agreement with all three of your points. I am glad you find the reposting of older reviews interesting; I suppose those mega-boxes must bring in revenue - and they are helpful for increasing shelf-space - but yes; most of us older collectors already have so much of what is included - then, of course, they try to lure us by spruiking the advantages of yet another remastering when there is often - although admittedly not always - little improvement. As for that timings issue, as a reviewer I am constantly irritated by having to add up the duration of individual tracks to arrive at a total for a work - and while we are at it, why do labels insert new CDs into redundant cardboard slipcases? Shrink-wrapping is presumably for security - but that is also annoying.

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Rather belatedly, let me say that I too very much enjoy the ‘Déjà Reviews’, and quite a few have sent me back to recordings too long neglected!

But a recent review of the Warner Klemperer Mahler box, reminded me of a regular grumble: why do the companies so often insist on issuing past recordings in vast, expensive boxes? Of course the price per disc is virtual give-away but the price of the box is anything but – the Barbirolli 109 discs at c.£220, for example. ( I know it can be obtained for less). There are several items there I’d dearly love to have but some I don’t want or (more) already have on CD - and LP! The EMI issue of Klemperer in a dozen or so separate thematic boxes was surely the way to do it (as opposed to the subsequent re-reissue in two vast boxes) or Boult with the two collections of ten or so discs. Surely sales would be much better if these massive boxes were broken down into more manageable units even if the price per disc were accordingly higher? But what do I know? – I only have a collection of around 7000 CDs so no doubt my views are quite irrelevant!

And, while I’m about it, another moan: why do so many companies give us the total disc timing (fine) and the timing of every single track but NOT the timing of individual works? So, for example, we know that W.M.B. in the Enigma Variations lasts thirty seconds or so but not how long the complete work lasts without some agile mental arithmetic?