It’s a very special month at Innerspace Labs thanks to a gift from a very generous reader! My followers will recall my sharing my “Brian Eno Collection Milestone” from August of 2020 wherein I showcased photos and details of my Eno collection to date, as well as my “Rest In Beauty: Compiling an Archive in Memory of Harold Budd” post from December of that year where I featured my vinyl discography of the late Harold Budd. If you’ve read my blog for any length of time, you are well aware that the catalogs of these two iconic veterans of ambient music are among my most-cherished musical treasures.
In September I was contacted by a reader who, himself, is quite the avid collector. He had amassed an impressively substantial library of Eno and Budd artifacts, both physically and digitally, and maintains documentation cataloging and itemizing all facets of his collection. This fellow kindly offered to share his work with me, gifting me a wealth of releases missing from my humble collection. I was honored!
In all, he gifted me 341 folders of rare album releases I was missing from Eno and Budd's catalogs, bringing my digital totals for these artists to 409 folders for Brian Eno and 82 folders for Harold Budd, respectively.
I was fascinated to learn of incalculably rare works among his library, such as Budd’s “Untitled Piece (Text-Sound composition)" from the 1969
Source Magazine #6. This release is noteworthy as, prior to its discovery, the earliest documented work by Budd was the markedly rare
The Oak Of The Golden Dreams issued by Advanced Recordings in 1971 which last surfaced in 2020 and sold on Discogs for $420. The 38-minute “Untitled Piece” predates this recording by two years, and included with the recording were high-resolution PDF scans of the accompanying periodical summarizing Budd’s early composition.
Other new-to-me Budd rarities were included such as a Various Artist release, the
Chicago ‘82: A Dip in the Lake cassette from Belgium which contains two tracks by Budd. Similarly,
The Greetings - Piano Live 1991 is another various artist release, issued in Italy by Materiali Sonori in 1993, and an EP of
Glyph Remixes by Hector Zazou & Harold Budd issued by SSR in Belgium in 1996.
A library of lone tracks and rarities were also among the collection, featuring Budd retrospectives on several experimental music podcasts. Also included were a set of unofficial live concert recordings - something I never thought I’d see for an artist of Budd’s quiet and reserved nature!
The Eno library was even more exhaustive, as one might expect from such a prolific and active artist. I took incredible care when developing a folder structure to merge our respective collections, electing to create three primary folders for Official Releases, Unofficial Releases, and Non-Album Content (Apps and Themes). These folders dive deep and reward careful exploration, as nested networks of subfolders reveal a tremendous wealth of carefully-curated content.
The additions did pose quite a challenge, however, as nearly none of the media had accurately or consistently-applied metadata, which is critical to the navigation of my archive. As such, I devoted many nights’ work to the task of reformatting all the metadata uniformly from scratch for values which were erroneous or missing. I utilized batch processing techniques wherever possible for efficiency, but the inconsistency of the tagged information required a nearly track-by-track analysis and correction.
I brought it all to as close to an archival standard as I was able by performing digital forensics for the missing or conflicting data and employed semicolon delimiters for multi-value tags like those of artist collaborations, etc. I utilized the aforementioned nested folder structure for the primary categories and for multi-disc content with a date of issue prefix to create a chronological hierarchy to facilitate navigation both by folder and by ID3-based browsing. Thereafter, I had to synchronize all the newly-introduced content with all of my various music library databases, spreadsheets, documents, and other content management systems to incorporate critical data from over 4,000 files relating to these two artists.
As I’ve said previously, I understand that there are collectors with far more vast libraries of these gentlemen’s work. I’m grateful to have been able to compile 64-discs worth of Eno’s primary discography on vinyl, all eight of Harold Budd’s original LPs, and his collaborations with John Foxx on wax as well. I am not a wealthy man but I consider myself quite rich with the beautiful library of soundworks I’ve been able to enjoy in both the digital and physical form.
I want to extend another word of heartfelt gratitude to the reader who so generously reached out and shared the fruits of his research with me. It is a gift which I will enjoy repeatedly for years to come.
