We’re meeting Shira at her apartment in Rehovot, where she moved in 2020. Record shelves share the room with instruments and sound gear; nothing seems to hint at her day job as an English teacher. Growing up surrounded by music, Shira jumped into the vinyl rabbit hole only in her twenties. Yet there isn’t much to question about her modest collection; every record has its value, personal meaning, or cherished memory. Every piece of vinyl is a treasure, which she enjoys sharing with anyone willing to listen.
When asked about her relationship with records, she notes, “It’s mostly passion and the love of music. Music saved my life more than people ever will, and I’m forever thankful for it.” Shira’s love of music is seen everywhere in her collection, where each album is a part of her story.
What started as yet another chat about vinyl collecting soon unfolded into a stroll across personal stories told through record grooves.
How did it all start for you?
It started with curiosity. About a decade ago, there was this 7-inch EP by Quincy Bright with only one tune available on YouTube. I liked it a lot and really wanted to hear the rest of the record, so I looked it up on Discogs and bought the vinyl. I didn’t even have a record player yet.
Later, I found this guy selling a Technics deck with a hundred hip-hop records for a reasonable price. I thought, I’m buying a turntable anyway, so why not? That’s how my collection started.
Quincy Bright – My Ghetto Looked Like This. Hip hop beats. The 7” that made me start collecting because most of the songs weren’t online.
“Everything about vinyl is romantic and magical: the sound is warm, and you need to take special care of it so you appreciate it much more than MP3s. I even like the sound of crackle and pop a bit, and then you can make different music with it – synchronizing two records or sampling.”
When I got into record digging, I used to hang out with DJs as friends and go with them to live shows, record shops, and fairs, sharing knowledge, discussing what we found that day, and just having fun, so it got me going. People who understand my style and what I bring to the table have become friends, and we share the love of it together.
What was your initial interest in music? Did your family influence you? Do you play any instruments?
There are many artists and musicians in the family, some of whom have influenced Israeli culture a great deal. I have a cousin who is a pop star now, which is really amusing because it’s so different from what I do and want to represent. In my childhood, my dad had friends and family members come over on weekends, and they sang and played until two in the morning. He still does that. I remember music playing in my house all the time, mostly East Asian music. My next-door neighbor was this geeky kid who only liked playing the drums and the piano and refused to go to school. I used to wait to finish classes to play with him every day. He turned out to be a music prodigy, and he really made it in New York. Nowadays, I play the drums and produce. I wish I knew that this interest was that serious for me. Maybe people would have enjoyed what I do and the records I collect. My fascination with music and making art has always been there, and it’s been a part of my identity for so long.
Sheshet – Sheshet (1977). Jazz-Rock from Tel Aviv.
Why vinyl? Is it the sound of it? Or maybe the archival qualities? Or another romantic reason?
Everything about vinyl is romantic and magical: the sound is warm, and you need to take special care of it so you appreciate it much more than MP3s. I even like the sound of crackle and pop a bit, and then you can make different music with it – synchronizing two records or sampling.
Andre Previn – Rollerball (Original Soundtrack Recording) from the US. Favorite track: Executive Party Dance.
“Music doesn’t have to be happy or popular – it just has to meet you in those places where no one else can understand.”
Are there any particular genres or sounds that you gravitate to these days?
I’d say that, for me, it’s very much about Jazz’s sophistication and the beauty in Hip Hop.
I also collect funk, soul, library music, a bit of reggae, and dub. There’s a section of “weird stuff” that contains all sorts of records that are hard to categorize by just one genre, some beats, and African grooves. I still don’t have enough Brazilian music, which is a bummer, but I’m working on that!
Oliver Nelson – Skull Session. Jazz funk recorded in 1975 for the ‘Flying Dutchman’ label. A line-up of really talented musicians including Lonnie Liston Smith on the keys.
Gil Scott Heron – Spirits.
Blue Mitchell – Funktion Junction. This 79’ release Jazz album is from the US. Favorite track: Delilah.
Anything specific that attracts you to records while digging?
Besides the music itself, my focus is often on potential samples. I like finding drum breaks, of course. Many of the records I’ve bought are yet to be chopped. But overall, it’s just about interesting sounds and tunes that resonate with me in some way.
Stereo Test Record that I picked up for sampling.
Model 211
Do you travel to find records? Where? How often?
Every time I travel, I make sure to visit nearby record shops or dedicate a few days to it. Some of my travels can be all about digging. I had a great dig in Italy two years ago. I took a road trip from the north to the south of Italy. My favorite place was Sleeve Records in the center of Florence. Sleeve Records is one of those record hubs for underground dance music. Two brothers started operating as a record label and released undiscovered houses. Check them out; they helped me find outstanding records with patience, and they can hit the spot in terms of what you’re looking for. I found nice library records there, as well as an Italo disco. I really enjoyed spending the whole day there.
England is one of my favorite places in the entire world – it almost feels like my second home. I used to travel to England yearly to see live shows and go to record fairs I found through friends. I love the culture there, digging in thrift shops, and finding records in places you wouldn’t expect.
I Gres – I Gres Vol. III. Italian library.
A visual artist yourself, how often do you buy records for the sleeve artwork alone?
Actually, not so much. I really need to connect to the content before I buy something. There are very few covers that I really like and that inspire me visually, like David Stahlberg’s art for Dreams by Gabor Szabo, for instance. I like his style, and he only did that album; he doesn’t have anything else, not many works online, and not enough information about the artist, so I decided to make artwork to honor his style; it’s available on my Instagram.
I do like the repetitive, generic style of library LPs, though. It’s something plain that makes them easily recognizable and, in a way, intriguing. Just look at those SPM records! I like that the sleeves look almost homemade, with catalog numbers hand-written in the corner.
Showcase Production Music. Under William B. Tanner Company label, Various styles and rhythms. theme/ stage & screen. Came before KPM.
That was going to be my next question – library music. You’ve got quite a nice pile. Please expand on that.
Besides containing some rather nice tunes, I like their strong focus on the music itself. You don’t see faces on the sleeve; the artists are just names in the credits, and the music and its functionality are the main focus. I mean, after all, that’s really what we buy records for, isn’t it?
The aspect of anonymity is also something I strongly relate to. I like the idea of wearing a mask, like DOOM, or just hiding my persona and letting my art move to the forefront.
Music report by The Clear Light Band on the British Rouge label.
How much do you focus on local Israeli records when digging? Do you mainly buy stuff according to the range of genres mentioned earlier or based on sentimental value?
Oh, this is totally one of the main themes in my collection. I like the Israeli musical heritage a lot! To me, it’s also important to support the local culture. There are plenty of beautiful releases over here that are not necessarily famous (that’s a different topic entirely). I also think these artists have become more recognized by the global community lately.
Arik Rudich – Sattalla. Israeli synth-pop, dreamy ambient from ‘81.
Arik Rudich is a favorite because he dared to do his own style with heavy use of synthesizers that go so well with the lyrics and the tone of his voice.
The title song, “Sattalla,” is about a girl and how she is “the most beautiful goddess.” He seemed to love and adore her, but she passed away. Same as a friend of mine–a true goddess, a female Hendrix. Her passing took a lot of energy from everyone, similar to the story in this song. Music doesn’t have to be happy or popular – it just has to meet you in those places where no one else can understand. For me, that means a healthier healing process.
The Platina – Freedom (1974). Israeli jazz ensemble.
Platina is an amazing jazz band to which I felt strongly connected. I love this LP so much that I used to bring it everywhere when I traveled, and sometimes even played it in record shops to give them more exposure and let people know who they were. Looking back, that seems a bit weird: going to record places in London and playing Israeli jazz music – but everyone enjoyed it and wanted to buy it from me. That was a funny phase in my life.
The Soul Messengers – Sweet Land Of Mine. Sweet soul, funk, spaced out spiritual free jazz from 1976.
Original songs by several artists of the Black Hebrew Israelite Community from Dimona, after making their way back to Israel–their home and holy land.
I got familiar with the Sweet Land of Mine four years ago through a DJ who lives in London. I was amazed that this beautiful piece came from Dimona and fell in love immediately. I’ve got two copies – just in case.
I also buy records that I remember from my childhood, and there are some that I’d definitely want my future kids to grow up with – like these LPs by Tzipi Shavit.
Tzipi Shavit. Israeli children’ record from a very well known entertainer.
“For me, buying second-hand vinyl from an ecological perspective is also important. When you create a demand for reissues, you actually encourage further plastic proliferation. So, ideally, I prefer buying the plastic that already circulates out there and avoid turning it into waste.”
Any crazy digging stories?
Alright, this is a special one: my dad used to sing “The Drunk Song” by Hofni (Mizrahit singer from the ‘70s) every time he came home after a night out with friends. And he has this beautiful voice, so this song has always been a nice and funny childhood memory. A few years ago, I heard someone playing it at Romano, and I realized that it has this almost jazzy arrangement, which is very untypical for the standard Mizrahit pop sound of the time. So, I rediscovered this very familiar song from a new perspective. This, too, is one of the exciting things about digging – experiencing familiar music from a different angle.
Hofni – Friends Write to Hofni (1978). Mizrahi jazz vibes. My dad used to sing it all the time.
Another story is about this Ofra Haza LP: When I visited a friend in Austria, I spent most of my time alone because she needed to study. I played the song “Someone Always Walks with Me” by Ofra Haza. I don’t normally listen to her, but it made me feel good back then, so I had it on repeat. The first record shop I walked into, I saw her record with that song in the bargain bin! Made me feel connected to this world through music.
Ofra Haza – Shaday. Including the famous Im Nin’Alu track.
What about reissues?
Always prefer buying originals, yet, for obvious reasons, I do sin sometimes. Of course, I’d rather wait a bit longer for a certain record than jump on a new pressing, but some of the prices these days are just ridiculously high.
Brigth Engelberts And The B.E. Movement – Tolambo Funk. (1978). African funk. Deep and funky afrobeat.
Mehrpouya – Soul Raga. Finders Keepers Limited edition 7” reissue for the psychedelic funk Iranian music released in 2010.
For me, buying second-hand vinyl from an ecological perspective is also important. When you create a demand for reissues, you actually encourage further plastic proliferation. So, ideally, I prefer buying the plastic that already circulates out there and avoid turning it into waste.
Poopik Arnon – Everyone. Originally released in 72 was a well known actor and singer from Israel.
“I’d be happy if there were more women in the scene. Sometimes I still feel like I’ve “got accepted to a boys club”, and it would be great to have more female friends to go digging with. But that didn’t bother me when I started collecting; I don’t think anyone should be bothered by that.”
What’s your partner’s reaction to this obsession?
He’s a talented musician, so he gets it. We practice together and enjoy sharing our interests. He thinks I’m cool for understanding and knowing lots of music, and he helps me. I appreciate his knowledge of my passion and give him time and space to practice, too.
Can you name some of the stores, trade shows, flea markets, and thrift shops you go digging? If they don’t exist anymore, mention them anyway (mark them RIP).
I enjoy going to Kaplan record store in Tel Aviv, Gali Records in Jerusalem, and record fairs when they happen. Now, I’m mostly digging online for specific records I would want.
Odyssey – Who. This ‘74 Psychedelic gem that was arranged and produced by Vangelis Papathanassiou but still has mystery around how much he was involved in this.
“I wish I could do it for a living: waking up at noon, digging up until the night, and at night sample what I found to make something else out of it – and have someone pay me to do so every day instead of numb office work.”
Is there an album or 7” that you are trying to find, unsuccessfully? What would you give for it?
“I would love to have Lena Platonos’ ‘Shadows Of Blood’ limited edition 12”.
Out of your great collection, there must be a few records you like returning to at any time. What makes them so special to you?
Ian Carr’s Roots; the drums are hypnotic, a masterpiece! Galt MacDermot’s Up from the Basement; “one of the founders of hip-hop, in my opinion; BJ Ward’s Vocal Ease; I really like “The Loner,” just as much as I like the famous “Words on Words”; The Lollipops’ “Naked When You Come” reminds me of what’s real in life; and Aguaviva’s La Casa De San Jamás; it’s a great record that always hits the spot.
Record collecting was largely considered a “boys club” for many years. From your experience and interactions within this world, do you feel that this stigma is gone now?
To a certain extent – yes. But I’d be happy if there were more women in the scene. Sometimes I still feel like I’ve “got accepted to a boys club”, and it would be great to have more female friends to go digging with. But that didn’t bother me when I started collecting; I don’t think anyone should be bothered by that. Most of my experiences have been that of mutual respect and support within the community, with no relation to gender.
The Armoured Corps Variety Ensemble – Discotank. Israeli army band from 1971.
Favorite track: קרב יום. Known for the great drum-break in the beginning and deep enchanting sounds as the singer sings about what I would believe to be redemption day, asking for a light to guide the way.
How do you imagine your perfect digger’s life in your most euphoric dreams?
I wish I could do it for a living: waking up at noon, digging up until the night, and at night sample what I found to make something else out of it – and have someone pay me to do so every day instead of numb office work. Maybe even travel the world to dig as a profession. Quite a euphoric dream, right?
One last thing. Who would you like to see next on Dust & Grooves?
Shira Medina is based in Rehovot, Israel, where she teaches English by day and collects records in her spare time. Find out more about Shira:
Shoofyy on Soundcloud
Edited by Caroline Nieto and Sam Cohen
1 Comment
Concerned Collector
those shelves are not stable enough for that amount of vinyl. it needs bracing, and reinforcement. it weighs more than you think.