Thomas Pasquet

What do you do for a living?

I buy and sell records for a living, the perfect job if you like to wake up at 5 AM on Sunday mornings to deal with some white trash in the middle of nowhere. Just kiddin’, I love this job!

What was your first album? How did you get it? At what age? Can you describe that feeling? Do you still have it?

I can’t remember my first album. But my parents had a dozen records and a turntable since I was born, and the good thing was 3 of those were The Beatles’ 1967-1970, Pink Floyd’s Wish You Were Here, and Gainsbourg’s La Chanson De Prevert–Not bad records to start my collection. That Pink Floyd one was played on heavy rotation; it could be a sort of first album. I think the first record I owned that my mom bought me was the 45 record book of Star Wars: Return Of The Jedi. It was probably around ’84, so I was 8. We bought this at the supermarket, and I still remember the feeling when R2D2 made his noise to tell you when you had to turn over pages. I also remember the waiting when you just put the needle on the record, the crackles… a moment of magic! I think I still know the story by heart.

Pink Floyd – Wish You Were Here. “That Pink Floyd one was played on heavy rotation; it could be a sort of first album.”

The Beatles – 1967-1970. Also known as The Blue Album, this iconic LP covers the later years of The Beatles.

You can find most of the music easily now on the internet, but you can’t find the pleasure of digging real records anywhere else.

What prompted you to start collecting? What age did you start? Was there a specific event in your life, an era, that signified your transition from a music lover to a collector?

It was a long process; I always need time for everything. I started collecting lately when I was around 24 in 2000. I began to be interested in records via DJing, when I saw live shows of artists like DJ Krush, The Beat Junkies, The Scratch Perverts, Norman Cook, Chemical Brothers, Daft Punk, Coldcut, and so on, during the Mo Wax/Ninja Tune/Turntablism last golden era, then all the mystery behind the samples attracted me, I started to be interested in the rare groove records that were the source of the records I loved. DJ Shadow and the way he put digging on the front scene had a huge impact on me. At that time, I bought some reissues, the classic multi-sampled stuff like David Axelrod or Galt Mc Dermott; I listened to a lot of records because I was a part-time music journalist and DJ from time to time. But what put me into it was meeting with Victor Kiswell. At that time, Vince and I both wrote articles for a fanzine called RPM, and we were basically the only two to write about Rare Groove. The first time I visited his house and witnessed his collection was a blast.

The warmth of the vintage vinyl, the mystery of all these obscure records coming from all over the world, the discovery of the OG records used by modern artists… that was the transition, so thanks for that, Vince. At that moment, I began hard to look for information, and one of the main sources was Soulman’s original World of Beats pages. Then I met my Japanese partner in crime, Atsushi, aka Fisherman Price. He’s the guy who did all the layout of our website. He’s also a skilled DJ, the only guy I knew at that time who was not afraid to play libraries for two hours and doubled 150 Euros records ‘til death! He was on the old-school hip-hop scene for a long time, and he used to DJ with Japanese legends like Hiroshi Fujiwara, the Major Force guys, and Nigo from BAPE when he was still in Japan. Our duo was very inspiring; we spent hours and days elaborating four turntable mixes, trying to insert as many obscure records as possible into our DJ sets.

Jeremy Steig – Legwork, Beastie Boys – Ill Communication. “The flute loop and its source!”

Tom Scott With The California Dreamers – The Honeysuckle Breeze. “The famous Pete Rock & CL Smooth ‘They Reminisce Over You’ sample.”

Various – Jazz A Marseille. “The JP Mounier’s very own copy of Jazz A Marseille.”

What was your Initial interest in music? Did you have any influence from your family? Or perhaps your best friend (or enemy)?

I often went to my cousin’s house during the summer holidays, and he was a real music addict; our main activities were listening to music all day and playing video games, and I loved it. A lot of pop rock from the ‘70s, like David Bowie, Cat Stevens, Deep Purple, Genesis… Music has always been a big part of my life, and I went through many phases: indie pop, hip-hop, big beat, trip-hop, jungle, broken beat, and even metal when I was a teen… Music never left me.

Why vinyl?

It’s obvious, the vinyl is beautiful. Weighty, warm, with fabulous large cover art, how could you prefer dull plastic CDs over that superb object? It’s hard to explain that feeling, but a stack of records is nice to my eyes; I love the aspect of a good old crate of vinyl in a countryside flea market. I also love the vinyl for its antic aspect. I love the treasure hunt aspect of digging, the history charge behind a record that was owned by someone else. I must admit that since I’m not DJing regularly, the discovery and search became more important than the music itself, even if it wouldn’t be my full-time job. You can find most of the music easily now on the internet, but you can’t find the pleasure of digging real records anywhere else.

Are you following any specific genre when you collect? Or perhaps fixed on a specific album, cover, or artist? Or maybe pressing years? Or maybe it’s just the music, no matter what.

Due to my story with music, I have many evolving collecting directions. I used to collect samples and breaks. Then I started keeping every rare French groove record as if I was on a mission to preserve that piece of our culture that is largely unknown, except for big names like Gainsbourg. Now I just keep records that really move me, that put shivers on my back. I have mainly late ‘60s and ‘70s jazz records in all their forms: modal, spiritual, jazz funk, West Indies jazz, Latin jazz… But I also like prog rock, psych, and some good old cheesy jerk and pop; I also keep most of the French soundtracks EP I find; I have some libraries, some musique concrete LPs, and dancefloor stuff like disco, funk, hip hop. I don’t think like, “This must be good for the dancefloor.” As I’m not a regular DJ, a dancefloor track really has to please me first and foremost. 

My collection (around 2,000 records) is relatively small, but I try hard to have no fillers. Of course, I have some stupid obsessions like every collector I know. But I don’t try to have every record by artists; I don’t even try to obtain wanted records by all means. I almost don’t even have a want list anymore! I like discovering a record on the field with the Fisher-Price portable or trading with my records mates. I like to have records in my collection that mean something to me, a feeling, a memory; I remember where I found most of my records, which is important to me. I also like to refresh my collection often. I hate it when a record is not listened to; it’s like wasting it. I prefer to trade or sell records often to gain more new records. The adrenaline of the discovery motivates me, no matter what kind of music it is.

Alain Goraguer – La Planète Sauvage. “The infamous Alain Goraguer OST La Planete Sauvage.”

Inside the gatefold of La Planete Sauvage.

Flipping through records in Paquet’s listening room.

What are your digging habits in these digital days? Do you go out to dig in basements and fleas, or are you an eBay expert? Have things changed for you since the web days?

My life as a collector began during the eBay era, so it changed nothing for me. But it’s all about real-life digging anyway, mate! Of course, in the beginning, I bought most of my records on eBay and web shops; I still do some eBay and internet tricks to find some nice bits like that, but maybe 80% of my collection comes from finds in flea markets, records fairs, warehouses, old (or even dead) guys private collection, and trades. I am lucky to have done it as a job, so I have much time dedicated to finding records in France. I feel fortunate to live here record-wise. France, and, more precisely, the Paris area, is where you have one of the world’s wealthiest, most diverse, and greatly ethnic-mixed choices of records. I like all the forums, such as Soulstrut, Waxidermy, and VG+. I met some very friendly people out there and got some strong contacts, but internet searches isolate you. When you dig outside, you meet many people who share the same passion; it can’t be compared!

AIR – Premiers Symptomes, Jason Haverlock –  Pop Symphony. “AIR cover, now with a possible influence, the always great cover art from the Pierre Cardin label, here the infamous Jason Haverlock LP.”

“A part of the gimmick cover art from the first EP by famous French band AIR.”

Bernard Lubat And His Mad Ducks – Self Tilted. “More Pierre Cardin label cover art madness.”

In a world of endless musical sources, streaming music, MP3s, Serato, and other digital substances. Do you sometimes stop and ask yourself, “What for???”

Once again, these things already existed when I started collecting; they just got bigger, so I don’t feel uncomfortable. I never asked myself a question like this cause it’s not the same pleasure. I’m not a massive music consumer; I don’t collect records to “eat” music all day as some of my friends do; of course, I have no problem with this; we don’t have all the same needs, and I don’t have those of a regular DJ or beat producer, music has to be shared, and blogs are great for that. But internet sources make things easier, and maybe that is the problem! If you don’t go to a guide Michelin restaurant every day, you don’t have to discover 10 killer records every day. It kills your ability to be surprised; every record seems normal, average, and easy to find. With the internet and the global world market, people no longer realize that some of these records are out there, and 500 pieces were pressed worldwide. They don’t realize how extraordinary it is to have access to killer records from Pakistan, Benin, or Iran. That’s why I like how guys like B-music run the reissue game, high-quality press, and very limited quantities. Of course, for me, the object is essential, to have the record is necessary, to touch it, put it on the turntable, it participates in the listening pleasure, that’s why I can’t stand MP3 for my own listening habit. 

As for DJing, as opposed to many of my fellow collectors, I think Serato is great. It depends on how you use it. It allows you to be really creative, and it’s very complementary to the digging game. I know countless tracks that can’t be played in their original form, countless dope French jerk or disco killed by a cheesy moment or chorus, or can’t be used because of a low press quality. Unless you’re rich and can double all your records, and even like this, you have to be a very skilled DJ, the editing game makes your selection richer and more enjoyable. It’s a lot of new opportunities… People who dance and enjoy it don’t care if you play an original record. Playing an original must be your own pleasure; it can’t be the main event. I don’t like that much the new music biz, but I’m equally pissed off by the record fascists who live in the past and refuse all kinds of progress.

Henri Guédon – Cosmozouk Percussion. “One of my favorite records, coming from the West Indies, the Henri Guedon masterpiece Cosmozouk.”

Melody Nelson by Serge Gainsbourg, Gerard Manset’s first album, Métronomie by Nino Ferrer, Electric Prunes’ Release Of An Oath, Stevie Wonder’s Innervisions, Pharoah Sanders’ Karma, Alice Coltrane’s Journey In Satchidananda, Eddy Louiss’ first album, Chene Noir’s Orphée 2000, Cortex’s Troupeau’s Bleu, Pink Floyd’s Wish You Were Here, Henri Guedon’s Cosmozouk, Janco Nilovic’s Rythmes Contemporains… When a record strikes you directly to the heart, it’s hard to explain why. It’s primarily melancholic music; I guess I’m quite melancholic myself!

Pasquet choosing a 12-inch to play.

How do you organize your collection?

It’s roughly organized by genre, then sometimes by country, subgenre, or label. But I’m not obsessed like the guy from High Fidelity! And I like the idea of de-structured organization; it allows you to dig into your own crates. I recently found some outstanding records I didn’t remember I had in my basement. And I’m always pleased to find back a misplaced record sometimes.

Tell me a helpful record storage/shelving tip!

Put the most valuable records at the top when you have children or animals. Avoid cellars with rats at all costs!

What do you look for in a record?

It’s definitely some music I’ve never listened to. I love to dig for a record that looks great, but I don’t know about it, especially in every kind of music. The more weird and mysterious the cover is, the better it is. And I tend to have mostly solid records from start to finish. I had too many of these one-trackers!

What’s your partner’s reaction to this obsession?

She has respected my passion since the beginning. She even pushed me to go to a record shop while traveling together to a new place. In return, I try not to harass her with long speeches about records. Sometimes we both would like better to be together during those damn flea markets Sunday morning, but it’s all good; she’s very comprehensive. She even plays video games with me; she’s a geek!

A cover of a Édouard Molinaro soundtrack.

Michel Legrand – Les Demoiselles De Rochefort. “A classic Legrand score for the Jacques Demy movie, Les Demoiselles De Rochefort, starring Catherine Deneuve.”

Name some holy grails from your collection history.

I don’t have a lot of holy grails, the kind of $5,000 Northern Soul 45′ or psych acetates. I do have some decent rarities, like the Placebo LPs or some rare psych LPs, and some French or Belgian jazz that is really obscure, but my personal grail is the records that were given to me by the artists. Those are priceless. My Moravagine copy comes from Olivier Hutman. I have Sunbirds and Marc Moulin LPs that come from Philip Catherine‘s personal collection. Some years ago, I was after the rare Jazz A Marseille, a record that used to leave for 1000 Euros in Shibuya during the golden age of French records. I managed to have the email of Jean Pierre Mounier, who played on this record and is the pianist of Bob Azzam on all of his LPs recorded in Sweden. I had him on the phone and asked him if he still had copies of the records. He told me he still had his copy and that he would gladly send it to me. I tried to at least pay for the shipping, but he refused, and he sent it as promised. That’s probably my favorite record.

Do you have a record-collecting philosophy or routine when you enter a store?

I’m not an intensive shop guy; Paris is quite shitty for record shops, they’re packed with diggers every time, and owners are usually awful and shady, except on some exceptions, mainly the new generation like the guys at Superfly Records.

Karl Heinz Schäfer – Les Gants Blancs Du Diable. “Another great French soundtrack, Les Gants Blancs Du Diable, superb cover art.”

Jean Yanne – “Coït.” “Jean Yanne sleazy OST ‘Coït.”

I know that every “your favorite” question is a tough one, but try to remember. Can you name a few of your favorite album covers?

Definitely my Musique Pour L’Image (MPI) collection. It’s one of the few labels I try to collect every release. The cover art by Robert J. Hilton is just superb. I have an overall weakness for black and white covers. I love the Perspective 20eme Siècle Series on Philips, a musique concrete series of records with a cover made of silver paper sheets. I also like the BYG/Actuel series very much. The inside gatefold always has some great pictures of the musicians. And the Pierre Cardin records. Speaking of Pierre Cardin’s label, I love its main ideas: complete artistic freedom, crazy concepts, and ambitious cover art for a payback close to nothing! Pierre Cardin was a real patron. I like it when a label has a sort of visual coherency, like Blue Note or Impulse.

“The Johnny Trunk book about libraries LP cover art.”

Can you tell me a bit more about your “obsession” with Library music?

First, library music is really a European specificity. Even if you have some labels in the US and elsewhere, 95% of the production came from the UK, Italy, and France. So it was a little private garden for Euro diggers like me. You definitely have that European flavor on it. The way the guys play jazz or funk is different from the US. It’s less raw and straight funky than in the US, but they add something different to it, a kind of romantic, melancholic feeling, or, at the opposite, a sense of humor. The interesting thing about the library is that the music wasn’t designed for a “public” audience; it was created to illustrate documentaries or TV series. The music was more like material, modeling clay that directors cut, edited, and used to function the images on the screen. It sometimes sounds like movie soundtracks with theme variations. So, the musicians in library music had a totally different view of their work. It’s very reductive to call that muzak, or elevator music, cause, on the contrary, the musicians were free to experiment or create new kinds of sounds and music without any commercial pressure. Can you imagine a guy like Janco Nilovic had a complete 70-piece orchestra just to make one of his library albums? 

Guys like Roger Roger and Nino Nardini were on top of the new instrumentations in music; their mythical studio Ganaro was full of, ahead of time, Moog, keyboards, and other effect machines. Suppose you go deep into the library music. In that case, you notice there is concrete music, experimental music, electro-acoustic music, Psych Jazz, Psych Prog, Cosmic Disco, and more interesting stuff, and not only the usual cheesy instrumental pop people are usually aware of. It’s the same for the cover art. They didn’t have to sell the product to kids or teenagers; they didn’t need to follow the fashion of the moment; that is why much of the library cover art is very innovative and still very fresh nowadays. Even the repetitive logos or label art make it look like a pop art series. That’s why library music is so interesting; it’s a kind of industrial product, but art at the same time, like a concept car or a design chair!

Various – Vite Et Doux, Patrice Sciortino – Sciences – Industrie – Bestiaire, H. Renaud* – R. Hermel* / Martial Solal – Jazz Mobile. “Some of my favorite cover art on the so precious MPI French library label.”

“Robert J. Hilton, who did most of the cover art of the MPI label.”

You mention Robert J. Hilton as one of your favorite cover artists. Can you share some knowledge about him?

Not really, sorry. There isn’t any information about him. Judging by the name, it’s a pseudo, which is very usual in the library music business because the artists use it as a side work apart from the label or major they used to work with normally. Many successful musicians of the ’80s in France used library music as a starting career, like Michel Berger, Laurent Voulzy, Manu Dibango, or Catherine Lara. So maybe Robert J. Hilton was a successful artist years after but with a completely different name.

Can a bad album cover hide great music inside the album? Or the other way around?

The best example is the KPM library label. It can’t be less sexy than this generic cover that always looks the same. On the other hand, 99% of the West Indies records have appealing cover art but are mostly uninteresting. A real trap for baby diggers!

“A bunch of rare Christian records, dull music, but great cover art!”

Brigitte Fontaine – Brigitte Fontaine Est…Folle. “A great JC Vannier production (Gainsbourg arranger on Melody Nelson LP).”

Jean Constantin – Le Poulpe. “Another favorite, Jean Constantin’s rare Le Poulpe, brilliant collage cover and even the music is great (by JC Vannier).”

What about digging buddies? Do you share, or do you go solo?

I share a lot. I have a lot of friends who dig for records, and we always share most of our new finds, all these secret squirrels. I used to go out with my buddy Fisherman Price, but he quit the record game a couple of years ago. Now, I always try to have digging buddies with me. Here’s a personal rule: when you score, you’re happy to share; when you don’t score, it’s always better to have a buddy by your side to share your pain!

Tell me about the most unlikely place/occasion where/when you found records.

A couple of times in some racist, drunken, white trash records fair. Here’s another interest: to have digging buddies watch your back.

Tell me about a record you still regret not picking up.

Not a record, but a huge collection of records! I missed 20 crates of contemporary/concrete and rare pop all in mint condition LP collection because I was too lazy to put pressure on a flea market, dude. Anyway, I have no regrets. You learn much more from your defeat. And that’s maybe, thanks to this bad experience, that I finally got my hands first on the best record lot ever found in Europe in the last 20 years!

The Piranha’ Sounds – “Self Tilted.” “The famous Piranha Sounds EP by Jean Pierre Massiera. One of the first and most mythical releases from his SEM label. Incredible stomping breaks jerk featuring Andre Ceccarelli on drums. And one of my favorite cover art too!”

Who has the toughest record collection that you have ever seen?

In France, guys with thousands of records are often totally crazy and anti-social, and coming to their place would be almost dangerous or at least disruptive. If I had to pick a great collection, I would pick several collections I witnessed in Paris: My Man Pal for the soul and funk, Peeer for the French 45 records, Manu Boubli for the jazz and west Indies, and Gwen Lueke for libraries and experimental records!

How do you imagine your perfect digger’s life in your most euphoric dreams? A life partner that cleans your shelves every week.

I had a record opportunity that went way beyond my wildest dream, and I actually do a sort of dream job, so my digger’s life is perfect enough for the moment. Oh yes, one thing: I would like 48 hours a day to run everything I wish to do.

Thomas currently runs his rare vinyl shop, Listen!, one of the best shops for jazz, libraries, progressive, psychedelic, soundtracks, afro/Latin, and funk records from France, Europe, and anywhere else.

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Groove on,
Eilon Paz and the Dust & Grooves team