![“Where we were with music history seven years ago, you’d already had half a century of re-appraisals, repackagings, and box sets,” said Yeti editor Mike McGonigal, who has produced two multidisc gospel compilations for Tompkins Square and is working on a third—a four-disc overview of the Nashboro label—with gospel collector Kevin Nutt. “You had canonical reissues like the killer job that Smithsonian did in the 1990s with their reissue of the Harry Smith Anthology of American Folk Music, as well as contemporary compilations like Revenant’s American Primitive collections and Shanachie’s Secret Museum of Mankind series. Those compilations are a road map for how to be both informative and ass-kickingly beautiful. They’re arranged with a symmetry and a purpose and make connections that you might not get until dozens of listens. It was clear that [Rosenthal] was interested in records like this because he released them.”
(via Reissue king Josh Rosenthal is mining for musical gold (with a gold record on his wall) | Capital New York)](http://25.media.tumblr.com/tumblr_lzjvthtYda1qhu9bno1_400.jpg)
“Where we were with music history seven years ago, you’d already had half a century of re-appraisals, repackagings, and box sets,” said Yeti editor Mike McGonigal, who has produced two multidisc gospel compilations for Tompkins Square and is working on a third—a four-disc overview of the Nashboro label—with gospel collector Kevin Nutt. “You had canonical reissues like the killer job that Smithsonian did in the 1990s with their reissue of the Harry Smith Anthology of American Folk Music, as well as contemporary compilations like Revenant’s American Primitive collections and Shanachie’s Secret Museum of Mankind series. Those compilations are a road map for how to be both informative and ass-kickingly beautiful. They’re arranged with a symmetry and a purpose and make connections that you might not get until dozens of listens. It was clear that [Rosenthal] was interested in records like this because he released them.”
