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Otto’s Record Collection

@ottosrecordcollection

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Born on March 7th, 2026, this page will be dedicated to Otto’s journey as he listens to albums from his father’s collection for the first time.
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Artist – D’Angelo Album – Voodoo Year – 2000 Virgin - 7243 8 48499 1 7 I got the news that D’Angelo passed while sitting in the kitchen in my Aunt’s house in Sea Isle City, NJ. Your mom was about four months pregnant with you, and we were a day away from going to the Flyers Home Opener. That was October 14th, 2025. I introduced you to D’Angelo on October 14th, 2026. One album and one Instagram post won’t allow me to honestly say everything I want to say about D’Angelo, his legacy, his influence on me as a human and how his passing made me feel, so this will be a three part series over the next few months. Here’s where we start, though. I got into D’Angelo in the late 90s and early 00s as he appeared on so many songs that my favorite artists were putting out; “Break Ups 2 Make Ups” by Method Man, “The Hypnotic” by The Roots, “Getto Heaven Pt. 2” by Common and “Nothing Even Matters” by Lauryn Hill. And, of course, everyone alive in the late 90s and 00s heard every girl talk about the “Untitled” music video. I gave “Voodoo” a chance because I knew there was a DJ Premier beat and a Method Man and Redman feature. Per usual, everything was driven by Hip Hop at that time in my life. Man, an entire world was unlocked. D’Angelo wasn’t just the guy who sang on other people’s songs, or took his shirt off in that music video. He was a Titan. The originality and musicianship of Prince, the soul of Gospel music on a Sunday morning, a voice that commanded attention like a General during War Time. He provided everything for those seeking beauty, majesty and harmony, and provided nothing to those who turned their back to it. He was intentionally D’Angelo. We lost him to Pancreatic Cancer at age 51. It felt as sudden as the end of “Untitled,” and since he kept his illness under wraps, I’m sure that was on purpose, too. If he lived another 51 years, he still would have died too soon. Voodoo was his second album. It’s one of my top 10 albums ever made. Sometime when we get back from our trip we’ll listen to his first and we’ll discuss the early part of his career. “How Does it Feel?!” - D’Angelo by @ottosrecordcollection
Artist – Louis Prima Album – The Wildest! Year – 1956 Capitol Records – T755 I previously introduced you to Louis Prima when we did our quick write up of “The Jungle Book.” If you don’t remember, Louis Prima and his band were responsible for my third favorite song of all time, “I Wan’na Be Like You” from “The Jungle Book Original Soundtrack.” Louis Prima’s legacy isn’t necessarily one that transcended time. While he’s fairly well known, a lot of that has to do with his Jungle Book role, and the fact that he opened the door that allowed ethnic musicians to stress their heritage and culture in an era where it was frowned upon to do so. Beyond that, he is more well known for a hit single here and there such as “Pennies from Heaven,” “Jump, Jive an’ Wail,” a Vegas Lounge residency and for being “The Wildest.” Which is, of course, why we chose this album, the jewel of Louis Prima’s career. Done alongside the band “The Witnesses” and his then wife, Keely Smith, “The Wildest” was the perfect encapsulation of everything that Louis Prima brought to the table; Blues, Jazz, early Rock ’n’ Roll and unfit for society humor. At the time, Louis Prima, his wife and his band were regularly performing at the Sahara Hotel and Casino and were almost immediately the biggest draw in all of Las Vegas. They got together at the lounge in the Sahara to record this album, in an attempt to capture what 3 o clock in the Morning felt like during that era in the City of Sin. “Jump, Jive an’ Wail” became the most popular song from this album, and one of Prima’s signature songs from his career. In fact, in the 90’s, it regained popularity following a Grammy winning cover performance during the Swing Revival in the 90s. “This is simply irrepressible music that more than matches its cover shot. Prima is joyous, rumbustious, and irresistible.” - Will Fulford-Jones by @ottosrecordcollection
Artist – Tracy Chapman Album – Tracy Chapman Year – 1988 Elektra - 960 774-1 The first time I tried to show you this album, your mother, instead, decided we listen to Chic. This is analogous to the first time I tried to listen to this album, where I would rather listen to anything instead. Tracy Chapman is one of those albums my mother (and father) listened to on repeat around the time I was born. So when I went through that phase in my 20s where I wanted to branch out, I went and bought the CD. I knew “Fast Car” and a song of hers from the 90s, so I was pretty excited. That excitement almost immediately deteriorated. I absolutely despised my first listen. So much so, I didn’t listen to it again for almost a decade. I had almost no interest in an acoustic album and at the time, certainly no interest in an album as politically and sociologically driven. I found it to boring and one dimensional. Turns out the only person boring and one dimensional was me. The singles “Talkin’ ‘bout a Revolution,” “Fast Car” and “Baby Can I Hold You” are f*cking great songs. “For My Lover” and “Across the Lines” round out of my top 5 songs, but there isn’t a single miss on the album. Tracy Chapman went on to win 3 Grammys during this album cycle, charted at number 1 on the Billboard charts, and went six times Platinum. It may have taken two tries for me to appreciate it, and two times to turn you on to it, but it was worth the wait. “Don’t you know, they’re talking about a revolution, it sounds like a whisper” - Tracy Chapman by @ottosrecordcollection
Artist – OutKast Album – Aquemini Year – 1998 LaFace Records – 73008-26053-1   I know we’re a bit late here, but we were in Philadelphia introducing you to your Aunts and Uncle. We also took you to your first ever hockey game! Unfortunately, they lost 7-0. Per usual, however, you were a complete joy and everyone loved you.   Now, let’s get down to brass tax. I think it is safe to say that OutKast is arguably the greatest duo in Hip Hop history. It’s a fair argument that Aquemini is their best album (it’s my favorite, at least). OutKast also has a rich history with several things worth discussing. However, in this entry, we’re going to focus on September 29th, 1998, “A Great Day in Hip Hop,” my 10th Birthday   On that day, “Aquemini”, “Black Star” by Mos Def and Talib Kweli, “The Love Movement” by A Tribe Called Quest, “The Foundation” by Brand Nubian and “Vol 2… Hard Knock Life” all came out. On that same day, XXL commissioned the “A Great Day in Hip Hop” photo. If you remember, back when Sonny Rollins died, I did a quick write up on “A Great Day in Harlem,” the coolest jazz photo ever taken (by Art Kane).   I consider that to include two classics, two fantastic albums, and the worst album in an otherwise phenomenal discography, “Aquemini” was the easy choice. I cannot begin to tell you the strangle hold this album had on me. Hell, that it STILL has on me. When “Rosa Parks” came out, my babysitter taught me how to call a radio station and request a song, and I called those bastards several times a day. With the exact same request “Can you play Rosa Parks by OutKast?”   I’ve had this album on Cassette, CD and Vinyl. I was introduced to Parliament because George Clinton was “Synthesizer.” I learned how to rap fast because of Big Boi’s verse on “Skew it on the Bar-B.” I fell in love with horn sections, in part because of “SpottieOttieDopaliscious.” To this day, I consider this album one of the ten best albums in Hip Hop history.   It wasn’t just my 10th birthday. It wasn’t just a “A Great Day in Hip Hop.” It was a formative era in my life.   “But it’s like this: the South got something to say”– Andre 3000 by @ottosrecordcollection
Artist – John Coltrane Album – Stardust Year – 1963 Prestige – PRST 7268 It’s no exaggeration to say that John Coltrane may be the single greatest musician ever. It’s certainly no exaggeration to say that he is amongst the most influential, either. The day that I introduced you to him for the first time, September 23rd, 2026, was Trane’s 100th birthday. He died of Liver Cancer at the age of 40 but somehow left a shadow that a regular great musician would require 300 years to cast. After World War II, Coltrane moved to Philadelphia (damn that city is magical) where he used his Military involvement to enroll at the Granoff School of Music, where he would study music theory. Shortly thereafter, and partly through the relationship he had with his mentor, Dennis Sandole, he performed alongside the likes of Coleman Hawkins, Dizzy Gillespie, Lee Morgan, Thelonius Monk and Miles Davis. As I would have instilled in you by now, that’s a real who’s who; some of the all-time greats. By the mid ‘50s, he was afflicted by a disease that many in the jazz community suffered from, Heroin and Alcohol Addiction. It didn’t, however, stop him from completing two of the most renowned albums in the annals of Jazz Music history; “Blue Train” and “A Love Supreme.” While I don’t have copies of those albums to present to you (yet, I promise I will one day), the redord I showed you, “Stardust” is one of my favorite session recordings of his. I find it to be some of the prettiest recordings of Coltrane, and your mother would agree! It isn’t often she speaks out about liking Jazz. By 40 years old, Coltrane went on to win a Pulitzer, was canonized by the African Orthodox Church, have a religion formed where they viewed him as a Prophet, married an incredible musician (Alice Coltrane) and his home in Philadelphia is a historical landmark. In about 5 hours we will be leaving Las Vegas for a brief vacation in that very city. Maybe we’ll get to visit his home! “After all the investigation, all of the technique-doesn’t matter! Only if the feeling is right.”– John Coltrane by @ottosrecordcollection
Artist – Don Henley Album – The End of the Innocence Year – 1989 Geffen Records – GHS 24217   When I look back on my life, there’s a bunch of songs that stuck with me because I remember my mother playing them. We have previously discussed “In My Life” by The Beatles and the “Faith” album by George Michael. “Heart of the Matter” fits that bill.   Up until I was in my mid-20s, I’m not sure that I heard another song on this album, but “Heart of the Matter” was easily one of my all-time favorite songs by that point. I didn’t know he was a former member of “The Eagles” (the band, not the Football team), I had no idea that he was a drummer, and other than “The Boys of Summer” which was hammered into my head every summer by Major League Baseball (it has absolutely nothing to do with baseball), I don’t think I could have told you a single thing additional bit of information about him.    Maybe that’s one of the reasons I do this. It’s obviously self-serving as I love introducing you to music. I also love showing off my record collection, that goes without saying. Maybe I love doing this with you because I know how much I loved those songs my mom turned me on to.   During that same era I got into Paul Simon and Peter Gabriel, I bought “Building the Perfect Beast” and “The End of the Innocence” by Don Henley. To this day, I don’t particularly care for “Building the Perfect Beast,” but this album? There something intoxicating about it.   From the moment the first note was struck on the title track, to the conclusion of “Heart of the Matter,” Henley perfectly encapsulated the transition from being an innocent child to being a grown man with responsibility and people depending on you.   He weaved through cynicism and heartbreak, through optimism and romance, through expediency and patience, while never breaking the thread that tied it all together. The desire to push through isn’t lost when the mood is somber, and sobriety isn’t abandoned when you’re confronted with the highs that the album has to offer.   “What are these voices, outside love’s open door that make throw off our contentment and beg for something more?” – Don Henley by @ottosrecordcollection
Artist – Will Smith Album – Big Willie Style Year – 1997 Columbia – C2 68683   Post Oscar-Slap, it’s easy to call West Philly’s own Will Smith “cheesy,” but in 80s, 90s and 00s, this man was a STAR   It’s no secret that “The Fresh Prince of Bel-Air” is my all-time favorite sitcom. In fact, when your mom was pregnant with you, I’d have the occasional bout of anxiety regarding your arrival but knowing that I learned as much as I did from Uncle Phil was a calming sedative for me.   As you know, I didn’t always have the best father figures, and while television isn’t a substantive substitute, it didn’t hurt to see strong, albeit flawed, men on the tube that I could learn from. It wasn’t just Uncle Phil. There was something to learn from when Will, Carlton and even Aunt Viv were on the screen, too.   After “ The Fresh Prince” debuted, Will went on a legendary run. While not every movie was a gem, it’s hard to argue that he was one of the most marketable men in all of Hollywood. Then in the 2000’s he started to become more respected for his dramatic roles and acting chops.   Now, “Big Willie Style,” four years after his final album with the greatest DJ of all time, DJ Jazzy Jeff, was Will Smith’s first solo album. It produced the massive singles “Men in Black,” “Miami” and Will Smith’s first number 1 single, “Gettin’ Jiggy Wit It.”   The whole world was hooked. So was I. It was unavoidable. I had it on cassette, I had it on CD and as of about a month ago, I added it to your record collection.   Listening to this album for the first time in 20 years these past few days has been a blast. I remember thinking that the Grover Washington JR inspired “Just the Two of Us” was about as cheesy as a song could be. Now that I’m your father? I found myself staring at you while listening to it and appreciating how heartfelt each word was in its simplicity. Fun fact, in 1989, DJ Jazzy Jeff and the Fresh Prince were the first Hip Hop artists to win a Grammy.   “You’re living proof that dreams do come true, I love you and I’m here for you” – Will Smith by @ottosrecordcollection
Artist - Bob James Album - Touchdown Year - 1978 Tappan Zee Records– JC 35594 I’d be lying if I said I had a story about Bob James. The entire relationship I have with this album is that it’s really good, and that Louis Logic sampled “I Want To Thank You (Very Much)” on his album sin-a-matic. So let’s get into the meat of this. You have officially survived your first week of Football! Yes, I know what you’re thinking: “isn’t this album a little on the nose?” And the answer is “Yes, I’m not nearly as creative as you may think I am.” The first game you ever watched was New England v Seattle, in a rematch of the previous Super Bowl. That was on Wednesday, September 9th, 2026. That ended 13-10 in Seattle’s favor. There was also a Thursday game, but we’re going to pivot to the main event. Your first ever Eagles game was the Eagles versus the Commanders on Sunday, September 13, 2026. The Eagles squeaked out a nail biter and won with a 2-point conversion stop 24 to 22. Let me tell you, son, if you’re anything like me, this is going to be an incredibly important relationship throughout your life. Not just with the Eagles, but also with every Philly team. In a world of ups and downs, the downs are going to far outweigh the ups, but as the Eagles showed in 2018, and again in 2025, the wait is completely worth it. I hope you enjoy this stuff as much as I do. Not because I want you to model yourself out of me, but because some of my best moments and best friendships were forged through the camaraderie that I’ve only found through sports and fandom. Let me leave you with these four important words. “Go Birds. Fuck Dallas.” “I can’t control what these people think, but if it takes all the hating, all the scrutiny, all the different opinions for me to be a world champion, keep it coming” - Jalen Hurts by @ottosrecordcollection
Artist - Chic Album - Risqué Year - 1979 Atlantic - SD 16003 While determining what you’d listen to after Gil Scott-Heron, we narrowed it down to a Tracy Chapman record and a Chic record. It goes without saying that we settled on “Risqué” by Chic. Not only their best album (in my opinion) but an incredibly influential album in the Disco world and beyond. I’d like to start this off by saying “Nile Rodgers is the F*cking man.” While a lot of people in my generation were introduced to him through the 2013 Daft Punk album “Random Access Memories,” Rodgers had his influence on a countless combination of albums and artists. Ignoring his early project “The Big Apple Band,” it all started with Chic. Rodgers, Edwards, Wright, Thompson and Martin hit the ground running in 1977 with their eponymous debut “Chic,” and had a stranglehold on the dance floor for the next 3 years. “Risqué” was their most artistic endeavor. As the 70s were winding down, “Risqué” paid tribute to the sunsetting era by putting all of its hedonism and excess in a time capsule for us to explore by putting this album on. The albums opening song “Good Times” was also sampled by “The Sugarhill Gang” for the first Hip Hop song to ever break into the top 40, “Rapper’s Delight.” I started my DJ career primarily playing records from the Disco and Post-Disco era, so Chic and some of their contemporaries hold a non-negotiable place in my heart. “Art, well good art at least, takes you to a place you go during the experience of it.” - Nile Rodgers by @ottosrecordcollection
Artist – Gil Scott-Heron Album – Pieces of a Man Year – 1971 Flying Dutchman – FD 10143 Here’s another one of those “I can’t believe I took this long to show you this” albums. But if we’re being entirely fair? I’m going to have to show you this album again and again and again. This is not to say that when you get older you will lack the comprehension skills to truly grasp this album, but this album will likely mean different things to you at different times in your life; wisdom, mood and knowledge depending, of course. Much to the dismay of Gil Scott-Heron, I only knew his name because of “The Revolution Will Not Be Televised.” As I went on through life, I got more and more familiar with him as a fan of Hip Hop, as is true with so many of the artists I’ve shown you. By the time I finally bit into this album, life and experience had created the space necessary to truly digest it. The album wasn’t the political piece that everyone associated with it, though, yes it was. Everything about his life was political. Every word he said became political. He believes that it watered down the album, but if you ask me? It gave the album more gravitas. This album showcased his lyricism, his hypnotic voice, and the courage required to put your soul on the table in a world where your soul can be so easily tarnished. “Pieces of a Man” has inspired me to slowly improve the pieces of myself that I believe need to be enhanced, and with every listen, I’m more confident I can do just that. “He was always such a strong, strong man, yeah I saw him go to pieces.” - Gil Scott-Heron by @ottosrecordcollection
Artist – Arcade Fire Album – The Suburbs Year – 2010 Merge Records – MRG385   This is probably going to be a bit sadder than any post I’ve previously made. Not because this album is necessarily sad, and not because I have a pessimistic outlook on what’s to come. Simply because this listen of this album with you helped me realize the world I’ll be raising you in, is not the world I was raised in, nor the world I ever anticipated having to protect and educate you in.   As far back as my earliest memories allow me to consider, I remember being outside. I remember walking home from school as young as seven years old. We walked in packs, but still. We spent our free time on the streets. We played hockey, basketball, biking, football, soccer, tag and even some less scrupulous activities.   I remember stealing from the ice cream man. Not something I’m proud of, but something I did. I remember throwing rocks over the wall, with no regard to where they would end up, or whom they would hit. We decorated houses with eggs and toilet paper. We got in fights both physically and verbally. We learned about the world through mischief, wholesome fun, comradery and separation.   If I wanted to learn something, I picked up a book or asked an adult. If I wanted to contact someone, I picked up a corded phone or knocked on a door. We didn’t have this symbiotic relationship with our phones. You’ll have google, or AI, or whatever comes up that I’m not equipped to predict. You’ll have technology I couldn’t imagine at 8 years old, and technology I can’t imagine at 38 years old.   I can’t teach you the way I was taught, and you can’t learn the way that I learned. There’s good and bad there. My upbringing won’t be better, just different.   That’s the sentiment that Arcade Fire nailed with this album. One day I’ll introduce you to a second album of theirs and discuss their history. For now? I wanted to get this off my chest   “In the sunset of dissolution, everything is illuminated by the aura of nostalgia” – Milan Kundera by @ottosrecordcollection
Artist – Donald Byrd Album – Places and Spaces Year – 1975 Blue Note - BN-LA549-G The past week has been filled with a lot of work, a lot of company, and a lot of auxiliary activities, which is why we’ve sat on this album more than we normally would have. Before we get into why I chose this record, I want to tell the story of the first night we began this record. Our friends Justus and Amanda are moving to Portland. So on August 20th, they joined us, Andrew and Kaylee at the house to enjoy a great meal cooked by your Mother. Justus and Amanda are notable regulars in the local dance scene and love jazz music, so when they come over, I always choose a jazz record to listen to. This gathering also included Justus teaching Andrew a few dance moves; moves that were too intricate for me to mimic. So, I’d like the record to show that Andrew learned these dance moves to this particular record by Donald Byrd. Much like Parliament, you can find Byrd’s influence scattered throughout the entire Hip Hop kingdom. Dozens of songs of his I originally heard as a sample. His influence, naturally, was limited to Hip Hop. It also wanted limited to being one of the most prolific recording artists you can think of. Whether it was mentoring Herbie Hancock, introducing him to Miles Davis, teaching Jazz students at NYU, Howard, North Carolina and Cornell, or establishing the Blackbyrds, Donald Byrd was a titan by any conceivable measure. In short? Byrd was the f*cking man. “They use all of the music that I did in the ‘50s, ‘60s and the ‘70s behind people like Tupac and LL Cool J. I’m into all that stuff.” - Donald Byrd by @ottosrecordcollection

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