The Long, Lingering Death of the CD

The Grammy winning packaging for Tool’s album, 10,000 Days, art directed by band member Adam Jones. Photo by Josh Janicek

Best Buy to Pull CDs from Retail Stores

It’s been at least a year, maybe two since I bought a physical CD. As someone who’s library was at one point pushing the 1,000 unit mark, I find that fascinating.

I held on to my CDs for a long time, even after subscribing to Apple Music. I finally unloaded them all to a collector a few months ago for a painstakingly low sum when contrasted against the sentimental value they had for me. But the value was just that, sentimental.

At some point I bought in to the subscription music model. I still believe in supporting the artists in whatever way I can. Regrettably, the current music landscape has shifted so that artists no longer make the most of their money on sales – their money comes from touring and live shows – something I rarely take in anymore. Though I was – and continue to be -at odds with how artists are paid by streaming services, I had at some point to simply give up, and hope that somewhere, somehow, there were people working to make sure that artists were fairly paid for licensing their work to steaming services. History and a gut feeling about the industry tells me that the reality is, they probably aren’t.

I used to spend hours with new CDs. When I got a new CD from a favorite artist, I poured over photos, liner notes and detritus for clues about the artist and the music the album contained. I loved seeing new and innovative ways to package CDs – jewel cases, paper folios, gatefold packaging and the like. I believe there’s even a Grammy handed out for best packaging – what will become of that now?

I wonder if there will ever be a resurgence of CD interest in the same way there has been vinyl, but I doubt it. There simply isn’t the same attraction. I was a ‘middle’ kid – I discovered music in the age of the cassette and subsequently the CD, so vinyl never held the same nostalgic feel for me, but CDs do.

I wonder how my kids and future kids will develop their relationships with music and the artists in a world where physical product has become extinct and the emphasis has become more on ‘quick-hits’ vs. albums and artists are becoming increasingly more ‘flash in the pan’ and a disposable commodity.

When I dumped my CD collection, there were some I refused to get rid of. My Rush catalogue – simply because they’ve been my favorite band consistently over the years. Some CDs by friends or local artists that aren’t available online anywhere. Then there are bands like Tool, who’ve never licensed their albums to be on iTunes/Apple Music for example. I kept all my Tool CDs. With rumors of a new Tool album sometime in the future, one wonders if they will maintain that stance. If they’re committed, one wonders how they would release new material. Digital download direct sales? Will they actually produce physical product? An interesting question as they have consistently been a band who was at the forefront of design, packaging and presentation throughout the years.

Many artists are now releasing ‘pre-order’ packages for albums or digital downloads that still include physical copies of the album – either on CD or Vinyl, along with a download code, in addition to other select, sometimes exclusive, merchandise. Perhaps this will become the norm. One wonders at what point though, the production of physical product will become a financial liability to the point that it isn’t worth the expense and it will disappear all together.

My Albums of 2011.

Here’s the albums I dug the most, mostly for 2011. No particular order. Enjoy.

Sam Roberts BandCollider
I had hailed Love At the End of the World as Sam’s finest record yet to most of the people I argue about music with (ok, well, ONE person). But I think this record stepped it up a notch and I don’t even know how. My standout tracks: Let it In, Streets of Heaven (Promises, Promises)

ArkellsMichigan Left
I only discovered the brillance of the Arkells first record, Jackson Square about a month before this record came out and then was very impressed with the follow up effort. Jackson Square was a tough record to top. My standout tracks: Michigan Left, On Paper

Foo FightersWasting Light
After a long wait, Dave and Co. return and do not disappoint. The media/blitz/circus that ensued was also something to behold and would have been easy to ridicule had the tunes not stood up to all the hype. Several TV/web appearances playing the record in it’s entirety as well as the timely release of their movie, Back and Forth prompted one reviewer I read to quip, “Thanks Dave Grohl, for making us care about the album again.” I couldn’t agree more. My standout tracks: Rope, Miss the Misery

ChevelleHats off to the Bull
A sleeper, I had no idea these guys were working on a record and it barely made it in this year, but since it came out, I’ve listened to pretty much nothing but. My standout tracks: Pinata, Hats off to the Bull

The Black KeysEl Camino
I didn’t want to buy into the pre-hype regarding this new record because, well , I secretly long to be a hipster. Also, I really didn’t think they could top Brothers. Seriously. But once it came out, dammit, they did. And in a record that’s only 38 minutes long. I’m still not a hipster though. My standout tracks: Gold on the Ceiling, Little Black Submarines, Mind Eraser

Rival SonsPressure and Time
Bringing the classic rock back, these guys are kicking out some jams. Production that cries of vintage Zeppelin and a singer who screams like Ian Astbury and/or Plant combined. Sprinkle with a touch of Black Crowes and, voila, you’re scissor kicking. Only thing I can possibly fault them on is their pro-vegan stance. Wha? Tré un-rock. My standout tracks: Pressure and Time, Get Mine, Save Me

The Twilight SingersDynamite Steps
Greg Dulli sulks out from wherever it is he hides in the ‘off-season’ and wrangles his compatriots to bring us this lush, moody gem of a record. It’s been said before by many people, but it never ceases to amaze me how Dulli seems to create ‘movies’ or ‘soundscapes’ with his records. They’re like concept albums, but the concept is unique to every listener. My standout tracks: Waves, On the Corner, Dynamite Steps

Matthew Good Lights of Endangered Species
If you follow Matt at all this was an interesting record as he demo’d, discussed, and chronicled the writing and production of on his website/blog. A very interesting glimpse into the process. Given that, I have to admit it was a bit anti-climatic when the record officially dropped, as I’d already heard most, if not all the tunes in some form or another. That being said, I still think it’s an excellent record. My standout tracks: Zero Orchestra, Non-Populus, Lights of Endangered Species

In 2012 I’m really looking forward to the new Rush and Big Wreck records as well as some others.

Happy New Years, yo.

The Live Album is Dead.

The Live Album is dead.

Remember how monumental live albums used to be?

The Who, Live at Leeds.
Peter Frampton, Frampton Comes Alive.
Pink Floyd, Delicate Sound of Thunder.
Rush, Exit Stage Left.
Led Zeppelin, The Song Remains The Same.

Live albums used to be a bastion of a recording landmark in any bands career.

It occurred to me today that with the ability to basically call up almost any live track on the internet anymore and with bands releasing literally whole tours worth of night by night recordings that the Live Album is no longer that much anticipated, must experience moment.

Sure some will say, ‘Fuck LIVE albums, ALBUMS PERIOD are dead.’ To this I say, you are probably right, but that takes my blog post off topic. You’re a buzzkill, cut it out.

So live albums are dead. Should we have a funeral?

The Band, The Last Waltz.
Genesis, Three Sides Live.
Stevie Ray Vaughan, Live at Carnegie Hall.
Everyone has favorites.

Bah. Godammit.

I’m a geezer. I’ve entered geezerdom.