The Vinyl Revolution

I like to shop for music at small independent record shops. Actually, small independent shops are the only true record stores still in existence. Electronic downloads, mega bookstores, and electronics depots have driven a lot of the competition out of business. Still, a few independents are hanging on and some are even thriving in DC due to the re-emergence of vinyl records.

For years it seemed that vinyl records continued to exist only for the avid collector and professional DJ (and I don’t mean cheesy dudes that play tunes at wedding receptions and school dances). However, vinyl has found new customers in those longing for a nostalgic music experience, those interested in hearing music in a non-digital format, those that are looking for a more tactile music buying experience (as opposed to the virtual world of digital downloads), and hipsters looking to expand their retro-coolness from their clothing to their music collections.

At first I dismissed the vinyl trend. I doubted vinyl’s ability to thrive in a world where music is easily bought and shared over the internet. Then I wandered into one of the independent music stores in my neighborhood called Crooked Beat Records and saw this notice:

“For the second year in a row (2008) New & Used Vinyl LPs have outsold CDs at Crooked Beat. LPs now account for around 70% of our total sales. We will be increasing our vinyl selection even more in the coming months.”

True to their word, I have seen the space devoted to vinyl at Crooked Beat increased while they gradually shrink the amount of CDs they stock. In fact, Crooked Beat is only going to stock CDs from indie and import record labels and a select few alternative artists signed to major record labels. Furthermore, Crooked Beat sells a variety of turntables, making it easier for someone to dive into the vinyl listening world. The fact that vinyl is thriving at places like Crooked Beat defies simple economics. New vinyl records often cost more than $20, or about twice as much as a download or CD (to be fair, sometimes a new vinyl record will also come with a CD or with the ability to download the album).

I must admit that I resisted this vinyl revolution. I do not own a turntable and I love my iPods (yes, plural) so much that I can’t imagine listening to music any other way. My views on vinyl changed when I discovered frames for hanging LPs on walls. LPs have always been better at exhibiting and displaying album cover art. CD booklets and the “cover flow” function on iTunes and iPods only go so far. Also, some records are printed on colored vinyl, making the actual record a bona fide collectible and potential art piece.

Thus, I have succumbed, though only slightly, to the rebirth of vinyl. Like many things in my life, I have created rules for purchasing vinyl (particularly since I have no means of actually playing the records). First, I will only buy vinyl albums I already own in another format. Second, I will limit vinyl purchases to albums I consider to be essential to my musical taste. Third, I will make an exception to the second rule for colored vinyl and albums with extraordinary cover art. I followed these rules the other day when I purchased Doolittle by Pixies, The Hot Rock by Sleater-Kinney, and Fables of the Reconstruction by R.E.M. These records joined the previous purchases of The Body, The Blood, The Machine by The Thermals (purchased at their amazing show at the Black Cat because they had very little merchandise for sale and I needed to buy something after they rocked my world) and In Rainbows by Radiohead (purchased as part of a deluxe package of CDs and art directly from the band’s website).

Resistance was futile. Viva la revolution (at 33 1/3 rpm).