Final Project
Final (8/6/2009)
Compact disc manufacturers have waged a fierce battle against digital downloads since the new millennium began.
Now they are fighting a smaller but unexpected battle on another front.
Sales of vinyl records increased by 89 percent last year according to Nielson SoundScan, which tracks music sales in the United States and Canada. SoundScan estimates that vinyl sales will have increased threefold between 2006 and the end of 2009.
These figures do not include used LPs that are sold at secondhand music stores. If the business reported by several such stores in Cambridge is any indication, vinyl is making a much larger ripple in the music industry than the SoundScan numbers can capture.
Thanks to vinyl sales, these record stores are not only staying in business, they are thriving. This at a time when CD sales are dropping (by 20 percent in 2008), major chains such as Tower and HMV—both of which had locations in Harvard Square—have closed their doors, and digital music can be streamed online or downloaded easily, albeit illegally, for free.
Angela Sawyer, owner of Weirdo Records, attributes the spike in vinyl sales to a “revolving nostalgia factor.” Twisted Village owner Wayne Rogers says that it is due in part to the fact that “some people never stopped buying” vinyl.
Whatever the reasons, vinyl has always appealed to those who enjoy the larger liner notes and artwork that accompany an LP, and above all the sound, complete with its occasional crackles and scratches.
Twisted Village is located next to Charlie’s Kitchen, a popular Harvard Square landmark. However, it is down a somewhat hidden set of stairs and behind a windowless door with only a handwritten sign on it. Like the elusive LP version of an obscure record, one must really be looking for Twisted Village in order to find it.
Rogers says that based on the consistently strong sales of vinyl that he has experienced since opening in 1996, he might have never known that demand for LPs had ever waxed or waned.
“Record labels were lagging behind,” he says, meaning that LPs were not printed for many years even though there was ample demand for them. He describes many of the used LPs that he sells the occasional copy of as “stuff I could have sold by the boatload if they had been issued a decade ago” on vinyl.
The higher LP sales that he is experiencing come mostly from new releases and re-issued classics. Hip and highly popular artists such as Radiohead, whose album “In Rainbows” was the biggest-selling LP of 2008, have been issuing their latest recordings in both CD and LP format for several years. This has proved to be a smart move because, as Rogers has seen it, everyone older than 30 buys CDs, while everyone younger than that buys LPs.
Mark Redmond, 30, has at least 200 records at his home in Cambridge. About a dozen of them are framed and hanging on the wall in his finished basement.
He thinks that LPs appeal more to younger people because “Older people grew up with vinyl, so there is less of an adventure in it” to them.
At Weirdo Records in Central Square, Angela Sawyer has also benefited from the increased popularity of vinyl.
“I’ve never seen a store that expanded as fast as this one,” she says, “but it’s still the tiniest one in the damn world.” As small as it is, this location—which opened in February—is an upgrade from her living room, which is where she used to sell music.
Sawyer says that the avant-garde and experimental music in which she specializes appeals to only a small group.
Scanning the shelves, one sees LPs by The Monks, the “anti-Beatles” band formed in Germany by American G.I.s in 1964, The Free Design, whose song title “Kites Are Fun” sums up the group’s aesthetic perfectly, and the 1969 album “Trout Mask Replica” by Captain Beefheart & the Magic Band, about which Sawyer says “records will never get weirder than.”
“Vinyl has a permanence,” she says. “You have to pay attention a little more. You have to go home and give it some time.”
Back in Harvard Square, John Damroth, the bespectacled, goateed founder of Planet Records, sits at a counter wiping down used records with a white rag.
Planet Records’ Cambridge location opened in 1997. It initially sold only CDs, but since records have always meant so much to Danforth, he decided to “go against the business grain” and sell vinyl.
“It felt like I was a bad businessman,” Danforth says, referring to how LPs were unprofitable for him in the late 1990s and early 2000s. However, vinyl started picking up around 2006, and “this year has really been outstanding.”
Damforth estimates that records account for 20 to 25 percent of total sales. On some days, they are half of the total. That is rare, Danforth admits, but “the fact that it happens at all is pretty amazing.”
Damforth agrees with Rogers that younger buyers are making the difference. He hears some of them say that they wish that they had a turntable, and then buy LPs anyway. This is because, he says, of the aforementioned larger pictures and liner notes that appear on the vinyl sleeves.
Damforth compares them to comic books and says that they have a “stop and smell the roses” quality.
Redmond agrees, saying, “You feel like you really own [a recording] when you own it on vinyl….It’s more of an actual object, a piece of art, something tangible.”
Mike Murray, 31, a musician and teacher who lives in Somerville, is particularly fond of the liner notes. “I’ve read every letter in the booklet for every CD and record that I own,” he says. “The record makes that experience fun….The CD is uncomfortably small.”
However, Rogers and Damroth both believe that the reports of the CD’s demise are greatly exaggerated.
“Vinyl might not get much further,” Damforth says. “I’ve been wrong about these things, but I still think that it is a niche market.”
“People who really care about music are more likely to buy LPs,” Murray says, describing this niche. “They think about it in a more intense way. They want to get more out of interacting with it.”
Next to the checkout counter at Planet Records are lemon yellow fliers that list the names and locations of other vinyl sellers in Boston and Cambridge. Damforth explains that he does not worry about the competition from other stores, and is happy to help people locate something that they could easily get on CD but would rather have on LP.
Twisted Village and Weirdo Records are both on the flier, as is Stereo Jack’s, which opened in 1984 and is just outside of Harvard Square. Adorning the front windows are a bust of Elvis Presley in a classic pose and an ever-changing assortment of obscure LPs that one would probably otherwise have no idea existed.
Part-time employee Worth Wagers has observed trends similar to other Cambridge record stores. He writes by e-mail that vinyl sales at Stereo Jack’s have increased significantly in the past three years. This is due in particular to the store’s use of eBay, “where they sell the rarest records that come through the door.” (At Twisted Village, Rogers also mentioned his use of the Internet. When he brandished a mint-condition copy of Van Morrison’s “Astral Weeks,” a favorite of critics and collectors, he said, “that one goes on the auction block.”)
Wagers believes that the appeal of LPs “is a combination of the sound quality” and, echoing Damforth, “still wanting a physical artifact of the sound.”
“Warmer” is the word that is almost universally used to contrast the sound quality of vinyl with that of a CD.
To Redmond, warmer means more intimate and “less clinical.” Playing an LP “makes you feel like you’re in the room” with the artist.
Murray concurs, saying, “You can hear the fingers on the fret board. It sounds like someone is in the room playing an instrument.”
He also thinks that “Vinyl might become the go-to format for those who want something other than CDs,” which he says are becoming obsolete. Because of MP3s, CDs are now neither the only nor the most convenient way to get a digital recording.
To the ever-increasing number of vinyl buyers, getting computerized, state-of-the-art sound is not the point. It is to get the sound that only vinyl can offer.
Although LPs are not expected to ever outsell CDs, and certainly not MP3s, Murray speaks for many record lovers when he says, “No one’s ever going to be nostalgic about CDs.”
Redmond further reflects the sentiment this small but expanding group of music lovers when he says, “For the event of putting on a record, you can’t beat vinyl.”