From the Steam-Powered Gramophone Files

Rick at Futurballa today waxes nostalgic for Side A and Side B in "Why I Miss Vinyl." The CD format has its advantages, but the ability to present music in two contrasting sections isn't one of them:

But what artists don't do anymore is structure their work into themes and acts. Sometimes an intermission isn't just an excuse to grab a drink or go to the restroom.

There are any number of good examples of vinyl-era albums that were structured in "acts" or "chapters," with one side of the platter distinctly different in feel or content from the other: David Bowie's Low and "Heroes" both contrast quirky pop songs on one side with mostly-instrumental experiments on the other, Jethro Tull's Aqualung divides thematically in two at the break, and so on.

Rick contrasts the first side (in the original vinyl version) of Roxy Music's For Your Pleasure, which builds from the opening "Do the Strand" to the guitar histrionics of "In Every Dream Home a Heartache," with the more abstract musical stylings of the second side. This is a good choice: after all, "In Every Dream Home . . .' is about Miss Vinyl, isn't it?

Comments

[Paul Rafferty]

I agree with Rick to a certain extent about the format of vinyl and the contexts it presents. One of my favourite albums, Born To Run by Springsteen plays perfectly as a vinyl record. The first side opens with the power-pop story-time classic 'Thunder Road' and the second side opens with the title track 'Born To Run'. Each side seems to represent an experience, and the listener is able to reflect on that between listening to each side.

However, what I find interesting, and exciting is the fact that changing formats means changing contexts. When Born To Run presents itself in its new context on CD, its like listening to a different album. The filled gap between 'Backstreets' and 'Born To Run' presents an urgency that is reflected through the musicianship and lyrics in the music. I find it interesting that CDs represent perfectly the need for quick fixes in the contemporary climate, and that placing an old recording on to the new format can almost re-invent the music. I suppose as a child of the home-taping generation, I will always be interested in changing the context of music, if only for myself.

There are bands who still make music for vinyl. For example, Karate's CD,'Some Boots'has more tracks on than the vinyl version. The band were not comfortable with the 'feel of the play' of the vinyl with the extra songs, and released it without them, in a different order.

[Rick Coencas]

Paul makes a great point about changing contexts, though it is my experience that the human mind always seeks to find context regardless of the artist's intention.

I should also note that George caught me out on a pun that I had not even realized that I made. Miss Vinyl indeed, or was she perhaps Polythene Pam?

[George Wallace]

Points well made, gentlemen.

Contemporary music listeners seem to prefer the immense flexibility and control over the listening experience that the digital format provides, which seems a valid choice to me. The unfortunate consequence in some cases is sloppiness on the part of musicians -- who know they can toss useless filler on to a disc because the fans can just skip over it if they don't like it, and will probably be ripping their favorites to MP3 anyway -- and the shift evident on most radio stations toward favoring individual songs (whether or not they are actually released as "singles") rather than the larger accomplishment of an album.

What is to be done when an artist actually wants to control the order in which the listener experiences the music? The entire album could be recorded as a single track, but that is as likely to alienate the listener as anything. Perhaps we'll see an adaptation of that really irritating function of the DVD that compels you to watch the coming attractions and ads at the front end, without even the option to exit altogether.

And Rick: thanks for approving the pun. I think the one at the end of the "bedbug" post is better, though.

[Paul]

"Contemporary music listeners seem to prefer the immense flexibility and control over the listening experience that the digital format provides, which seems a valid choice to me. The unfortunate consequence in some cases is sloppiness on the part of musicians..."

This is very true. Digital formats mean it is also a lot quicker and easier to record your own material and distribute it. I have found that the sloppy, slap dash approach to recording underground bands has a knock-on effect on their live performance. Underground bands seem less interested in creating a product, yet the record industry is still obsessed with doing so.

The other day a girl from Chicago was visiting me here in Liverpool. I ripped her an MP3 CD featuring around 15 albums. I was like, "Welcome to the digital revolution, sister." Romantic, I know...but still...