The Resurgence of Vinyl by Kevin Power

BACK IN THE GROOVE: THE RESURGENCE OF VINYL KEVIN POWER GRAPHIC ARTS RESEARCH PROJECT 2010 / 11

Introduction With the music industry in a state of flux and a dramatic change in how we now listen to music, record labels have been forced to rethink how they can interact with its customers. Within the last 5 years CD sales have significantly dropped, downloading has continued to grow and we have seen an unexpected renaissance in vinyl. Despite numerous predictions that vinyl would soon be extinct, record stores have recently been replenishing its shelves with classic reissues and new releases on the format. As well as its uniquely collectable feel,

heavyweight pressings and downloadable vouchers are all now being bundled in to the vinyl â&#x20AC;&#x2DC;packageâ&#x20AC;&#x2122;. These aspects seem to be attracting interest from younger listeners helping in the resurgence of what people once regarded as an outdated format. Until recently, album cover art was always the first point of contact for the music collector; it attracted us to engage and interact with it and for the listener, it served as a visual representation to the music it accompanied. More importantly though, it painted a picture of how an album may sound before we even dropped the needle. The distinctive style of the 12-inch record has produced 1

a blank canvas for aspiring designers and innovative designs over the years and sleeve design has now become an integral selling point for artists and the music industry. Technological advances in the recording studio and sound manipulation techniques created during the 1960â&#x20AC;&#x2122;s onwards played a fundamental role in the way designers started to experiment with cover art. The relationship between music and design became much more significant, and this important union between the two mediums enabled us to associate the aesthetic style of an album with the specific genre it represents.

1. Hailed by critics as one of the classic albums of all time, Band on the Run has recently been remastered in Abbey Road Studios by the man himself, Paul McCartney. The vinyl edition will be issued as a 2 disc 180-gram pressing and will include nine bonus tracks all housed in a gatefold sleeve and with original accompanying poster. The package comes complete with an MP3 download of all 18 tracks.

With all the cumbersome inconveniences we still associate with vinyl, a growing minority of enthusiasts still prefer the phonetic qualities produced from an LP. The warm sound is produced from the original analogue recording signal which, when replicated on to vinyl is then directly fed into the amplifier and out through speakers. There is no compromise in sound quality because of the accuracy vinyl has when mirroring the original wave form. Sound generated from dust and light surface scratches also add to the unique characteristics of the format. A digital recording however, essentially takes ‘snippets’ from the original and compresses them together to make a CD or MP3 copy,

depending on the compression or ‘bit’ rate. Bit rates are much higher on CD’s than MP3’s thus giving a better quality of sound. MP3’s are generally very compressed audio files and when compared to an LP or CD the quality is obviously clear. The fact that MP3 files are so small in size means they are much more flexible in terms of mobility in comparison with any other format. So, as listening technology has generally improved, sound reproduction has gradually become worse and we have rapidly evolved into a generation that has sacrificed quality for convenience. Nevertheless vinyl also has many physical attributes we could never experience with a digital file. The big, bold 2

12-inch cover and inner sleeves, designed specifically to represent and accompany the recording - all contribute to the advantages inherent in the format when alluring listeners in. As a passionate record collector, I have always been interested in this aesthetic appeal and the numerous other alluring qualities the vinyl LP has over other listening formats. On the flip side though, some people believe it is an inconvenient and laborious way of experiencing music. First we need a record player, an amplifier and speakers to produce sound, and half way through the experience we need to turn the record over. All this excess equipment effectively renders the LP immobile.

1. Bon Iver’s – For Emma, Forever Ago was written and recorded by Justin Vernon in the winter of 2007. Despite its complexity, the record was created with nothing more than a few microphones and an analogue 8-track recorder in the mountains of Wisconsin. The album went on to become the biggest selling vinyl of 2008 and 2009, beating releases by U2 and Arctic Monkeys.

2. Bat For Lashes’ second album Two Suns is a nice collection of hypnotic soundscapes and dreamy fairytales. The vinyl was released as single disc, 180-gram heavyweight pressing and comes in a gatefold jacket. It was nominated as one of the best album covers of 2009 by artvinyl.com

Although, to dispel the myth of vinyl being a completely antiquated listening format we need to examine some recent sales data. In December 2009 the New York Times published an article on the resurgence of vinyl, citing climbing vinyl album sales for several years in America, with more than 2.1 million records being sold in 2009 alone – an increase of more than 35 percent in a year1. Last year vinyl sales in the UK also rose for a second successive year – an increase of nearly 8 percent with 219,000 sales2. Over the same period CD sales fell by a fifth, leading some manufacturers to consider an end to its production.

A Brief History Introduced in 1948 by Columbia Records, the 12-inch vinyl long-player was the predecessor to the 10-inch 78RPM. The first long players were originally reserved for higher priced classical recordings and Broadway shows because of its dynamic sound and longer playing length per side. It eventually replaced the 10-inch long player and by the mid 1950’s the 78RPM was discontinued. Vinyl 78’s and 12-inch LP’s originally came housed in plain green sleeves until 1939 when Columbia Records hired its first art director Alex Steinweiss. Like most art directors at the time, the priority was to produce advertisements for magazines and 3

posters to promote new album releases. During the mid 1940’s Steinweiss suggested Columbia Records invest in new equipment capable of printing directly on to the album packaging. The golden age of the album cover was born and by 1948 most major record labels across America had employed an art director to design its sleeves. By the late 1950’s the audio quality had also significantly improved with the introduction of stereoscopic sound. Improved audio quality and aesthetic appearance also influenced the formats popularity. Multicoloured vinyl pressings, picture discs and gatefold and die cut sleeves – all became popular in attracting new listeners in.

The Vinyl Factory

whose initial business plan was to service the sustainable demand of the dance DJ trade. The company, who now also specialize in limited edition runs – some as small as 300 in quantity as well as heavyweight pressings and ‘vinyl only’ art editions, have since attracted the new wave of guitar bands from the indie label market. Ironically, EMI who originally owned the plant now have a roster of artists that have added to the demand and in 2009 the vinyl factory recorded a turnover of over 2 million records3.

This once thriving record pressing plant based in Hayes, was sold off in 2001 when production of vinyl was at its lowest ebb. It was acquired by 2 young entrepreneurs

“I love the crackle you get from vinyl before the song starts. It makes you feel like your entering a different reality.” - Jack Dee

So how has vinyl remained so popular and why are we experiencing a resurgence of such an outdated format? Are we starting to enjoy the physical aspect of music again? The objective of this essay will be to explore how vinyl is regaining its popularity and how important a format it continues to be for the music industry. I will expel the illusion of it being bound to a specific era and provide a case for its resurgence.

1-2 Working with Massive Attack’s Robert Del Naja and designer Tom Hingston, the Vinyl Factory produced a limited edition version of Heligoland, released on triple heavyweight vinyl. Housed in a black-glitter coated triple gatefold sleeve and includes a 28-page booklet containing exclusive tour photography and artwork. The package comes complete with equivalent CD version.

The Ultimate Format ? It’s no surprise then, with vinyl sales rising and with the small overheads of the MP3, the time was not far off where we saw the two formats bundled together. Here we have the best of both worlds: the physical vinyl experience with its aesthetic appeal, rich sound and alluring characteristics, and the characterless but convenient MP3 file. With the portability of digital files some enthusiasts believe there is no more need for the CD format. Some record fanatics now believe that audiophile re-masters, which are essentially the original analogue tapes taken into the latest state of the art mastering

1 One of my favourite films (and sadly still not available on DVD) is Michelangelo Antonioni’s 1970 masterpiece Zabriskie Point. Equally as impressive is the soundtrack, which includes music written especially by Pink Floyd and Jerry Garcia from The Grateful Dead. One of Music On Vinyl’s latest releases and presented on a triple LP 180-gram audiophile vinyl. It comes in a gatefold sleeve and contains 8 previously unreleased tracks and extensive liner notes. 2 Espers - III. I like this album, very psychedelic and folk inspired it was recently recommended by a friend so I purchased the vinyl as the illustrative cover appealed to me and, unexpectedly, I found a free download voucher inside when I got home. Bonus!

plants, have an even better sound than the originals.

vinyl. Could this mean LP+MP3 eventually become the ultimate format?

This combination of formats is a relatively new concept for the music industry and my research has so far only found certain independent labels experimenting with the idea. One label in particular - First Word Records, based in Leeds, now release heavyweight vinyl discs that come with a unique code. With the code, buyers can download an unprotected, 320Kbps MP3 version of the music, to use however they like. Other independent labels including Rough Trade and Domino Records are also beginning to take a similar approach when releasing new

“I’m a big collector of vinyl - I have a record room in my house and I’ve always had a huge soundtrack album collection.” - Quentin Tarantino

Music On Vinyl In what was once considered a frivolous format, it seems artists and labels are now beginning to see vinyl as a mark of quality and the final stamp on the finished recording. One example of this is ‘Music on Vinyl’ - a vinyl only record label that releases 6

high quality 180-gram LP and 7-inch vinyl pressings of titles licensed from a wide range of record companies and artists who control their own repertoire. Every month the company releases several exclusive reissues as well as simultaneous vinyl releases to compliment the same version on another format. With access to original analogue recordings they are able to remaster albums specifically for LP vinyl and have successfully released over 100 records since its inception in October 2009. The company has already forged a deal with Sony music and plans to triple its output in 2011.

2 1 This seminal album by The Doors has recently been re-released as part of Elektra Records’ 60th anniversary. LA Woman comes as a limited edition 10-track LP and pressed on to 180-gram vinyl. These original stereo mixes have been superbly presented in a deluxe, round-cornered embossed, die-cut picture sleeve with acetate ‘window’ and lyric sheet. Probably my favourite Doors album and I’m not sure if Riders On the Storm could sound any more authentic than in this format. 2 My research would not be justified if I left out Love’s Forever Changes. Recently re-released and re-mastered from the original recording tapes and pressed on to 180-gram vinyl and including original artwork and liner notes. This LP is one of my top ten album albums of all time and a masterpiece of 1960’s west coast psychedelia. 3 Hand numbered and extremely limited to 1500 copies worldwide this was another of those albums I grew up listening to and has been cited by critics all over the world as one of the best albums of all time. This 12-inch gatefold re-release has been remastered for the first time and pressed onto 180gram vinyl. It was released exclusively for Record Store Day and includes six John squire art prints and a gold foil lettering sleeve.

1 King’s Of Leon’s – Youth & Young Manhood recorded in Sound City Studios, California (famous for Nirvana’s Nevermind and Fleetwood Mac’s Rumours) and originally released in 2003 as a limited double 10inch vinyl. In May 2010, Music On Vinyl re-released it as a 180-gram audiophile 2 LP and included the formerly CD only bonus track ‘Talihina Sky’. 2 One of my latest new favourite bands Warpaint. This all girl west coast band have been making headlines with their recent debut album The Fool released on Rough Trade Records. The LP version is pressed onto two 180-gram discs and housed in a gatefold jacket.

Cover Art and TV With its increase in sales and popularity, by-products such as packaging company Art Vinyl have begun to appear. The London based establishment specialise in a bespoke ‘Play and Display Flip Frame’ – a uniquely designed holder allowing for any 12-inch record to be displayed as if it were a piece of art. Each year to promote the ‘Flip Frame’, Art Vinyl hold an exhibition of the 50 most voted for album covers. The gallery situated in Selfridges, London has become so popular that recently the company have expanded the show to be exhibited in France, Sweden and Belgium.

Television has also caught onto the vinyl trend recently with Channel 4’s On Track – a programme that documents a unique recording experience at London’s Metropolis Studio. Each week different artists have the chance to perform three live tracks in one take, including a favourite cover, which are recorded straight to vinyl. Once the record is cut the bands then produce a one-off piece of artwork for the cover which is posted, along with a free downloadable version of the session to the On Track website. The show, which includes outtakes and interviews from the day session, is aired on Wednesday nights and has included artists such as Amy Macdonald, Ellie Goulding, The Coral and The Bees. 8

The Independent Record Store Independent records stores were once the mainstay of British music retail until the growth of high street retail chains such as HMV and Virgin Mega stores (both of which started out as small independents) continued to expand throughout the 1980’s and 1990’s. Spillers Records based in Cardiff, Wales is famous for being the oldest independent record store in the world. Opened in 1894 by Henry Spiller it originally sold wax phonograph cylinders and discs – the original listening format before the vinyl LP. Over the years it has gone on to embrace every format since and today the shop prides

itself on selling a diverse range of music

still serving younger customers and seeing

What do you think people are finding most

released on CD and vinyl at competitive

some make their first vinyl purchases with

appealing about vinyl again?

prices. Current manager Ashli Todd recently

us, which is so utterly lovely to be a part of.

The fact that it 100% exists! The pictures,

had the time to answer a few questions to

There’s definitely NOT a core demographic

the sleeve notes, the tactile and interactive

help with my research.

for this format in our shop.

experience, it’s got it all! That, along with the

Hi Ashli, has Spillers noticed a resurgence

So you think the allure of vinyl may be

in vinyl sales over the last few years?

attracting a new kind of customer?

Definitely, there’s been a significant upturn

Without a doubt - we even find some people

“[Buying vinyl] was a great ritual. The 12 by 12

in our vinyl sales in the past 5 years and I’m

buying vinyl just for its collectible nature - so

inch artwork, the pictures, liner notes, song lyrics,

pleased to say that we never stopped sell-

even if someone doesn’t (yet!) have a deck

etc. and that lovely big record going around and

ing vinyl when the CD format first came on

they’re still wanting to own something with

around on the turntable. I was in love with them

to the market - in fact - we were late taking

its appeal - even if they’re not getting the full

back then and still am!”

CD’s up in the shop. Even to this day we’re

benefit of playing it.

– Steve Hoffman

inclusion of an MP3 or bonus CD with most

new releases these days really helps sell it too.

1 A recent addition to the Vinyl Factories catalogue, Air’s - Love 2. Released as a 200 gram heavyweight double LP. The edition was limited to 300 hand numbered copies worldwide. The album was specifically mastered for vinyl and comes boxed with archival quality art print, 8 page booklet containing tour photographs commissioned especially for the release, certificate of authenticity and a voucher for access to a high quality download of the complete album.

2 Jimi Hendrix Experience – Are You Experienced. A well known classic album from arguably one of the greatest guitarists ever. Re-released in April 2010, Music On Vinyl’s exclusively remastered audiophile version comes with original European sleeve and includes an LP sized booklet with rare photographs and liner notes. A collectable gem for Hendrix fans and lovers of 60’s psychedelic music.

Collector vs. Consumer With the recent collapse of Woolworths and Zavvi, HMV is now the biggest retail chain of its kind in the UK with over 300 stores nationwide and holds the majority share in the entertainment market. The company evolved from selling vinyl LP’s, to promoting the latest computer games and offering live music venues, digital music distribution and concert ticketing. This year the company plan on rolling out its music-related fashion brand, The Studio and, in the run-up to Christmas it will temporarily open 20 popup stores across the UK. The flagship store

on Oxford Road, London currently stocks a massive 150,000 different music titles. The juxtaposition in listening format trends has never been clearer: we have the music collector who is drawn to the sound quality and the aesthetic appeal of music. They enjoy browsing through music racks and exploring new acts in a unique environment, which has connotations with the same experience at home or in comfortable surroundings. Independent stores employ staff with a passion and knowledge of the subject, free from corporate bias. The customers have an appreciation of the aesthetic of a format 10

and the distinctive reproduction of sound. Dissimilar to the collector, we have the listener who prefers to stop off at the retail store to pick up the latest chart release, or instant download from the numerous Amazon or iTunes type websites. Formats so accessible and convenient we are able to listen to anywhere. Unfortunately the relationship with staff and the idiosyncratic aspects associated with the independent store is lost with the high street giants. Instead priority has been made to encourage consumer spending, maximise profit and keep shareholders satisfied.

1 Two of Metallica’s classic albums Kill ‘Em All and Ride The Lightning were re-released on 180-gram vinyl to coincide with Record Store Day in 2008. This year, Kill ‘Em All is again being re-released - as a strictly limited 1000 copy, deluxe vinyl gatefold edition. Re-mastered from the original tapes and pressed onto 180-gram red vinyl this edition will only be available to Metallica fan club members. For the record, the original title of Kill ‘Em All was ‘Metal Up Your Ass’. Charming. 2 Following on from his archives volume of releases, this latest instalment comes as an exclusive vinyl box set of his first four albums and probably my four favourite albums from Neil (with the addition of Tonight’s the Night and On the Beach). Official Release Series Discs 1-4 have been re-mastered and pressed onto 180-gram vinyl with a limited release of 3000 copies worldwide. Artwork for each album has been meticulously reproduced from the originals including a goldfoil-stamping serial number on each individual copy.

Essentially, the previous two chapters could be interpreted as an insight into how we now perceive music as a genre. Some people play music while other people listen to music, there is a big difference and a divide has never been clearer. The major high street chains have long since emptied its vinyl racks, replacing them with the mass-produced and highly profitable market of CD’s, DVD’s and computer game entertainment. These same high street chains had vinyl to thank for the majority of its profits during the 1980’s and 1990’s. Today they are fighting a new battle with the online market, which, in 2009 accounted for a third of all music revenue sales4.

Record Store Day Because of this rapid change in consumer spending, the independent store has inherited a specialist and what is now being regarded as a highly collectable format. Vinyl seems to have found a new home and last year, two out of every three records sold were through independent record stores alone. Record Store Day, conceived in 2007 by a group of independent music store owners has played a big part in the recent resurgence of vinyl. Initially aimed at celebrating the unique culture of independently owned record stores across the USA, this unique concept is now being celebrated internationally. In 11

2008 Metallica officially kicked off Record Store day in the USA with an in-store signing – their first public appearance as band in nearly a decade. Similarly in the UK, Blur released a limited edition 1000 copy, 7-inch vinyl, recorded especially for the occasion. ‘Fool’s Day’- available across the country at independent music retailers participating in Record Store Day, had reportedly sold out within a few hours and is now going for over £100 on eBay. Other exclusive releases to be planned for ‘Black Friday’ (a weekend in November organised by the same independent stores across America) will include George Harrison’s – All Things Must Pass, U2 - Wide Awake In Europe and a Smashing Pumpkins EP.

1 Just when we thought every Bob Dylan song ever had been released, reissued and remastered, Sony have dug deep into the archives and unearthed some fresh gems from this amazing artist. This Dylan puristâ&#x20AC;&#x2122;s delight sees his first eight 12-inch LPâ&#x20AC;&#x2122;s reproduced from the original mono recordings. They come housed inside a rigid slipcase, pressed onto 180gram vinyl and include original artwork (including the advertising sleeve in his first album, commonly seen in old Columbia releases). Bob Dylan: Original Mono Recordings also includes a 56 page book with previously unseen photographs and an album by album chronology, with song titles/dates, and musicians on each album. 2 Tom Waits is sadly the sort of artist that will only be remembered as a legend by the masses once he has gone. Fortunately for the rest of us he is still releasing brilliant albums nearly 40 years since his debut and this album has had lots of play on my turntable lately. Admittedly, Real Gone is not the best introduction to Waits but apparently still worth releasing on to two 180gram discs, gatefold jacket and two full colour dust sleeves complete with lyrics.

1 The first album I discovered by this brilliant band Calexico is being re-released on vinyl as part of City Slang’s 20th anniversary. Tagged as the ‘Tex-mex Radiohead’ (although a much better band than Radiohead in my opinion) Feast of Wire comes as a gatefold, 180-gram double vinyl pressing and includes a bonus CD of nine previously unreleased out-take tracks from the recording session.

“Five years from now I see vinyl records still holding their own in the market ...high end tube equipment seems to be coming into the scene more and more. The audiophile market seems to be holding it’s own. The companies are continually trying to make the analog sound even better.” - Jeff Loos, Backtrack Records.

Stripes 7-inch single. The rare Lafayette Blues

to keep us up to date on how much rare vinyl

was only the bands second release in 1998

is currently worth.

and was one of only 15 copies ever released.

Graphic designer Pete Fowler, famous for the

The covers, which had been hand painted by

many Super Furry Animals album artwork

label owner Dave Buick and musician Jack

covers, and the creator of Monsterism Island,

White, were originally on sale for $6, but last

explains why vinyl is so important to him.

month a single copy sold at auction for more than $18,000. Other recent online auctions

Hi Pete, how do you feel about the

have included The Beatles’ Please Please Me

resurgence of vinyl in the last few years? Is

After the music, aesthetic importance has

LP in mint condition and with a unique black

it a good thing?

to be the second most influential asset vinyl

and gold label. This extremely rare UK only first

Yes I think it’s a good thing as I always

can offer. Rare vinyl has become extremely

pressing of only 900 copies sold for $15, 845.

thought, as an illustrator, it’s the best format

valuable and a recent article in The Guardian

In addition to this Record Collector magazine

to design for and as a music lover, one of the

newspaper reported a huge sale of a White

annually publish ‘The Rare Record Price Guide’

best formats to listen to.

Aesthetic Importance

1 & 2 Recorded in upstate New York, in a converted church called Dreamland, Teen Dream is the third album from the Baltimore-based duo Beach House, and their Sub Pop label debut. LP formats of Teen Dream will arrive packaged in a gatefold sleeve and pressed onto two 180-gram vinyl discs. The package also includes a downloadable voucher of the complete album and a companion DVD featuring a video for each song.

As well as the sound then, what other aspects of vinyl do you feel is important? As I mentioned, the size of the cover and the physicality of the format is something that a CD or an MP3 can never replace. There’s nothing like scouring an LP for information on the artist, producer etc. and as I grew up with vinyl, for me there’s nothing that can beat it. Do you believe these aspects are some of the main influences behind its resurgence then? I think so, I believe that real music fans are shunning poor quality MP3’s and I’ve seen many releases that are limited to vinyl only recently. This used to be the domain of

collectors but it seems that there’s a market beyond that with companies starting to remake record players both traditional and USB connected. Will we still see vinyl being reissued in 20 years time? I’d like to think so. Vinyl has been around for such a long time with CD’s and MP3’s a mere blip in the history of recorded music. I think as technology evolves there will always be an interest in vinyl, with the needle on the record being such a direct way of listening to music. I could be wrong though! 14

Five of your favourite album covers please... These are my favourite covers (at the moment!) 1.The Beach Boys - Holland. 2. David Crosby - If I Could Only Remember My Name 3. Dr John - Babylon 4. Lenny White - Venusian Summer. 5. Fleetwood Mac – Rumours “My favourite piece of technology would have to be a record player, because that’s the one I’ve used most since I was a child and the one I use most now. It’s the one I use for all my music, and I thank the person who invented that.” - Martin Freeman, actor

This page and page 17: Alternative covers for Arcade Fire’s The Suburbs

The Modern Turntable As Pete mentions, turntable companies are now starting to integrate USB inputs to turntables. The turntable is plugged into a computer and as the vinyl is playing, the accompanying software converts the tracks into a digital format. This simple, cost effective conversion of formats is slowly becoming more and more popular. Richer Sounds, the biggest music hardware retailer in the UK currently stock four turntables on its website – two of which have a USB output allowing you to copy records straight on to your computer. Both turntables retail at a modest £120 and £60 respectively.

According to a recent correspondence with Mr. Richer, USB turntables have certainly been growing in popularity since his company started selling them in 2005. As a company continually striving to keep up to date with the latest technology, it was also reassuring to read that this successful entrepreneur is a strong believer in vinyl. “[Vinyl] will always be an important reference standard recording source and I certainly think there will still be a specialist market for the format in the forseeable future.” - Julian Richer 15

Case Study: Arcade Fire - The Suburbs Arcade Fire’s newest album – The Suburbs was released in August 2010 and distributed throughout the world with eight different covers. In addition to the alternate covers (an idea conceived by commissioned art director Vincent Morriset and senior designer Caroline Roberts) bonus material for the downloaded version of the album was included. Both designers felt the MP3 had lost the physical beauty of the cardboard sleeve and lyrical sleeves of the vinyl and so proposed the idea of a ‘synchronised artwork’. Images, including lyrics and

1, 2 & 3 I will always remember Novocaine for the Soul by Eels as one of those ‘growing up to’ songs when I was younger, and the latest trilogy of releases that started back in 2009, is sure to establish a new generation of fans. Hombre Lobo, End Times and Tomorrow Morning have a six month gap between each release and see the prolific, and, somewhat understated Mark ‘E’ Everett back at his best. The LP versions have been pressed onto 180-gram vinyl, include a bonus 7-inch EP and a voucher for a digital download of the complete album. The mail order package also comes with an optional limited edition t-shirt purchase.

photographs from the artwork have been tagged to appear in synchronisation with a specific track and time of the albums playback in iTunes or on an iPod screen. This exclusive version was only made available through the bands website. On the subject of vinyl, the project’s art director Vincent Morriset was able to answer a few questions to help with my research. How do you feel about the resurgence of vinyl in the last few years? Is it a good thing? Yes, the nostalgia [of vinyl], the need of tactical, the visual aesthetic and the ritual (putting the disc on a turntable, changing sides, etc.).

What do you believe to be the most important aspects of the vinyl LP format? I’m not a sound geek, so I can’t talk about that aspect too much but the notion of listening to a full album instead of random songs and the format of the artwork printed on cardboard, for me, all become crucial aspects in comparison to other formats.

moment. It’s just a matter of time really. Will we still see vinyl being reissued in 20 years time? Yes. Nothing disappears completely.

Do you think these aspects are the main influences behind its resurgence? Yes, but I think it’s also related to fashion - we are reacting strongly to the numeric mediums, for instance, hipsters are also really into Polaroid, etc. I believe the digital things will eventually become more organic and at one point will achieve what is lacking at the

Five of your favourite album covers please... 1. Boards of Canada - Music Has the Right to Children. 2. Any cover from [Montreal based] Constellation Records. 3. Older Tom Waits covers are not amazing design-wise but there is something about them. 4. The Beatles - Sergeant Peppers. 5. Goldorak (1970’s cartoon soundtrack)

Why do we still need vinyl? I don’t think we will need it in 20 years, but it will still be something unique.

1 Only available at independent record stores, George Harrison’s 1970 solo debut, released in a limited edition, numbered 180gram vinyl, with original album art, poster and lift-top box packaging. Newly re-mastered to commemorate the 40th Anniversary of the release. 2 I’ve never been a big fan of The Flaming Lips but have always been drawn in to the album covers they produce and this latest release is no exception. The full title of the album - ‘The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches doing Dark Side Of The Moon’ was released in April 2010 with the vinyl format being released exclusively for Record Store Day. The LP package consisted of one 140-gram, limited edition disc pressed onto either clear or sea-foam green vinyl and housed inside a single gatefold sleeve and included a bonus CD of the album. Clear evidence of a band that has no lack of creative ambition when it comes to releasing new material, both musically and aesthetically.

“Interestingly when I speak to fans and my kids’ friends, they love vinyl. Ten years ago it was a dying format; now the physicality of the format, to say nothing of the sound, is a really desirable item. They use MP3’s for convenience, but buy music they really like on vinyl.” - Johnny Marr

Vinyl and Society – A Hypothesis for the Future The likelihood of vinyl becoming the dominant format once again is doubtful, particularly in a society where we are constantly being persuaded to buy the next new gadget or

upgrade. However, vinyl has always had a tangible aesthetic incomparable to any other format and because of this we are able to appreciate it in so many different ways. It looks good, it feels good and it sounds good. Its presence in the music industry has clearly been unequivocal and only time will determine if other listening formats have the same radical impact. But will we ever be able fully tune back in to vinyl? I believe weightless MP3’s have made music enthusiasts crave that physical, vinyl experience again. It has given us something to collect, display and hoard – something we could never associate with a 18

modern day format. With this combination of alluring eccentricities and richer sound quality, a certain kudos has attached itself to collecting vinyl again and I believe this is another reason why we are experiencing a resurgence. My record collection is still growing, it still draws me in, and it still sounds better than any other format when I play music from it.

Bibliography Ochs, Michael. 1000 Record Covers. Taschen, 2002. Drate, Spencer and Judith Salavetz. Five Hundred 45’s: A Graphic History of the Seven-Inch Record. Collins Design, 2010. Kusek, David and Gerd Leonhard. The Future Of Music: Manifesto for the Digital Music Revolution, Omnibus Press 2005. Benedetti, Alessandro and Peter Bastine. Extraordinary Records, Taschen 2009. Draper, Jason. A Brief History of Album Covers, Flame Tree Publishing 2008. Shaugnessy, Adrian. Cover Art By: New Music Graphics, Lawrence King 2008. Trunk, Johnny, Damon Murray and Stephen Sorrell. The Music Library: Graphic Art & Sound, FUEL 2005. Walters, John L. “Sound and Vision” Eye 76 (Summer 2010): 17-24 Urquhart, Robert. ‘What is the Future of Music?’ Grafik 185, Spring 2010: 46-67 ‘Never Mind the Music’ Eye magazine blog, 11 November, 2009 http://blog.eyemagazine.com/?p=380 (accessed July 2010) Sisario, Ben. ‘Record Stores: Out of Sight, Not Obsolete’ New York Times, September 29, 2009. http://www.nytimes. com/2009/09/30/arts/music/30private.html?_r=1&fta=y (accessed July 2010) Record Store Day 2010 releases. http://www.recordstoreday. com/Page/836 (accessed August 2010). ‘Music History of the United States (1940s and 50s)’ Wikipedia. http://en.wikipedia.org/wiki/Music_history_of_the_United_ States_%281940s_and_50s%29 (accessed July 2010) Benson, Robert. ‘Alex Steinweiss - Creator Of Album Cover Art’ Articlesbase – free online articles directory. http://www. articlesbase.com/art-and-entertainment-articles/alex-steinweisscreator-of-album-cover-art-292997.html (accessed August 2010) Michaels, Sean. ‘Arcade Fire devise ‘synchronised artwork’ for The Suburbs’ The Guardian, 4 August 2010 http://www.guardian.co.uk/ music/2010/aug/04/arcade-fire-synchronised-artwork-suburbs (accessed August 2010). Michaels, Sean. ‘Neil Young to issue four unreleased albums’ The Guardian, 28 July 2010 (accessed August 2010) http://www. guardian.co.uk/music/2010/jul/28/neil-young-unreleased-albums Mugan, Chris. ‘Vinyl: Let’s Get Back In The Groove’, The Independent, 21 October 2009 (accessed August 2010) http://www. independent.co.uk/arts-entertainment/music/features/vinyl-letsget-back-in-the-groove-1806117.html Australian based album cover art resource site: ‘Sleevage Music, Art, Design’ http://sleevage.com/ (accessed September 2010) Moulds, Josephine ‘Vinyl: The business duo who believe it’s got a big part to play in music’s future’ Daily Telegraph http://www. telegraph.co.uk/finance/newsbysector/mediatechnologyandteleco

ms/4436558/Vinyl-The-business-duo-who-believe-its-got-a-big-partto-play-in-musics-future.html (accessed August 2010) Hough, Andrew. ‘Vinyl records sales rising as ‘old fashioned albums enjoy a renaissance’ Daily Telegraph http://www.telegraph.co.uk/ culture/music/music-news/7398399/Vinyl-records-sales-rising-asold-fashioned-albums-enjoy-a-renaissance.html Van Buskirk, Eliot. ‘Vinyl May Be Final Nail in CD’s Coffin’ Wired magazine, http://www.wired.com/entertainment/music/ commentary/listeningpost/2007/10/listeningpost_1029, 29th September 2007. ‘RIAA Admits Vinyl Sales Are Climbing’ http:// www.wired.com/listening_post/2008/04/riaa-admits-vin/ 28 April 2008. ‘LP+MP3: The Ultimate Music Format?’ http://www.wired.com/ listening_post/2007/05/lpmp3_the_ultim/ May 2, 2007. ‘Next Elvis Costello Album Will Use Vinyl+Download Format’ http://www.wired. com/listening_post/2008/03/next-elvis-cost/ March 21, 2008 (all accessed September 2010) 100 biggest selling albums of all time according the RIAA: http://www.riaa.com/goldandplatinumdata.php?table=tblTop100 (accessed Spetember 2010) Needham, Alex ‘In Praise of Independent Record Stores’ The Guardian, 16 April 2010 http://www.guardian.co.uk/music/2010/ apr/16/independent-music-stores-musicians-favourites (accessed July 2010) Plunkett, John ‘Mojo to Offer Vinyl Covermount’ The Guardian, 23 August 2010 http://www.guardian.co.uk/media/2010/aug/23/ mojo-beatles-covers-album (accessed August 2010) ‘2009 music sales show decline but digital retail market starts to deliver’, 7th January 2010 BPI website, http://www.bpi.co.uk/pressarea/news-amp3b-press-release/article/2009-music-sales-showdecline-but-digital-retail-market-starts-to-deliver.aspx Record Store Day website: http://www.recordstoreday.com Cheng, Jacqui, ‘Digital albums, vinyl made a comeback in ‘09 while CDs slide’, http://arstechnica.com/media/news/2010/01/digitalalbums-vinyl-made-a-comeback-in-09-while-cds-slide.ars YouTube – ‘Resurgence of Vinyl’ http://www.youtube.com/ watch?v=lI8SQXXgAR4, ‘Vinyl Record Revival’ - http://www. youtube.com/watch?v=3QV94t-u6Rs&feature=related, ‘Record Profits - Vinyl On Track To Make A Recession Comeback’ - http://www. youtube.com/watch?v=ikQesafSK-Y&feature=related (all accessed September 2010) Vinyl only record label that releases high quality 180g LP and 7” vinyl pressings - http://www.musiconvinyl.com (accessed October 2010) Sorrel, Charlie ‘U.K. Music Label Creates a Vinyl-MP3 Hybrid’ 14th, May 2007 http://www.wired.com/print/gadgets/miscellaneous/ news/2007/05/digiwax#ixzz12LM24qHc UK-based online retailer of brand new vinyl records, http:// classiclps.co.uk, (accessed November 2010) Baird, Robert ‘Recording of March 2010: Neil Young Official Release Series, Discs 1–4’ 15th March 2010, http://www.stereophile.

com/recordingofthemonth/recording_of_march_2010_ineil_young_ official_release_series_discs_11504i/ (accessed October 2010) Needham, Alex ‘Record Store Day: How was it for you?’ The Guardian music blog 19th April 2010, http://www.guardian.co.uk/ music/musicblog/2010/apr/19/blur-record-store-day (accessed November 2010) American based labels City Slang and Sub Pop Records, http:// www.cityslang.com/, http://www.subpop.com (accessed November 2010) Prince, Pat ‘Some One-Offs Score big With Online Auctions’ http:// www.musicstack.com/articles/some-oneoffs-score-bigonlineauctions (accessed November 2010) Martin, Dan ‘White Stripes single sells for more than £10,000’ The Guardian 21st October 2010, http://www.guardian.co.uk/ music/2010/oct/21/white-stripes-single (accessed December 2010) O’Connor, Stuart. ‘Martin Freeman: ‘I hate the fact that so much of our life is computerised’ The Guardian 28th March 2010, http:// www.guardian.co.uk/technology/2010/mar/28/martin-freemancelebrity-squares, (accessed December 2010) The Record Collectors Guild, ‘Record Covers, More Than Just Protection’, http://www.recordcollectorsguild.org/index.php?name= Sections&req=viewarticle&artid=10&page=1 (accessed December 2010) Everdell, Abigail and Charles Aaron, ‘America’s 15 Best Indie Record Stores’, 17th April 2010, http://www.spin.com/articles/ americas-15-best-indie-record-stores (accessed December 2010)

References 1. McGeehan, Patrick. ‘Vinyl Records and Turntables Are Gaining Sales’ New York Times, December 6, 2009. http://www.nytimes. com/2009/12/07/nyregion/07vinyl.html?_r=1 (accessed July 2010) 2, 4. ‘New BPI Data Shows Music Better Value Than Ever’ BPI, 11th May 2010 http://www.bpi.co.uk/press-area/news-amp3b-pressrelease/article/new-bpi-data-shows-music-better-value-than-ever. aspx (accessed August 2010) 3. ‘Vinyl: The Business Duo Who Believe it’s Got a Big Part to Play in Music’s Future’. The Daily Telegraph, 2nd February 2009. http:// www.telegraph.co.uk/finance/newsbysector/mediatechnologyandte lecoms/4436558/Vinyl-The-business-duo-who-believe-its-got-a-bigpart-to-play-in-musics-future.html

External Resources & Interesting Links A short documentary on the biggest privately owned music collection in the world: http://www.youtube.com/watch?v=2j7F_4S2lgM Unwrapping Tom Petty’s latest album ‘Mojo’ on vinyl : http://www. youtube.com/watch?v=RL8bq_vOaf0&feature=player_embedded

Record a personal message to loved ones and have your ashes pressed into the vinyl afterwards. “Live on from beyond the groove” - http://www.andvinyly.com/

Photography Credits With the exception of actual album covers which I sourced from stock libraries, the album collection photographs are a combination of my own personal collection and the collection of my friends, which I am grateful for allowing me access to.