Last month, Pink Floyd won a landmark high court battle against their record label EMI in an argument concerning the online sales of their back catalogue. The focal point of the case was a disputed contract between the two parties that was designed to prevent EMI from selling Pink Floyd songs individually. The contract, drawn up in the late 1990s, came before the world was blessed with iTunes, a service that makes each song on an album available as a separate entity.
As a band that use(d) the album format as a means to develop and explore grand themes and concepts, Pink Floyd were concerned that the artistic integrity of the work as a whole would be lost by taking each song of an album out of context. This is understandable, after all, it’s a tall order to take any of the songs from Pink Floyd’s masterpiece ‘The Wall’ in isolation and be expected to understand the scale of the project without exposure to the accompanying music and lyrics.
EMI cried that the contract did not apply to services like iTunes as they were launched after the contract had originally been drawn up. These pleas fell on deaf ears, and the judge ruled that the contract was to be upheld, EMI ordered to pay over £60,000 in legal costs and Pink Floyd songs as individual purchases are to be gradually removed from the iTunes service. Once again the troubled label finds itself with a damaged reputation while working a little further into its overdraft.
Pink Floyd, yesterday: "Hey, iTunes, leave them songs alone!"
It’s an interesting case, and one which many record buyers will be a little mystified by. On one hand, you have to agree that albums such as ‘Dark Side of the Moon’ were always intended to be listened to as a complete work, but then again there have been official collections of Pink Floyd songs, such as the greatest hits package ‘Echoes’, that do exactly what the band is arguing against; hand picking songs from their back catalogue and taking them out of context.
Irrespective of the Floyd/EMI squabbling, this case does highlight a concern that many have been quietly contemplating as they cosily snuggle up to their CD collections;
has iTunes struck the deathblow for the album as an artform?
According to Wikipedia (so it must be true), an album is “a collection of related audio or music tracks”. The key word there is “related”; even if there is no formal concept, the placement of songs that comprise an album is usually very considered. The dynamic of the songs, the ebb and flow of them side by side, is often as much of an important consideration as the lyrics in each of the songs themselves. In fact, it is not unheard of for ‘killer’ songs to be left off of albums simply because they don’t fit in with the flow of the collection as a whole. Whether or not iTunes has diminished the importance of where tracks sit on an album in relation to one another is probably more of a concern for ‘traditional’ bands than it is the latest X-Factor finalist, but the question still remains.
Originally, I had intended to record a selection of EPs as the follow up to the debut Audio Justice album ‘Overdrawn At The Memory Bank’. Somewhere between a single and an album, the EP seems to suit today’s method of music consumption and the attitude towards the cost of music better than ever; stick on five great tracks and let it loose on the world! An EP doesn’t need to cost a great deal more than a single and the structure of the work as a whole is arguably of less importance than that of an album. Moreover, a sad fact of modern life is that many people are simply too busy to give their undivided attention to a full 12 tracks, let alone weigh up whether or not they want to shell out for them all in the first place! So we find ourselves returning to the theory that the ‘classic’ album format may well be facing dissolution from a number of angles.
Where the album format was once the accepted delivery of a band’s recorded output, it is now an empowered consumer who can use online services like iTunes to pick and choose which tracks they want to buy. There are obvious positives to be drawn from this model; for a start, you can now avoid albums full of ‘filler’. Furthermore, e-savvy bands should be forced into making a whole album full of top quality tunes instead of concentrating on just ‘the hits’; every track is now a potential hit if purchased/downloaded in isolation. But music consumption and listening behaviour based on a commercial decision instead of an artistic one threaten to overlook a great portion of an artist’s output.
A record player, yesterday
Of course, I’m not forgetting that iTunes provides the ability to download the album as a whole, usually at a cost that is less than the sum of its parts. Furthermore, you have to accept that some songs are intended to be listened to in isolation as well as part of an album (they’re called ‘singles’!), but if listeners attitudes have changed when it comes to what they do and do not download, then it is only fair to assume that the songwriters attitude will change at the point of compilation (EP instead of album anyone?!).
With the aforementioned ‘selection of EPs’ in mind I began the writing process for what would eventually become the ‘House of Cards’ project. The songs were coming thick and fast, but as the ideas and themes I was exploring continued to develop it became apparent that an album was going to be the most appropriate format for delivery. ‘House of Cards’ is not a concept album per se, but there is a concept that binds all the elements of the project together; the artwork, themes in the lyrics, structure of songs, the additional releases, the promotional consideration etc. (a forthcoming blog post will explain the the idea(s) further). It was simply going to be too difficult to achieve my vision across anything less than a project that had the ‘classic’ album format at its core.
Using my own experience as an example, it seems clear to me that the album as an artform in its own right still has a little life left in it. It still has an audience. That audience might not be as big as it once was, but it’s still there. And it’s not simply made up of those of us who were raised on albums before iTunes was conceived; it’s every artist, listener and consumer who appreciates and has time for concepts, themes and stories that can be explored over the course of an hours worth of music.
Commercially an album might not be as viable as it once was, but artistically it can’t be denied.
Incidentally, this blog post isn’t a nostalgic whinge for an outdated format. I’m not the equivalent of that CD-hater who scoffs at the idea of listening to his music without the crackle that suggests his old vinyl has never been cleaned. And I’m not proposing that individual songs should be made unavailable unless they’re singles; I’m in favour of both individual AND whole works being downloaded. I’m just suggesting that with a lack of emphasis on the album as a complete work, and more emphasis on the commercial means of delivery, the artform itself may face extinction sooner rather than later.
So as we find ourselves heading even further towards the music industry sales model galvanized by that bloke with the high waistband, and best described as ‘only the songs getting radio play and media coverage will get downloaded’, maybe you have an opinion you can share? Is it sacrilege to fob off the album as we know and love it, or is it simply evolution? Please leave your comments below, I’d love to know what you think.
A very interesting point i feel you have raised here.
I can see the requirement for single tracks to be purchased as often I have gone out and bought entire albums based on one 'hit' which ended up in the bin. Yes thats right Chesney, I'm talking about you, 'the one and only'.
But to flip it all around all time classic albums such as 'Golden Delicious' by The Wurzels and 'The Principle of Evil Made Flesh' by Cradle of Filth are not only packed with stories of love, emotion and agricultural machinery but they have to be listened to in the order stated on the sleeve to get the full effect.
In fact if you listen to the latter of the two backwards you will find commentary of the band doing a live seance with a barrel of home brewed cider and locally acquired cheddar. Now that is something iTunes could never provide.
The easy answer in my books is to make the album 'optional' to buy the singles or certain tracks from the distributors, but this option could so easily be turned against us (the public) in an effort to sell more albums rather than individual preference.
All in all a fantastic article, Pink Floyd haven't aged a day in 30 years.
Interesting article. Personally I’m not so sure I subscribe to the idea that electronic distribution of music has killed off the idea of the album as an art form. Surely the ability to skip tracks on CDs has been around for some time now?
The listening habits of the general population have, I think, always been split between those who watch music videos, listen to “the hits” etc and so-called “serious” music fans / sixth-formers who have the inclination and ability to clear time in their schedules and listen to an album in its entirety. Though many of us fall in-between these categories as well, how many people have albums they love from an artist that they discovered through the means of a “best of…” compilation?
(Side note: Will electronic distribution see the end of the ‘best of’ or indeed compilations as a whole? Surely they are now rendered unnecessary?)
In fact, electronic distribution can only enhance the format as, like you say, listeners are now free to cherry-pick songs from the entire album rather than those that the record label generally as deemed ‘chartable’. I don’t see the format as dead at all, those who wish to listen to albums will continue to do so, everyone else will listen to the radio playlists and go home happy.
Hmmm toughie.
I think of albums like Arctic Monkeys debut album and think how much of a brilliant listen that is from start to finish. A friend once quoted it as "It's like listening to a night out on the p*ss, each song tells it's own story as it progresses through the night"
Where as the debut album from Scouting for Girls on the hand is a thoroughly annoying listen and despite all the songs sounding exactly the same, there are a few 'better' ones that could be picked out and popped onto a playlist somewhere.
I guess it's the age old story of how music is evolving. In the good old days you didnt have playlists and iPod shuffle's, an album cost you a weeks pocket so you had to listen to it until you enjoyed it.
I think for true music lovers the idea of buying and listening to an album is priceless compared to popping the hits onto the portable and it will always be the case, its just a shame that not too many people do that anymore.
Ian:
I'll be sure to check out 'Cradle of Filth's Locally Acquired Cheddar' collection. Sounds like a box set in the making… 'The Principle of Evil Made Brie'
David:
"I don’t see the format as dead at all, those who wish to listen to albums will continue to do so". This is only possible if the attitude of the artist/label at the point of compilation allows. If the market for albums continues to decrease in size then it stands to reason that labels will withdraw the investment and effort involved in album production (certainly 'classic album format' production). For all the will in the world, a commercial decision is still going to have the loudest shout as things stand. No albums being produced as a result of a diminished demand and lack of profit margin means no ability to listen to them. I say this as though it's on the horizon, ha! Unless you're an established act with guaranteed sales most labels won't finance a full album production like they used to.
Couldn't agree more with your point re the 'best of' albums; they're supplementary to requirements if the ability to download whichever song you like is available. Ironic considering that in many cases they have been the big seller in an artist's catalogue!
Slinky:
"An album cost you a weeks pocket so you had to listen to it until you enjoyed it." I love the idea that you simply HAVE to like an album because it cost you your hard earned! It must be this same principal that has forced so many people into liking Kate Nash hehe!
Dan: "For all the will in the world, a commercial decision is still going to have the loudest shout as things stand"
True enough, I think the industry as a whole is having to come to terms with the fact that it can't continue to operate as it has. I don't think it generally follows that it is the album format that will die, but the way in which music in general is funded and promoted. We'll may end up moving to a more DIY ethic unless a way can be found to make serious money on the 'unlimited playlists' method e.g. spotify etc.
But this isn't necessarily a bad thing. And it doesn't have to mean the end of the album, though it does give more artists the choice as to whether they release albums or not I guess. An artist who relies solely on 'the hits' is not going to be bothered to produce an album just because that is the expected method of delivery.
good read shame to many of young listeners will not be sure of PROPER album format as you say. the wont miss it coz they dont know bout it!!!!!!!!! will be good do like bands a pursuit not for full time as NO PROFIT but do for fun then create albums and not CARE with record labels.
Good article, good read. Take a step back though and forget the album for a moment: iTunes is single handedly responsible for the death of the record store. In turn you have no forum for the album to be showcased (nothing tangible in digital form). Interesting topic that I'm sure will be returned to again.
Great article and many interesting points raised by all…
I have to say that it seems a shame for an artist to put their heart and soul into something and for it to so easily be stripped and sold for parts. On the other hand as David Jarman says, the ability to skip tracks has been around for some time; even so, you’ve probably listened to the whole CD at least once as it was intended if you went to the trouble of buying the whole thing. There was a time that you just had to trust that what you were buying was going to be great and worth every penny however, now with music being what it often is today (not very good) you can pick and chose and more importantly preview so why wouldn’t you?
I love the idea of the album format and for so many music lovers I’m sure they do too, but I also love a good one hit wonder that makes me stand up and boogie (I’m no music snob) unfortunately so do the music industry and there seem to be fewer artists being developed, it’s all about the hits and the minute sales drop you’re out of there and they move onto the next big thing (for a while at least any way).
It’s a shame that music has become a bit throw away really and when you see how much effort a band like audio justice are going to with the house of cards project compared to the latest X-factor winner whose songs and music are written for them you can see why real musicians are becoming disillusioned.
All the same though for people who really love music and the traditional album format they’ll take stand (rage against the machine for Christmas no.1 ring a bell?) it just depends on if they’ll be heard…
Good luck for the upcoming album Dan – I’m a big fan and can’t wait to hear your new stuff.
No one has mentioned the Pink Floyd story yet. The article mentions Gilmour and co's hypocrisy when complaining about their precious art being taken out of context, despite their approval of a best-of collection. But what about when these money hungry bastards perform live? Solo performances aside, even on the last major tour that the band undertook a performance of Dark Side was bookended by a medley of their better known songs. I think EMI got the rough end of the stick here and can only conclude that the judge was an Atom Heart Mother fan.
I have expressed my views on this subject for many years. People believed the CD was the end of the classic album format because one was able to switch between songs. The pleasure of being able to click your way through an album has made bands lazy as they know a duff song will not really matter as the purchaser will just skip that track anyway.
Sure the record gave the ability to choose the song you wanted to listen too before this, but back in those days, records were expensive (along with the cost of record players), it was a luxury item. So you felt you had to get your moneys worth.
Bands from that era were live artists, there songs were well rehearsed and fine tuned songs in front of a live audience. Where these days, songs are created by egotistical businessmen who are looking for that one chance to make themselves into the next Simon Cowell.
Actually I am a fan of Kate Nash, and not through force but sheer choice so a bad example (or bad taste on my behalf) there.
I'd like to further comment on Theresa's post in regards to the effort that goes into an Audio Justice album over an X-factor winners single and I couldn't agree more, in fact too few bands / artists these days get involved with the whole process of mastering, production or even dare I say it actual song writing. It must be amazing to sit at home and await 'that phone call' to say your new hit single is ready, without even lifting a finger.
Anyway before I go to wildly off topic… I think the whole iTunes thing has broken down the classic album format to a lot of artists but i don't think it will ever replace it, however i do see it eventually bringing an end to such delightful compilation albums as the 'Now…' seris and 'Big Hits'. The world will never be the same again.
It's great to hear so many opinions on this one, particularly when you guys speak up on behalf of the album format. It's encouraging that there is still such an affection/enthusiasm for it in the face of commercial distribution (iTunes et al) and, as Theresa says, the focus on the one hit wonder.
My original post wasn't really about the format wars, i.e. death of the CD, but just the format of the classic album, irrespective of its means of delivery. I see that the images I chose to use to help illustrate my article might have been a tad misleading, but I guess the two topics do conveniently intertwine. I'll probably touch on the topic of the CD, something that I feel is still a viable means of delivery, in a later post. This will be relevant as I'm determined that the new Audio Justice album, 'House of Cards', will be available on CD as well as download following a surprising number of requests after the release of the download-only 'Overdrawn At The Memory Bank' album.
In these 'modern times', I don't think the cost of the album matters much any more. You even don't have to break the law to listen to an album for free, in it's entirety. Even now I'm listening to the new Keane album on Spotify. I can listen to the whole thing in full, with correct track order and then decide if it's worth my hard earned. Which is just what I will do.
This is really very empowering. It means I can even listen to an album a few times before I decide to purchase. Or not. Sometimes even the most blinding of tracks can be growers. Sometimes it takes a while to get 'into' albums. When we had to buy full albums on CD it would normally be based on one or two tracks heard on the radio. We had to trust that the rest of the tracks would maintain the quality; a trust which was broken all too often. But because we had already bought it we listened to it over and over to try and make it worthwhile. What a painful experience.
Fortunately now we can find out whether an album is 75% filler before we commit to buying.
Having said this, when I do finally commit to buying an entire album (something that happens far less frequently these days for obvious reasons) I will buy it on CD not iTunes. Firstly I like to have the physical copy with the artwork etc etc, and secondly it's better quality, what with being uncompressed.
Isn't it sad, then, that artists are now mastering their albums to sound best when ripped to MP3? So much so that Ben Folds released a separate remastered version of his 'Way to Normal' album for playing on high quality audio equipment. Madness.
I don't really have a conclusion apart from that I don't think the album will die as long as artists keep releasing collections of tracks in that way. If nothing else it's a good way to refer to an era in a musical career.
"When we had to buy full albums on CD it would normally be based on one or two tracks heard on the radio. We had to trust that the rest of the tracks would maintain the quality; a trust which was broken all too often."
I think this quote encapsulates the greatest benefit of the digital download era; artists can no longer get away with pumping out albums full of filler and expect to be able to get away with it. The hardest hit will be the 'tricky second album' bunch who find themselves pushed by record companies to put out a second collection of songs at breakneck speed without being given time to write or develop ideas. This isn't always the fault of the labels, the artists must share some responsibility, but there is a trend of 'let's release the same album again but without the tunes' that seems designed to capitalise on an initial success, but in effect just determines a limited shelf life (how many 'tricky third albums' are you going to have patience for after a disappointing second outing?).
Apple and The Beatles have just announced that the fab four's back catalogue will finally be available on iTunes. Following the announcement, this article in the Telegraph reflects many of the themes I touched on in my article here at the Audio Justice website, "Has iTunes killed the classic album format?". The link is below, go check it out and see what you think.
"We don't make singles, we make albums," says AC/DC's guitarist Angus Young. "If we were on iTunes, we know a certain percentage of people would only download two or three songs from the album – and we don't think that represents us musically".
Check it out here: http://is.gd/hdulR
[...] going to be a suitable vehicle for the project that was unfolding before me, and that the classic album format was going to have to be the medium of [...]