When the world gets me down, I often turn to my stereo for solace. Needless to say, the lasers and needles have been getting quite the workout this season.
Since high school, I’ve been collecting records on vinyl and CD, and I like to keep an eye on the rapidly shifting landscape in the recorded music industry. What’s new this tumultuous year? The trends are interesting. The RIAA has issued its mid year revenue stats for 2020. Overall revenues are up 5.6%. Streaming music revenue continues to dominate with 85% market share (and revenue growth of 12%). People are streaming more than ever. Digital download music, however, continues its downward trend (6% market share).
I’m most interested in the state of physical products, good old LP’s and CD’s—what impact has Covid19 had on them in the first half of the year?
In May I started writing a newsletter about my creative life at substack.com. It contains essays, creative nonfiction pieces, short stories, poems, songs, reviews of books and music, podcast announcements, and talk about the craft of writing and creativity in general. I’ll use this blog to announce new issues, which come out every 7 to 10 days.
During the quarantine, I have been practicing more guitar, specifically aiming to improve my woeful finger picking skills. One of the songs I practice regularly is the gem from Leonard Cohen, “Suzanne.” Below is a printable 1-page lyric and chord sheet for anyone who wants to play along.
My first exposure to this classic came from a very obscure source. When I was a teenager, my family would sometimes sojourn over to Lancaster county, Pennsylvania and shop at the Park City Mall, a massive shopping mecca, rivaled in size only by King of Prussia mall in our region. Anyway, there was a record shop there–I think it was called Record Bar or Record Town. I have a vivid memory of finding in the bargain bins some albums for something like a buck, each. In that small batch was a CCR budget compilation, two Guess Who albums, and an album by a band called The California Earthquake called Resurrection. I knew nothing about that band; I merely thought the cover art looked cool, so I took a chance.
It turns out that The California Earthquake was like Christian rock with a Blood, Sweat, & Tears vibe. Check out the discogs entry for more details on this truly obscure LP. The album itself was mostly forgettable, but there was this one track on side 2 that caught my ear:
It was an oblique way to encounter a classic song for the first time. I never forgot the song, though, and it led me inexorably to seek out who this songwriter Leonard Cohen might be. Later, I would discover more famous and worthier versions by Leonard himself, Judy Collins, and others.
It has been covered by countless artists. Here’s a recent take by Peter Gabriel:
I think what struck me upon my first listen was the poetry of the lyrics, the kind of hypnotic, lingering way that the melody lines weave through the chord progression. It was like the music was bowing down in reverence to the words. The song billows with atmosphere and tangible imagery and wisdom:
There are heroes in the seaweed, there are children in the morning They are leaning out for love and they will lean that way forever While Suzanne holds the mirror
from “Suzanne”, last verse
How could a pensive suburban teen NOT be impressed at that? I felt like I was discovering a new bohemian world distinct and apart from my own, where truths could be told by following an artistic vision.
I think I’ll try to arrange a cover of this one soon. If something decent comes out, I’ll post it.
Back in the 1970’s, Warner Brothers made a habit of issuing single and double album LP compilations from their stable of artists for ridiculously low prices. The concept was simple: entice customers to discover new artists, take a loss in distributing what was in effect a promotional album, while hoping to pull in increased sales across their catalog. It’s all about the thrill of discovery. What made the compilations so interesting were the witty and lovingly composed liner notes, album themes, and truly obscure tracks, some of which are very difficult to find anywhere else. They defied the current penchant for “niche marketing” with gusto. Essentially, you have what would now be called “deep tracks”. I’ve collected quite a few of these on used vinyl, and they are loads of fun.