The Album, a Commodity in Disfavor
Now that the three young women in Candy Hill, a glossy rap and R&B trio, have signed a record contract, they are hoping for stardom. On the schedule: shooting a music video and visiting radio stations to talk up their music.
But the women do not have a CD to promote. Universal/Republic Records, their label, signed Candy Hill to record two songs, not a complete album.
â€œIf we get two songs out, we get a shot,â€ said Vatana Shaw, 20, who formed the trio four years ago, â€œOnly true fans are buying full albums. Most people donâ€™t really do that anymore.â€
To the regret of music labels everywhere, she is right: fans are buying fewer and fewer full albums. In the shift from CDs to digital music, buyers can now pick the individual songs they like without having to pay upward of $10 for an album.
[...] One of the biggest reasons for the shift, analysts say, is that consumers â€” empowered to cherry-pick â€” are forgoing album purchases after years of paying for complete CDâ€™s with too few songs they like. There are still cases where full albums succeed â€” the Red Hot Chili Peppersâ€™ double-CD â€œStadium Arcadium,â€ with a weighty 28 tracks, has sold almost two million copies. But the overall pie is shrinking.
In some ways, the current climate recalls the 1950s and to some extent, the 60s, when many popular acts sold more singles than albums. It took greatly influential works like The Beatlesâ€™ â€œSgt. Pepperâ€™s Lonely Hearts Club Bandâ€ and the Beach Boysâ€™ â€œPet Soundsâ€ to turn the album into pop musicâ€™s medium of choice.
But the music industryâ€™s cost structure is far higher than it was when Bob Dylan picked up an electric guitar. Todayâ€™s costs â€” from television ads and music videos to hefty executive salaries â€” are still built on blockbuster albums.