By Daisy Spinelli
Do you remember the first album you loved? I don’t mean the first album you bought, or the one with a couple songs you liked. I mean the first album you couldn’t stop listening to. The one you flipped from the B side back to the A side, or blared on repeat through iPod Nano earbuds. The one you knew as a 45-minute inseparable work. You memorized every note, singing the next track’s intro before it even began. And, most importantly, you listened to it in order. Always. No exceptions.
As I considered aloud my own first loved record, my roommate confessed something: she occasionally shuffles an album. My brain-record scratched and I swear an audio engineer somewhere sputtered out. Did she watch TV shows out of order? Read non-consecutive chapters of a book? When she made her morning coffee, did she put the grounds in before the filter?
Call me an album evangelist, but music is better experienced in full, start-to-finish record format. There’s something sacred about consuming music the way it was crafted – as a full body of work.
And what kind of evangelist would I be if I didn’t practice what I preach? (Well, maybe a common evangelist.) When I discover a new artist, diving into their albums is my fastest way to understand them. Sure, you can scroll through their top Spotify songs, but you’re bound to miss crucial pieces of their artistry. When you listen to an album in order, you get the story. And humans are wired for stories. We crave narrative arcs, emotional builds, and resolutions. A great album is not just thrown together songs – it’s a complete experience.
It’s true that not every musician carefully crafts their album’s order. After all, album-oriented rock only started in the late 60s. Before that, aside from a few exceptions in the 40s and 50s, there was an industry emphasis on the “hit single”. Nowadays, artists vary in their approach. And it makes sense – in a TikTok-era primed to consume short audio clips, mapping out an album’s design may not be a priority. It’s not like these artists can’t make good songs, but how an artist arranges their albums is what separates the good from the great.
So call me an album evangelist all you want, or blow it off as Wax Trax promotion, but the best way to understand this is through vinyl. When you toss a record on a turntable, it’s not easy to fast-forward to your favorite part. Vinyl forces you to listen to the album as a cohesive work, and teaches patience, intentionality, and respect for the craft.
If you’re a true fan of an artist, I think you owe it to them – and yourself – to listen to their records start to finish. Every note, every transition, was crafted to exist in harmony with the others. That’s the sanctity of an album – it’s more than the sum of its parts, and it deserves to be listened to that way. And for the love of God, don’t shuffle it.
Ritual de lo Habitual is that record for me.
Hello, Daisy Spinelli!
YOU SAID: It’s true that not every musician carefully crafts their album’s order. After all, album-oriented rock only started in the early 70s, and before that, there was an industry emphasis on the “hit single”.
RESPONSE: Most respectfully, life on planet Earth began before 1970. Back in the 1940s and 1950s, Frank Sinatra established and defined the idea of the “concept” recording album – please read, “Sessions with Sinatra: Frank Sinatra and the Art of Recording” by Charles L. Granata, and “The Rough Guide to Frank Sinatra” by Chris Ingham, and “Sinatra! The Song Is You – A Singer’s Art” by Will Friedwald. It’s easy to find “thematic” albums by Frank Sinatra throughout his lengthy career.
Likewise, many “pop” artists during the 1950s (now called “easy listening”) produced “thematic” albums, from Ray Charles to Billie Holiday to Nat King Cole to Dick Haymes to Mantovani to Harry Belafonte to even Tennessee Earnie Ford, Roger Williams, and Jackie Gleason! Most respectfully, you’d greatly benefit from reading the “100 Best Selling Albums of the 1950s” by Charlotte Greig and the “100 Best Selling Albums of the 1960s” by by Gene Sculatti.
With regard to rock, why did you ignore Iron Butterfly’s landmark 1968 “thematic” album, “In-A-Gadda-Da-Vida” and “Ball” from 1969? What about The Beatles “thematic” albums from the 1960s, from “Rubber Soul” in 1965 to “Revolver” in 1966 to “Sgt. Pepper’s Lonely Hearts Club Band,” released in June 1967? These “thematic” albums produced a bunch of “hit singles,” which is why the albums were so popular and remain so!
What about the “thematic” albums by Country and Western artists, like “Hymns by Johnny Cash” from 1959? I could easily go on, but no.
Please keep in mind, the tail (rock) does not wag the dog (Blues, Jazz, R&B). Again, most respectfully, life on planet Earth began before 1970, before the internet, and way, way, way, way before, and without regard to genre, the mediocrity of most contemporary music.
I welcome your feedback!
Have a great day!
Trip Reynolds
trip.reynolds@icloud.com
P.S. I’m a former resident of metro Denver (1991 to 2007) which included being a frequent customer of Wax Trax.
Fair point Trip. That was an editor’s addition to the story that should have had a little more refinement. We added a couple words to clarify– however none of this changes the point of the story which is just that albums are cool. But we’re glad you got a chance to show us how smart you are 🙂