The Reason Why CD Sales Are Plummeting

It was back in 1980 when Philips introduced the Compact Disc into the market. By the time most of us were born, sales of CDs and CD players began to trump those of conventional records and turntables. The justification was obvious; the sound quality is much better and, when cared for properly, CDs last much longer than records (unless, of course, you play any CD as many times as I've played my copy of The Wall on my Discman, but we won't go there). And now, 27 years later, a new reality has set in; CDs are the new vinyl and online music downloads are the new CDs.

According to Nielsen Sound Scan, 9.4 million CDs were sold this past week. The week before that, 14.2 million flew off the shelves; registering a decline of 34 percent in people obtaining their music in a physical CD format. And this has been the up and down trend, with annual sales of CDs declining each of the last few years. Nowadays, with so many new options birthed, people are catching on, are now obtaining their music legally and have cut way down on illegal file sharing via Grokster, Kazaa, Limewire, and the like. After much contemplation, I now will offer four theories as to why this decline in CD sales is happening so quickly.

First off, things like the online music market offer several options to their customers, while record stores only offer one. The vast majority of us are familiar with some things that came about a few years back called iTunes and the iPods. My 30-gig black iPod video comes with me every morning for my commute from North Spokane. Not to mention, nearly all of the new music I acquire these days is downloaded from the iTunes program. And obviously, I am not alone. This same week that CD sales plummeted again, 21.5 million online downloads were sold, according to Sound Scan. Why? First and foremost, CD prices are still obscenely high, whereas services like iTunes charge very reasonable prices. For instance, at Sam Goody, they wanted $17.99 for jazz artist John Taylor's new album, Angel of the Presence. I went on iTunes and got the same exact title for $7.99. Most albums on iTunes will run you $9.99, which isn't too shabby. But then, what if you're a person who doesn't want the album, and just seeks out favorite songs to listen to while walking to class? If you're buying from the record store, you either must get lucky and find the single on CD (which is slim and none, unless you want to pay the price for an import), or cave in and cough up the 20 bucks for the entire album which won't even get played all the way through. iTunes, on the other hand, affords you this luxury, costing you only 99 cents if you're only seeking the single.

Another theory to bring up is culled from an old theory we are all familiar with; supply and demand. In this case, if people, willing to pay good money, wish to purchase a certain record and you, a record store owner, supply it, people will buy from you and give you their business. This is where the problem comes in; people demand CDs from all different genres, and are listening to all different stuff. But, with their record stores not holding up the supply end, people will, obviously, take their business elsewhere. In fact, the only thing I really ever see being bought at stores like Sam Goody or Hastings anymore, for the most part, are rap and emo CDs. Therefore, fans of other kinds of music will either turn to specialty stores catering to their specific tastes, buy off of sites like Barnes and Noble or Amazon, which are just as pricey as the mall, or just get it on iTunes, which is nearly guaranteed to have what a person is looking for, regardless of the genre.

My third theory has to do with another old concept which I have observed record stores really don't seem to care about anymore. In some other kinds of stores, be it a supermarket, a drug store, or a Walgreens, people come in on a mission, know exactly what they're looking for, and generally expect minimal assistance or "advice," in making their everyday purchases. Shopping for music, on the other hand, is in a whole other league. Yes, there are occasionally those times where someone knows exactly what new CD they are looking for. But most of the time, customers come in armed only with their personal tastes, hope for some recommendations of what to get based on what they already like and an intent to quite possibly spend their money in that store instead of elsewhere. However, record stores, these days, only care about one thing; making a profit, and sending the customer out the door with minimal communication. The clerks they hire are predominately brain-dead morons with little to no working knowledge of music, let alone the store's inventory. The store might make a quick buck off of a Juggalo picking up the latest Psychopathic Records offering. On the other hand, if a store clerk can't help someone who isn't "down with the clown" find a new band's CD they might enjoy, the potential customer will take other avenues to discover and buy new music. And since record store associates are all the same, this avenue has increasingly become iTunes, which not only sells the music, but also gives the consumer recommendations based on what they like and from previous purchases. Bottom line: record retailers do it to themselves.

Then, in the fourth theory, there is a harsh reality to shine some light on in the realm of popular music. What would be justification for why people turn to downloads to purchase the manufactured and excessively sexed-up dribble known as Top 40 music? As I mentioned, one reason is because some just want the single and not the whole album. As for the ones who want the album, the prospect of purchasing today's Top 40 chart toppers out in public is way too much of a demeaning ordeal to fathom. I mean, what were the most hyped, TRL-friendly, "go buy me now" albums of last year? Debuts from Paris Hilton and Kevin Federline. Or, how about the solo record from Fergie, chock full of arrogant dance numbers that stick in your head like a malignant tumor, and were already more annoying than those Head On commercials upon their conception. To admit one digs such music should be shameful enough, but the actual act of buying it in public can be equated to renting porno movies at Blockbuster, only to be rung up by the little old lady and standing one place in front of a devout Mormon family. Therefore, to avoid such social stigma, this music is predominately being traded behind closed doors, which in turn cuts down the number of CDs sold significantly.

So, what's the solution to this problem? Perhaps record companies should stop investing as much as they have in creating CDs, and put it into marketing the same music through new mediums like online downloads; you know, expand this budding new market. Or maybe, cut ties with Kevin Federline and send him off to chase Paris Hilton or Jessica Simpson, which I am sure is very soon to surface in the tabloids. The choice is ultimately theirs.