Records To Die For

The value of music as a commodity, and as one of mankind's wonders, has never been in such flux. Retail record shops are dying, the former major labels are focused on making records for kids (the same kids they're suing), and the business overall remains wedded to an incredibly short view (get a hit or get out), but the music itself continues to trickle through to those who want it—and, yes, on some level would die without it.

It's always revealing to see exactly what music people have sitting on their shelves or hard drives. It tells you a lot about them—whether they're kindred spirits (Bill Evans) or something less (Sting). In many ways, our annual "Records To Die For" feature is a kind of mini-window into the musical souls of our contributing editors; may the Gods of Song bless their tortured souls, every one. In the past, such choices as the soundtrack album for the movie Casper have raised eyebrows, if not outright suspicion. Still, along with crowing about our favorite records, we try to keep it all in good fun. What's the title of Stephen Mejias's excellent blog at www.sterophile.com—"Elements of Our Enthusiasm"? Well then, here are some of those precious elements that feed that enthusiasm. Remember: Gear ain't great without something to play on it.—Robert Baird

At a time in history when the music business seems less interested in making anything of lasting value than in churning out disposable music—hits intended to be consumed for a few days via iPod, then left behind—the notion of cherishing the masterpieces, the records to die for, seems a lost art. Yet it's exactly that state of being—as when Lady Gaga's latest outfit commands a bigger spotlight than the recent Pink Floyd reissues—that makes our annual "Records To Die For" feature that much more essential.

Much as we audiophiles love a good format war—nothing like a dustup over the tactility of vinyl vs the convenience of downloads—not to mention all the ever-evolving gear, the base of this pursuit is still the music. Which is why February is the month least cruel, and time again for our annual "Records To Die For."

What's your favorite record? It's a simple enough question, but one that dedicated music consumers never tire of asking each other. And so, every year, we ask the distinguished writing staff of this magazine to choose a pair of favorites and tell us a little of what seems so compelling about them. Oddly enough, most writers never choose the same record twice—though one did choose the soundtrack album for Casper three years running! Music in any recorded format is fair game, the only restriction being that it must still be available, if only in the deep, dark recesses of the Internet. Of course, favorites come and go in minds and hearts—speaking of dark recesses—but these are Stereophile's takes on the essential music of the moment. Enjoy!—Robert Baird

Once each year, since 1991, we've asked our writers, both hi-fi and music, to name two of their favorite albums of all time—albums that are, to them, "to die for." It has long been one of our most popular features.

Originally a light-hearted conceit based on a phrase that was popular at the time, there never was a real implication that anyone would give up their life for this music. Yet, for many of us, it has always carried that baggage. So, while this has long been my favorite Stereophile feature, I've never cared for the name.