Another Great Side Effect of Vinyl’s Resurgence? Best-Of Albums Are Back

Greatest hits albums were once a key facet of the record business — a way for labels to repackage existing copyrights, for artists to make a statement about a body of commercial success and for consumers to get all their favorite hits by an artist in one collection.

The development of streaming hobbled that format. If a fan can create a playlist of all their favorite songs, why would they need to buy an album of those hits?

Best-of albums, though, are quietly hitting back — especially in the country format. MCA Nashville released Josh Turner’s Greatest Hits on Sept. 8, and Valory has Thomas Rhett’s 20 Number Ones scheduled for Sept. 29. Encore Music Group likewise issued Ricochet’s Then & Now on Aug. 18, with rerecordings of its four top 20 singles from the 1990s among the package’s 16 tracks.

“It’s kind of a milestone moment for me,” Turner says.

Indeed, in the old-school music business, hits albums carried a certain status. In their original, purest form, they signified that an artist had accrued enough successful individual titles that they could fill both sides of a vinyl release with familiar music. They sometimes expanded a fan base, too, as consumers who hadn’t necessarily kept tabs on a specific act suddenly recognized their accomplishments more fully. 

“The greatest-hits aggregate, whether it’s physical or even just a digital collection, is kind of a marketing banner for the body of work,” says Fisher Entertainment Consulting founder Pete Fisher.

If the hits package has a throwback vibe, that’s appropriate since nostalgic vinyl is the format that’s most likely driving its return. Fans who want to hear the hits from the turntable at home can’t mix and match the songs for a 12-inch disc as they could on Spotify. The disc needs to be manufactured in a fixed order, and the best-of package offers real value.

“We’ve been selling a lot of vinyl on the road at my shows, so that’s a good sign to show that people really want the physical product,” Turner says. “Everybody’s familiar with the digital stuff now. Sometimes it’s kind of cool to just unplug and go to the record.” 

There’s an irony to the development. Producers have been known to add programmed needle scratches to digital music to give it a ’60s or ’70s atmosphere. Avoiding those pops and crackles were one of the supposed benefits of shifting to CDs. The digital disc’s rise pretty much ended a 30-year reign for 12-inch pressings around the early 1990s. Now the sonic imperfections add a new dimension to several generations of music.

“Vinyls are making a comeback, and [they’re] making a comeback among the younger generation,” says Ricochet founder Heath Wright. “It’s the thing now.”

That shift is opening up new possibilities for most of the music from the last three decades as it appears on a warmer, less brittle configuration.

“It’ll be the first time I’ve heard Ricochet music on vinyl,” Wright says, anticipating the release of the band’s material on black and yellow plastic.

Plenty of recent hits projects marked the first time the songs were available in the format. Among the best-of collections unveiled in the last two years are Heads Carolina, Tails California: The Best of Jo Dee Messina, Luke Bryan’s #1’s Vol. 1 and Vol. 2 and a Justin Moore Greatest Hits originally offered in translucent red vinyl at Walmart. Much of Dolly Parton’s Diamonds & Rhinestones: The Greatest Hits Collection — including “Jolene,” “9 to 5” and “Coat of Many Colors” — was initially issued on vinyl back in the day.

But vinyl isn’t the only point. Digital service providers have created their own playlists dedicated to specific artists. However, that same act may prefer a different set of songs as a career overview, and the makeup of those titles on a hits compilation aren’t subject to revisions by DSP managers.

“It’s a nice way to roll up an era and curate the hits from a label-centric perspective for all time,” 615 Leverage + Strategy partner John Zarling says. “Apple constantly updates their Essentials playlists and prominently features those for every artist of note. But if you think about 10, 20 years removed, are those playlists going to properly document a specific era for an artist?”

Hits projects also give the act’s team a chance to elevate a song that was overlooked publicly. “Desperado,” for example, was never a charting single for The Eagles or Linda Ronstadt, but it rose in significance after being featured on both acts’ best-of compilations.

“Think about the songs that might have been important,” says Zarling, “but were never big chart successes, that because they were placed on greatest-hits records, it became a part of that artist’s repertoire.”

Plenty of artists who would have qualified for best-of albums in a previous era have never issued one during the last 20 years. That includes Brad Paisley, Cole Swindell, Taylor Swift, Chris Stapleton and Miranda Lambert. As the hits album hits back, a template has been established that makes a best-of compilation a good bet again. 

In addition to making a statement about the act, it’s also a good way to enhance the experience with fans. Turner and Rhett are both offering special packages that combine hits albums with other merchandise. Rhett’s 20 Number Ones can be purchased in two different collectible versions, including one with an autographed box set with a booklet for $125. Turner’s Greatest Hits is available in several configurations, including signed copies and/or Turner-branded clothing for up to $185.

“That’s a trend that’s not going to go away,” Fisher suggests. “The entertainment industry as a whole is just continuing to try and find very high-touch experiences and high-quality products for that premium consumer. There’s profit opportunities with the superfan, and I don’t think they’re disappointed to pay that way. It’s a way they vote in support of their favorite artists.” 

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