For example, Ian Rogers disagrees with Kurt Vonnegut. I’m glad that each of these smart people did the right thing for himself, and shared the rightness with others.
I was among those who thought that flying pigs would arrive in the USA before Spotify did. Well, Spotify has arrived. The pigs probably did too, when I was too distracted by Google+ and SpotifyUSA to notice.
I’m using the free version right now, and liking it. The range of music is wide. The only thing I’ve been disappointed at not finding is the new Gillian Welch album.
I’m currently listening to Richard Thompson’s 1000 Years of Popular Music (which I really should have bought by now). The first thing I listened to was Traffic’s John Barleycorn Must Die (which I bought on iTunes, but promptly lost due to a computer accident and due to Apple’s ridiculous policy against re-downloading music one already owns).
Here’s what has most impressed me so far about Spotify. When this computer (old PC running Windows XP) lost its wireless connection, and I couldn’t get to my email, bank account, etc. in the browser, Spotify kept playing. It kept playing Radiohead’s Amnesiac (yet another album I should have bought by now).
So, I am impressed by free Spotify and am considering paying for one of the premium versions. I’m sorry to say that I have no invites to give out…
Facebook’s music plans involve Spotify, others, revealed Om Malik, thus setting the tone for this week’s conversation about online music.
Last week’s conversation was more about Spotify itself, with $100M in new funding giving a bump to the long-running rumor that the US launch really is near. A deal with Facebook was often mentioned (although sometimes with a note that Facebook was probably not interested in teaming up).
I have more curiosity than enthusiasm about Spotify’s arrival, music on Facebook, and the intersection of the two. I miss Lala, which was acquired by Apple back in 2009, and haven’t enjoyed any other service nearly as much since. Amazon, Apple, and Google have of course each launched a music locker, each with different features above and beyond the basic locker. None of them gives me the control that Lala did.
I’ll try Spotify when it launches, but I fear that its US launch will come too late, and in the shadow of Facebook.
Amazon Cloud Drive is your hard drive in the cloud. You can use it, along with Amazon Cloud Player, as a music locker.
There’s coverage all over the place. NPR is mainly positive, but points out that there are legal challenges to music lockers. TechCrunch describes Amazon’s offering as fierce competition for existing music locker services, given the space it offers and its integration with Amazon’s MP3 store.
At Mashable, Ben Parr actually used the service before posting about it. Good for him! His first impressions are more positive than mine. To Ben, “it became apparent that Amazon wasn’t launching some half-baked product.” To me, it seemed strange that deleting just one MP3 file caused Amazon Cloud Drive to think that I had no files left, even though I was using some of my space allowance.
I’m confident that Amazon will fix the early bugs quickly, and otherwise improve its cloud drive and player. As an example of an improvement, how about looking at my prior Amazon MP3 purchases, and offering to shift them into my locker without having to locate them on my computer and then upload them?
This music locker service combines several of Amazon’s strengths: cloud management, MP3 store, brand name, etc. You get 5 GB of storage for free. To add another 20 GB, you only need to buy one MP3 album. MP3 purchases are automatically added to your locker, and do not count against your storage quota.
Now, let’s see what Apple, Google, and others come back with…
Arcade Fire won the Grammy for album of the year (via HuffPo and lots of other places). Are they indie? Sort of. Did they deserve it? Well, it’s a very good album, and to criticize an album called The Suburbs for sprawling is perhaps to miss the point.
That said, I think that my album of the year was Laura Veirs’ July Flame. It was among my top 5 of the first 6 months of 2010, and overtook the midpoint front-runner by lasting particularly well. My favorite album released in the second half of the year was Lisbon, from The Walkmen.
Although there was no one release that told me in no uncertain terms that it was my album of the year, 2010 was a pretty good year in music. But it was, according to NPR and other sources, a very bad year for trying to sell music.
Which brings us to 2011, to Radiohead, and to their latest attempt to sell recorded music. I, and many others, will be downloading The King of Limbs in less than a week. The download, which costs $9, is one of two formats in which KoL will initially be available. The other is very analog, with two 10″ vinyl records, and lots of pieces of artwork. It also includes a digital download – and even a CD, to appease those stuck between the analog and download eras, and those who think that for $48 they should get a CD as well.
My album of 2011 so far is Bright Eyes’ The People’s Key, which will be released tomorrow. So today is the last day on which it can be streamed on NPR.
I just read A Future History of the CD Revival. Ten years from now, there are clubs based around burning music CDs. The physical discs aren’t just pleasingly shiny.
Unlike today’s collaborative, crowdsourced, and automatically generated playlists, a CD’s tracklisting is fixed, and the CD-burning scene is an opportunity for music lovers to show their deep individual loves of music, its sequencing and presentation.
I appreciate LHB’s music and lit blog, especially his curatorship of the certain musical strands of the web. He often points in turn to selections, so we have multiple levels of curatorship here…
It’s time for everybody to go legit. The reason: We won. And all you audiophiles and copyfighters, you know who fixed our problems? The record labels and online stores we loved to hate.
Paul lines up arguments in favor of pirating, and then attacks each argument in turn. DRM? Gone. Resolution? Improved to the point at which most ears couldn’t hear an improvement in quality. Catalog? Expanded, in fact wider than Paul claims, since you can now find the Beatles in iTunes. And so on.
I’d take issue with Paul on one point (besides the quibble about the Beatles). “The age of stealing music via the Internet is officially over.” But his arguments are that it should be over. In other words, they are prescriptive arguments.
I haven’t seen a strong descriptive case that music piracy is ceasing. That would require data showing that people aren’t taking music for which they payed, and which was not given to them. As the discussion on Reddit shows, there are people who intend to obtain music without paying for it. That raises questions such as: How many of them are there? How responsible is the music industry for their existence? But I won’t go into that here.
I will read with interest Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age. I didn’t steal it, I borrowed it from the library. I hope author Steve Knopper doesn’t mind. Perhaps the music industry has become less self-destructive since the book was published.
Best music of 2010? Isn’t it too early too tell, given that there are another 6 weeks of the year, and we could use a little time with music before picking winners? There are already so many lists that the Largehearted Boy list of best of lists is under way, with 9 lists being added today. LHB does a similar list of lists for books.
NPR’s All Songs Considered is in on the best of the year bandwagon. But so far, it’s only gone as far as a nomination-soliciting post on the show’s blog.
My own lists have been qualified with “so far” following “year.” I really can’t pick a front runner from the 9 albums currently on my list. Yes I, like NPR, and old-fashioned enough to think in terms of albums.
Mashable Adam provides good brisk coverage. Comments on his post tend to be variations on the theme of “I’m younger than Steve Jobs, so I don’t care.”
CrunchGear’s Devin valiantly tries to explain why we care. “Being that the Beatles MP3 holdout is emblematic of the recording industry’s resistance against modern distribution methods, the way in which the Beatles discography will be made available should be telling.”
I’m inclined to think that those who really want Beatles music already have the CDs, while many of those who want the music in digital form without the hassle of a disc also want to avoid the hassle of payment. But the holiday/gift/rampant commerce season is upon us, so a lot of money may change hands.
I’ll be watching to see when and how the other music services announce: Beatles for Sale. As for Beatles music, I care enough to have allowed myself to be talked into a festival of Beatles cover bands (Abbey Road on the River, in DC earlier this year, and that’s Britbeat in the photo), and to be putting together a Beatles playlist/CD.
When it comes to the playlist, I’m surprised at how much Paul there is. When I think of the Beatles songwriters in the abstract, I think of Paul as sentimental, George as having penned a classic or two, and John as the man. When I listen to the music itself, I’m reminded of just how good McCartney’s best is, how annoyingly self-absorbed Lennon often was, and how Harrison doesn’t quite make the cut in that elite company.
My favorite few minutes of the Beatles come on Revolver, on which John’s “And Your Bird Can Sing” is followed by Paul’s “For No One.” The best of John (and a fine band performance) followed by the best of Paul.
Enough about the Beatles, lest I start sounding as old as Steve Jobs.
Elvis Costello’s National Ransom came out this week. If I made a list of the year’s music with as many entries as months so far, NR would make that list.
Yes, NR does sprawl, across styles, and for over an hour, but I don’t object. Neither do I object to the sprawl of The Suburbs (at least not to that of the album with that title) so Arcade Fire join Elvis at the recent end of the list. So does Richard Thompson, with another hour-plus album. I posted about his Dream Attic when it came out, and it’s holding up well after many subsequent plays.
That’s 3 albums to add to the 5 I listed at 2010’s 6-month mark. Add John Grant’s Queen of Denmark, which I missed when it came out in the first half of the year, and my favorites of the year list is up to 9 after 10+ months.