Tag - spotify

RIP George Martin – A Beatles Playlist

Like the rest of the world, I awoke to the news this morning (I read the news today, oh boy?) of Sir George Martin’s departure from this earthly plane:

George Martin, the urbane English record producer who signed the Beatles to a recording contract on the small Parlophone label after every other British record company had turned them down, and who guided them in their transformation from a regional dance band into the most inventive, influential and studio-savvy rock group of the 1960s, died on Tuesday. He was 90.

The New York Times obituary mentioned several songs that are regarded as among the breakthrough recordings that Sir George produced with the Beatles during their tenure at EMI / Abbey Road Studios in the 1960s.

So, naturally, I skipped over to Spotify and assembled a playlist of those breakthrough songs:

RIP, Sir George. Words fail, let the music speak for you…

Why Would Anybody Ever Buy Another Song?

From the Department of No Shit, Sherlock:

Crowded Field

Crowded Field

Derek Thompson points to the elephant in a post at TheAtlantic.com.

Citing the increasing saturation of the streaming music market (where any more than one or two services qualifies as saturation), Thompson points to the elephant that has been in the room since… well, since the first Real Audio player made streaming music a reality in… what, 1996?:

…what isn’t there room for in music?

Buying it.

“Young people today don’t buy music anymore,” said Martin Pyykkonen, an analyst at Wedge Partners. The numbers agree.

I suppose my objection here should be something along the lines of “whatchyou mean ‘young people’, Kimosabee?”

Or maybe I should take it as a compliment that somebody thinks 63 can qualify as ‘young’ – particularly since I just bought tickets for a movie tonight at the reduced fare for ‘seniors.’ But I digress…

I have been arguing for years that the ‘unit purchase’ model for music – whether it’s physical products like CDs (or, yes, even the revered, resurrected vinyl…) or virtual units delivered as purchased downloads – has been on the wings of the dodo for years, and that any assertions to the contrary are an exercise in viewing the future through the rear view mirror (if you don’t know what I’m talking about, I sincerely implore you to click the link and find out).

And no, the fact that I’m engaged in a project that is about to release its third physical product at the same time that I’m predicting the demise physical products is not lost on me. I write these things because I think I’m observant, maybe even a tad prescient. I never said that made me invulnerable to also being a hypocrite. Such is the nature of living on a cusp. But there I go again, digressing…

As Thompson reports, the handwriting is on the wall, the die is cast, the nails are in the coffin. Pick your metaphor, but this is we see when we turn the car around and start steering through the windshield:

“…digital music sales fell last year for the first time ever, by 6 percent, as the music business inches closer to an access-over-ownership model. Overall streaming (which includes digital radio) is up 32 percent to 118 billion song streams in 2013. On-demand streaming (e.g. pick and click a song on Spotify) doubled last year.

Meanwhile, we have Tommy Silverman and others at the annual Austin TX Spring Break Clusterfuck known as “SXSW,” (that’s pronounced “ess-ex-ess-doubleyew) professing to possess the keys to a $100-billion kingdom with a more colorful metaphor of his own:

This enema that we’re going through is making us realize that our business is much bigger than what we thought it could be,” Silverman said. “We’re in the attention business now.”

And the nominees for the 2014 ‘Masters of the Obvious’ award are….

Silverman etal be right, the entirety of the recorded music business could certainly be much larger than the rapidly-shrinking single-digit-billion-dollar business it has recently been reduced to.

I’ve done this math for you before: A couple of years ago the NPD group estimated that the average music ‘consumer’ spends a paltry FORTY dollars per year on music purchases (that figure is surely even less now). That expenditure adds a bountiful 30 or 40 new tracks to their record collection every year. Now persuade those tight-fisted consumers that for only TEN DOLLARS (per month…) they can have the entire history of recorded music – past-present-and-future – at their disposal, and you can effectively triple or even quadruple your aggregate industry top-line.

Of course, that’s assuming they have any money left after paying for their cell phone, cable teevee, broadband internet and Clover brewed coffees at Starbucks (which I am drinking as I write & post this…)

It may not add up to the $100-billion that Silverman is hallucinating, but it could be considerably more than whatever the current figures are.

But whatever the figures might be, we will never realize the full potential of any future business model until we stop trying to drag the old models long with us. I don’t care if your fancy new “human-powered” streaming music service is called “beats,” It does no good to beat an internal combustion engine with a buggy whip.

But there’s another message in all of this that I think has been overlooked, and that’s all this emphasis on recorded music. That’s the biggest buggy whip that we’re dragging along with us, the biggest thing that looms in that rear view mirror.

As long as we’re focused on how to preserve or grow the recorded music business, we’re going to miss the point of what Silverman inartfully calls “this emema” that the industry is going through.

What we cannot see so long as we’re driving backwards into the future, surveying the landscape in front of us through the rear view mirror (really, try to get that image in your head…), is that the ‘future of music’ is much less about the recorded music than it is about the way that music lived before it became any kind of product – back when music simply did not exist unless there was somebody in the room playing it for you, which person was often yourself and your friends.

The future of music is not any kind of product, physical or virtual, delivered by truck, download, or stream. It’s much more… organic, and ‘aural’ than that. But until we’re a little further removed from the product era, it’s going to be hard for most people to appreciate that prospect.

The idea was never more succinctly put than during a conversation I had with Scott Huler, one of the presenters at last year’s TEDx Nashville.

“I tell my kids,” Scott said, “that music is not something you buy. It’s something you make.”

I don’t care how many billions Tommy Silverman thinks the ‘music industry’ can be, those children are the future.

 

 

 

 

The Failure of Inattention

Monday was a “snow day” in Nashville and Middle Tennessee.

2014_08_1024x1024Freezing rain had settled in the night before and made the roads pretty much impassable by the time of the morning rush hour, so Monday was canceled city-wide.

Ann and I threw some logs on the fire and settled in to watch about 6 episodes of the new HBO drama True Detective, with Woody Harrelson and newly-minted Oscar winner Matthew McConaughey as diametrically opposed Louisiana homicide investigators.

Harrelson’s character is Detective Marty Hart, who, midway through the series shares this indispensable observation about the “detective’s curse.”

“The solution my whole life was right under my nose … And I was watching everything else … my true failure was inattention.”

Given my propensity for oddball associations (see blog tagline above), I immediately thought of that observation when I read this guest post in Billboard this morning about YouTube -v- The Music Industry:

During a MIDEM panel this year, YouTube vp content Tom Pickett said the company had paid more than $1 billion to music rights holders during the past several years. Well, that’s sweet. Hey, you know who else has done that? Spotify. The difference: Spotify did it with a fraction of YouTube’s audience.

In other words, while musicians and songwriters are are complaining about the paltry payouts from Spotify, Pandora, etc…. Well, you get my point. Hopefully.

Breaking News! Music Industry Adapts…

… to the most recent technology shift. Just in time to get clobbered by the next one…

musica-streamingI have to admit I’m getting a big kick out of the two items that landed in my news feed this evening.

First, Billboard has reported that…

For the third time this year — and only the fourth time ever — the year-to-date total sales of digital albums have exceeded those of CDs.

How long did that take, about ten years?

Let’s see, when did iTunes start selling downloads. April 28, 2003. So, yeah, just a little over ten years.

That’s important, because it tells us how long it takes for something that seems unlikely one day to become “mainstream” the next. It’s the statistical flip side of “it can’t happen here.”

Which is significant, because of the insights offered in another piece that was published today. David Ross’s Nekst.biz posted an interview with Billboard’s Glenn Peoples that goes into considerable detail about how music online is already shifting from downloads to streaming:

…half of the country listens to Internet radio on a regular basis (monthly), so that’s mainstream behavior, but there is still room for growth…The streaming model is set to grow for the foreseeable decade.

There is much more to the analysis than that (obviously). But that might be all you need to know.

The first item tells us how much has changed in the past decade. The second item tells us now much is going to change in the coming decade.

All of the above was written while listening my Bill Frisell channel on Pandora. Which is now playing Pat Metheny.

The Celestial Jukebox abounds. Along with newsfeed irony.

Life is good.

What I’ve Been Listening To Lately – 140123 Edition

This album by Pat Metheny is perfect “whistling while you work” music:

I’ve been listening to it via Spotify because, well, that’s what I listen to mostly these days – because their library is so much larger than my own (by several orders of magnitude) and because the embed codes Spotify supplies make it easier to share what I’ve been listening to than, say, iTunes.

The fact of the matter is, I purchased this CD long and have it already burned into my iTunes Library. So the good news for Pat Metheny is that I’ve already paid for the CD, now he’s getting more cash from me to listen to the Spotify stream. Fractions of a penny, I know, but still, it’s more than he would have gotten if I was just listening via iTunes.

Oh and, yes, I know all about the new BeatsMusic service and I’m anxious to try it out, but Beats is built on the old MOG service; I was a paid MOG subscriber until about a year ago, but my free account still exists, and it’s entangled with the Beats login protocols. It recognizes my User ID – it even let me reset the password – but Beats crashes when I try to log in. Maybe I’ll have something to say about it if they ever figure out how to let me in the door.