Category: Music

Why Has Listening to Music Become as Solitary as Masturbation?

My friends seldom whisper a word about music anymore, which I am finding very strange. People used to talk about music, at least back in the 1950s, 1960s, and 1970s. I assume young people today are just as crazy about music as my generation, but they don’t talk about music with me. It could be the generation gap, or has music dropped off the water-cooler topic list? Oh, I have a number of guy friends that are music nuts like me, and we tell each other what we’re listening to and trade recommendations, but as far as I could tell, most of my friends stopped listening to music a long time ago. At least that’s what I thought. I sent an email out and polled some friends and I was surprised by what I got back. Many still love music, they just love it alone.

My wife hates when I play music at home when she’s there. I beg her to sit and listen with me and share the music I’m discovering, but my enthusiasm to just sit and listen bores the crap out of her. She does love music, but in the car, when she’s by herself, where she can sing along. It’s become a personal thing, something to do in private. I’ve heard from other women friends that like to sing in the car alone too. Many people tell me their only source of music is the car radio. Others love the iPod, and we all know how isolating those little gizmos are. Plug in, turn on and tune out the world. I have heard people extolling the virtues of noise cancelling headphones but nary a word about what they are hearing. And I’ve heard endless arguments over digital music, MP3 players, music piracy and so on, but I just don’t hear people listening to albums together.

When did music become so anti-social? As kids in the 1960s with limited budgets we gathered together in after school parties to play, trade and share records. Or gangs of us would ride around in beat up old 1950s cars, going nowhere, doing nothing but listening to dashboard AM radio. On weekends we’d go anywhere where there was a great jukebox, or to roller rinks and thunder along on wooden floors to the blasting boom of the Beatles. We’d have endless arguments. The Bryds v. The Buffalo Springfield, Eric Clapton v. Duane Allman, Motown v. Brill Building. Did the Monkees play their instruments? What did those lyrics really say?

And of course, there was the communal aspect of the musical enhancing herb that would bring us together in darkened rooms lit by muted televisions, with the stereo drowning out our thoughts, sharing the vibrations, feeling groovy. We’d spend hours talking about our favorite groups between changing LPs. Music was a revolution that was of vital importance to art and society. We felt we were on the cutting edge. We could have all written our own books about Bob Dylan or Bruce Springsteen.

Every weekend there would a selection of touring bands to consider, and this would bring us together by the hundreds or thousands. Seeing top performers cost no more than going to the movies today. Now, don’t get me wrong, I do know there’s plenty of live music playing every night in 2007 in any big city, but that’s for a generation two generations younger than mine. My generation might go out once every year or two to some performing arts center to see an Oldie-Goldie nostalgia act, but to be honest folks, I don’t like seeing geezer rock and roll. I remember going to concerts or parties with bands and I hated when old people showed up, so I don’t like intruding on the current generation of the in-crowd. So I wonder if age is a factor – is live music mostly for the young? I know I’m going to get some howls over that prejudice.

I do have some theories about us old guys playing music alone. I think music makes us feel really good, almost like a drug, but it produces a high we like to experience alone. I’m bobbing my head to “All Your Reasons” from Matchbox Twenty’s Exile on Mainstream album that’s coming through my computer’s speakers via Rhapsody. I’m listening to this week’s new releases. I just finished Annie Lennox’s Songs of Mass Destruction and I’ll probably listen to Bruce Springsteen’s Magic next. It’s 7:43 pm and I’m tired after work, and I haven’t had dinner and I’m hungry, but the music is infusing energy into me, enough to encourage me to write. When I tired of music I’ll eat. Music is more nourishing now. My wife is at the kitchen table playing games on her laptop – that’s her way to unwind. My friends are at their homes, tired from work too, doing their thing. Maybe watching TV, maybe woodworking, reading the newspaper or maybe they are at the gym grooving with their iPods – tuning the rat race out. I guess the world of work, marriage and families split up our communal listening gatherings. That’s sort of sad.

I wished that all my friends were members of Rhapsody so I could still share music. I’d hit the share button on special discoveries and send them a song in a bottle to listen to on their own mental desert island, where they commune in their loneliness. I’d love to share some songs from The Reminder by Feist, the little girl doing the iTunes Nano commercial with her song, “1234.” Maybe that’s why MP3 music stealing is so popular – kids don’t want to get together, but they still want to share.

The best I can do to recapture this old spirit of music sharing is to write this blog. I do have to wonder why my generation is secluding itself into their little rooms to pursue solitary pursuits. Are our hobbies of self pleasure more fulfilling than trying to communicate and work on the same wavelength? It reminds me of long ago when my sister would beat on the bathroom door and yell, “Why are you taking so long? What the hell are you doing in there!”

jwh

DRM and iTunes and Rhapsody Music

With all the recent discussion of EMI and other music companies releasing their music catalogs with DRM-free files, I had to wonder what will happen with subscription music services like Rhapsody Music, Napster, Yahoo Music!, Urge, Virgin Digital, etc. Subscription services offer unlimited access to giant catalogs of songs, and they use DRM systems to make sure the music is locked down from thieves. You can boogie just as long as your monthly payments keep coming. Could subscription services work without digital rights management (DRM) systems like so many are campaigning for the buy-by-the-song businesses?

I’ve been using Rhapsody for awhile now and I’ve essentially stopped buying CDs. I have a collection of a couple thousand CDs and LPs but I’ve stored them away. Digital music subscriptions are just too damn convenient over both getting my lazy ass out of my chair and tracking down CDs I never re-alphabetize or ripping and maintaining digital collections on my always changing computers. I can’t believe anyone would be buying digital music from iTunes or any other pay-by-the-song services. Ownership, whether digital or physical means work – librarian type work of organizing, filing and preserving. Buying files without DRMs will mean easier backups, but you still have to manage your tracks – and after awhile iTunes gets unwieldy with large collections.

Physical CDs are great for playing anywhere, lending to friends, and getting the maximum sound quality. MP3 songs are great for making compilation CDs to share with friends or for emailing single songs to distant friends. Rhapsody allows for sharing songs, but your friends need to be members of Rhapsody. Rhapsody just started selling MP3 DRM-free music – so now it’s possible buy a song and share it – although I don’t think that’s the purpose of the new feature. It’s doubtful the industry wants Rhapsody to transmit all their subscription tunes over the net via unencrypted MP3 files, but would that be so bad? If everyone subscribed to music would it matter? The key to subscription music is the convenience of not worrying about owning files.

Rhapsody does all the work for me. I think of a song or album or artist and type in the name in the Rhapsody search box. If it’s there, and most of the time it is, I just play the music. When I’m tired of listening I close the window. Rhapsody does allow me to download the song files to my computer, but I don’t use that feature. First, I don’t use a portable player. I play songs through my computer or my stereo system via Wi-Fi and Firefly Media Server. I do have an iPod but I use that for audio books. When I’m at work I play Rhapsody through Internet Explorer and my computer’s speakers. If you do have a compatible player you can download files to your player. If you want, you can download thousands of albums to your computer, as much as it can hold, and as long as you pay your bill the songs will play. But is that the ultimate way to experience music?

When I was a kid I used to have this Sci-Fi fantasy that I could mentally play music in my head and it would sound like I was listening to a loud stereo. Just think of the song and my neurons would dance. Rhapsody is close to that. Rhapsody even has players that use Wi-Fi to connect to its services. I doubt I will ever have music transmitted directly to my brain, but if Rhapsody (or competitors) were available anywhere I went, then that will be good enough. Once you hear music in that light you realized that DRM locks aren’t needed. I don’t want to own the music. I don’t want to store the music. I don’t want to manage music files. I just want to listen.

Right now if Rhapsody took the locks off its songs people would steal them blind. That’s because some people can’t see the utopian view of listening to subscription music. Why horde songs when you can listen to what you want when you want and where you want? I do all of this for $120 a year – Yahoo and others even offer cheaper deals. Rhapsody currently charges more to people who want to download songs to put on compatible portable players, but if they ever perfect Internet everywhere on portable devices that wouldn’t be needed.

Finding Music v. Buying Music

I was just reading an interview with Daniel Radcliffe who told about where he was and what he was doing when reading Harry Potter and the Deathly Hallows. At one point he mentioned he was listening to a group called Takk and their album Sigur Rós, a band I’ve never heard of before. So I fired up my browser, typed Takk into Rhapsody search box and began listening to it. That’s how I find out about music now. Oh sure, I could have zipped over to the iTunes store and bought it for $9.99, but why? For the price of one album I get to listen to them all. I’ve gone beyond how to afford music. And I never wanted to be in the business of stealing music. For my ten bucks of legal rental payment, I’m now in the music finding business. I can’t believe kids steal when legal music is so damn cheap.

If the music industry could acquire X million subscribers worldwide they would probably make as much money as they used to make selling physical albums but without the costs and overhead of actually making, shipping and selling CDs. Once you get past the part about owning music you realize the problem becomes finding great new music. And Rhapsody has many features that help there too. One of them is the ability to send songs, albums or playlists to other Rhapsody members. If I discover a great new album, I can hit the share button and send it to my friends. They don’t get the actual song, but a link to where to play the music. That’s all that’s needed. The holy grail of musicians and music publishers is to get millions to people to start playing a song. Having easy access makes that much easier.

This will be a major paradigm shift in the world of music. Why listen to radio? Just request a playlist or music channel if you want surprises and randomness. This allows everyone to become music programmers by building playlists. No more mixed tapes and CDs. Create a playlist and email it to your girlfriend. When you meet new people you won’t flip through their CD collection, you can request their favorite playlists and listen to the music. You can make friends by having your playlists analyzed and compared to others. It’s a whole different world.

The greatest thing about subscription music services is discovering new music. You can try anything you want. On Tuesdays when new music comes out just play as many new albums as you can. You aren’t restricted. When Stephen King lists his top 25 rock songs in Entertainment Weekly, just pop over to Rhapsody and listen to them.

Subscription services will have to maintain their DRM systems until the mass of people realize that owning music is a pain, but eventually DRMs won’t matter.

Where Subscription Music Fails

Since 1964 I’ve been buying music, and even though I’ve had to sell my collection a couple of times since then, I’ve gathered a couple thousand albums – far more than I want to rip and preserve on hard disk. Rhapsody is great for the new stuff and the famous stuff, and crappy songs from artists that only their mothers would buy, but it is far from complete. I have a lot of albums that Rhapsody doesn’t. And if I want to play, “Fresh Air” by Quicksilver Messenger Service, I have to dig through my closet. That really puts some holes in my musical heaven.

For subscription music to really work it needs to be complete. Every online retailer should have access to everything imaginable – and publishers should allow the various online subscription libraries to promote music in whatever fashion they want. No need to have a big brother monopoly, but it would defeat the idea if I had to subscribe to a bunch of services just to get the variety I want.

The next big problem is sound quality. Compressed music is pretty damn good, but it ain’t stereophile quality. In my ideal dream music system I don’t want to own and store music, so it doesn’t matter how big the files are just as long as the music can be piped to me in real time with no interruptions. My assumption is technologies will only get better and transmission speeds will only get faster, so music libraries should have no trouble improving the quality.

A side effect of all this should be the end of the format wars. The wizards behind the Internet curtain will worry about such details. We might have to upgrade our browsers, sound cards and drivers from time to time, but that’ll just give computer companies reasons to sell us new computers. A few years ago when SACD music came out I expected to repurchase all my favorite albums – the ones I first bought on LPs and then later bought again as CDs. I didn’t because SACD music didn’t catch on, but under my dream system, instead of buying all new albums I’d just need to buy a new sound card and speakers.

Another music related fantasy I have is all the black boxes and wires will disappear and music will magically come from nowhere. It would be great if they could put SACD quality surround sound in tiny little speakers built into my monitor. I love the look of those new 24″ iMacs – and what a thrill it would be to have one if it worked like the Apple sales photos without a rat’s nest of wires docked at the back and produced Bose Wave audio quality sound without any visible speakers. Oh, drat, Steve Jobs doesn’t believe in subscription music.

What’s Playing Right Now

Rhapsody is good enough now that I very seldom get out a LP or CD. Right now I’m listening to Joe Cocker from 1969 and 1970. I’m listening to albums I haven’t owned or seen in years. Rhapsody is one great trip down memory lane. I often play albums that I remember flipping by in stores years ago when I was a teenager and my bagboy job at the Coconut Grove Kwik-Chek wouldn’t allow me to buy everything. And 128kbps WMA is probably better sounding than my old $199 stereo I bought in twelve payments from the Columbia Record Club in 1968 – my first experience in credit. I play my music through a sound card plugged into a Sony amp that’s connected to Bose bookshelf speakers sitting on each end of my computer desk, so I sit in the sweet spot. Rhapsody’s web based interface has become so good that I often skip the full client version. I just flip through the library and click the little plus sign to add songs to the playing queue. I can’t believe people actual pay for songs 99 cents at a time and then have to worry about saving them. Hell, I would have already run up a $20 bill just writing these last few paragraphs

What Happens If Subscription Music Fails

My worry is the music industry will decide to call it quits on subscription music. If they do I don’t expect to start buying DRM songs for 99 cents. I might buy a few $1.29 DRM free songs, but what I’d do is rip my CD collection, create a pool of favorite songs I’ve discovered over the last fifty years and go musical Rip Van Wrinkle and time travel through my tuneverse. Which is what I think many people have already done and explains why CD sales are down – they’ve just checked out from the system. If Apple has sold a 100 million iPods and one billion songs, it sounds like selling digital songs isn’t that big of a business since on average people are only buying ten songs. I wonder how many rental songs have been played in that same time?

I’m not sure about the health of subscription music. I know few people who use it. I show it to friends all the time. I think most of my baby-boomer music friends are content with their small collections of CDs which they ripped with iTunes. But real music fans should try subscription music so they can try new stuff. It’s nothing at all to try out several new albums of unknown artists each week. If subscription music goes the way of SACD then I doubt I’ll be trying as many new groups as I am now.

Can Artists Make Money From Subscription Music

I’m playing “In A Big Country” and I wonder if the old group Big Country will make any pennies from my few moments of nostalgic pleasure. With enough subscribers it’s possible for the music industry to generate the same billions they used to earn by selling CDs, but will any of that moola reach the deserving talent? Are there accounting systems that let the artists see how many times their songs have been played? That could be pretty cool info to track. If I pay $10 for a month of music, that’s 1,000 pennies. If I play 33.33 songs a day, that would equal to 1 cent per song per play.

To earn a buck a group would need 100 plays – to earn a million bucks would require 100 million plays. At a royalty of 10 percent, a group would have to sell 1 million $10 CDs to make a million dollars. Since most fans play their favorite songs over and over again, groups wouldn’t have to reach 100 million people, but get 10 million people to play the song 10 times or 1 million people to play the song 100 times. Thus it’s quite possible to make money at a penny a play, but I doubt the music industry is that generous to artists with their subscription income. At a tenth of a cent per play it would take a billion plays to generate a million bucks. I bet I played Dylan’s “Like A Rolling Stone” at least a thousand times, maybe a good deal more.

I also figure the $10 a month fee Rhapsody charges won’t always stay that low. It used to be $9.95 a month paid monthly, but the by monthly fee has since gone up, so I have to pay by the year to get that low rate. If the subscription services could get 100 million users world-wide they would be in the 12 billion dollar annual revenue range and we know at least 100 million people world-wide love music enough to buy an iPod. If everyone paid the $15 monthly fee that goes with having a portable player, that industry figures grows to 18 billion. It’s quite easy to see the music business making plenty of money via the subscription model. Whether they pay their artists any more than what they paid when they sold music as LPs or CDs is another issue.

Conclusion

If the music business could get the majority of their clients to support the subscription model there would be no need for DRM systems. No one would want to clog up their drives to horde music or waste their precious free time trying to acquire and manage files. If my record collection were digital files I’d have 20,000-25,000 of the little buggers to deal with. What a pain it would be to protect all those gigabytes. The only data on my computer should be the data I created. The only data I should worry about backing up is the data I created. Music should be store elsewhere play anywhere.

Update: 12/24/07

I can now play “Fresh Air” through Rhapsody.  Several music services have closed or limited their efforts.  The big ones are still Rhapsody, Napster and Zune.  Rhapsody is expanding its services by partnering with hardware companies like TiVo and cell phone services.  Denon is even making a table top radio that has a dock for an iPod, plays XM music, is compatible with MP3 CDs and connects directly to Rhapsody – thus offering the Rhapsody library without a computer.  Rhapsody has also made marketing deals to give away songs with hamburgers.  They are making a valiant effort to push the concept of subscription music.

Guaranteed Classics – Music Just For You (To Buy)

If you searched the net you can find plenty of writers riled up over The Rock and Roll Hall of Fame’s The Definitive 200 list of CDs they want you to own. Since I’m a list maker myself, see The Classics of Science Fiction, I like to think about preparing a good list. The Rock and Roll Hall of Fame has essentially prepared a list of CDs that is based on sales from recent decades, rather than compiling a list based on artistic merit that I think most readers expected it to be. Of course, we could assume that hordes of buying fans represent good taste and the list does represent the best 200 albums any music lover should own. Maybe it’s like school where they make you read books that are good for you. The trouble is they recommend music from several musical genres that doesn’t necessarily match any single music lover’s taste.

Any list of all time great albums that leaves out Blonde on Blonde by Bob Dylan can’t be much of a list. (Supply your own missing album to make this paragraph more meaningful.) That’s my all-time favorite album, so I’d expect it to be on the list – it wasn’t. Do I have no taste in music? When I assembled the Classics of Science Fiction list I realized I couldn’t just tell people what I thought were the best science fiction books. I had to come up with a system that represented authority of opinion.

The Rolling Stone Greatest 500 Albums of All Time list is more to my taste, but then Blonde on Blonde was #9. Increasing the number of bests also helps to hit everyone’s favorite. However, the Rolling Stone list just feels more genuine to me. There is a lot of overlap with the R&R Hall of Fame list, especially near the top. You can spot the impact of sales on both lists by looking at the RIAA of Gold & Platinum Top 100 albums or Wikipedia’s List of Best-Selling Albums Worldwide. Studying these two lists shows how the Rock and Roll Hall of Fame made up their list. Every album I went “Huh!” over with great puzzlement and head scratching sold enough CDs to wallpaper Florida.

If I was going to make a list, I’d do something like what Time did for their All-Time 100 Albums. First, I would not rank albums. That should stop a lot of fights. Second, I would arrange the list going back in time, year by year, and list alphabetically what I determined through careful research were the best albums for each year. I would do what the Rock and Roll Hall of Fame did and put in muliple genres – but I’d add even more genres including World, Folk, Classical, and others they left out. This would be a massive job and one I’ll probably never work on, but I wish someone else would. Like the R&R HoF listers, I’d use sales figures but I’d also use critical reviews, awards, fan polls, books on music history and the test of time to figure out what albums really were the best for each year. I’m sure there are books that have done this, and maybe even web sites.

Metacritic has done something like this for the years back to 2000, but the list I want needs to go back through the 1920s, and maybe earlier to cover the entire history of pop music and the history of albums.

Now that I have Rhapsody Music, and can listen to almost any album I desire at the touch of a mouse for $9.95 a month, I’ll take these lists and explore what all the fuss is about. Hopefully, I’ll find some albums that I’ve never listened that’ll blow me away. Just because I lived through all those years since the 1950s doesn’t mean I got to hear all the best albums. And it really is exciting to discover great artists you totally missed.