comScore reports are derived from a representative sample of 2 million Internet users, who opt in to our panel and allow us to observe their actual online behavior, including e-commerce transactions… For the Radiohead study, we observed the activity of nearly one thousand people who visited the “In Rainbows” site, a significant percentage of whom downloaded the album. We ultimately observed several hundred paid transactions.
On yet another hand, Stan Schroeder at Mashable seems impressed with Radiohead’s statement that “it is impossible for outside organisations to have accurate figures on sales.” He goes on to say that: “I have no reason to believe that comScore skewed the results on purpose, but they definitely fumbled the ball on this one.” Some commenters on his post do think that comScore might have been paid off by the music industry.
I’m not so sure that comScore fumbled this one. What concerns I do have arise from the people in the sample. Are the people who opt in to a panel really representative? Do they, knowing that there clicks are being captured, act as they do when they actions are not being recorded and analyzed by comScore? I am more concerned with these questions than with the issue of sample size.
One of my favorite albums is about as old as my (undergraduate senior) students: Steve McQueen was released in 1985. It was by Prefab Sprout, which means mainly by Paddy McAloon, and was produced by Thomas Dolby. A new version was released earlier this year, with the original disc remastered by Dolby, and a second disc of acoustic version of most of the songs by McAloon.
EMI is putting out all those reissues without the band’s participation, blessing, permission or involvement at all. They are doing it as retribution for the band’s decision not to go with them in releasing the new album.
As an aside at the end of the same post, Daniel remarks that Radiohead will be working with EMI to release its back catalog on USB. Actually, the 7 albums are available in 3 formats: USB, download, and even, for the nostalgic, CD.
So one effect of the In Rainbows download will be to promote the back catalog. Another will be to promote the In Rainbows CD. Yet another will be to promote the international tour starting next spring.
As you can see, I don’t buy the implication that free downloads of In Rainbows represent forgone revenue for Radiohead. First, they serve as promo giveaways for other stuff. Second, they represent many people who wouldn’t have paid money for the music, either because they don’t pay money for any music, or because they wanted to try before buying, or they weren’t big enough fans of the band.
I remember the days of analog music: vinyl records and mix tapes. But my music these days is digital, using services like Rhapsody and…
It seems as though a digital counterpart to the mix tape would be a good thing. That’s what Mixaloo sets out to provide. Here’s how TechCrunch described Mixaloo a few weeks ago.
As a Mixaloo user, you can create playlists of music from all the major record labels… You can then share these playlists with friends via email, or you can embed playlist widgets into your website, blog, personalized homepage, or social networking profile…
To make a mix is free, but your friends will need to pay for the whole mix if they want to hear more than 30-second preview clips. The songs are 99 cents each (good) and protected by Windows Media DRM (very bad).
I’m left thinking that the digital mix tape metaphor is appealing, but what it really means is playlist, and there are multiple ways of generating a playlist that I like better than I like Mixaloo’s. I’m thinking mainly of Sonific and Seeqpod. But I’m not writing off Mixaloo, since it’s still in private beta.
Every decade brings it own terror in terms of music, hair, etc., At Cracked you can find a list of ten terrifyingly inspirational 80s songs, with commentary far better than the music deserves. Here’s a sample.
There are two kinds of people in this world: People who love Journey ironically and people who love Journey genuinely… “Don’t Stop Believing” is in many ways the ultimate Journey song, packed to the gills with the staples of ’80s rock.
My reaction is rather more mixed. I should start by saying that I value what I see as Hype Machine’s basic service: it helps me find music that people have posted to their blogs. I like the favorites feature: here are my favorites @HM. On the other hand, I am among those who regret the loss of the playlist feature.
The lack of playlists sent me scuttling over to my account at Seeqpod, where there be playlists. I just created one: CoverBurb, which starts with Thom Yorke announcing “the sexiest song ever written” and then Radiohead doing an amazing version of… Hey, go and listen for yourself, then enjoy the duet between Billy Bragg and Jill Sobule.
Seeqpod is very much in beta, so I won’t grumble about its awkward aspects. I will say that it’s not (yet?) as good at finding music as Hype Machine. For example, when I try to find Yo La Tengo backing Daniel Johnson on his song “Speeding Motorcycle,” I get Daniel doing it solo (which is great, but not quite what I was looking for).
Hey, wouldn’t it be good if it was possible to mash the two services together? Seeqpod has an API. Unfortunately, HM doesn’t. Or, if it does, it evaded my attempts to find it. (I have an email in to HM to check this, and will pass on the reply if it say anything other than “No, we don’t provide an API.”)
The new service will be called Total Music, and will be funded by a tax on TM-compatible music players. Gizmodo identifies one downside: “this is clearly not a move away from DRM, but towards more of it. You can bet those downloads are going to be wrapped thicker than a 5-year-old’s Christmas present.”
TechCrunch identifies another problem: it’ll make the music players too expensive. “Total Music may market itself as offering free unlimited music, but it’s not really free, the cost is just hidden. That cost: $90 per device.”
Total Music already looks to me… how to put this… as dead as DRM? In as much trouble as a major music label?
Talking of major labels, it seems that one of the big four will release In Rainbows early next year. Gizmodo described this as a cop-out. Indeed, if you follow the link, you’ll see far harsher terms. You’ll also see a more recent acknowledgment that the CD release was intended all along, and shouldn’t come as a surprise. I’m neither surprised at the news nor annoyed that I paid for the download.
I’m tempted to describe Radiohead’s impending bargain with a major as Faustian, but I think they’ll get a far better deal than that would imply. But here’s “Faust Arp,” one of my favorite tracks from In Rainbows.
Subscription. This, and in particular Rhapsody, is how I get most of my music these days.
A music tax. There are multiple strong arguments against this. For example, “if a file-sharing tax makes up the majority of the music industry’s revenue, it’s hard to see what incentive there would be for the major record labels, with their huge back-catalogs, to continue to invest in new artists.”
So what are the record labels actually doing?
Instead of recognizing that the record industry’s aging business model… is a broken one and in desperate need of a fix, the response has largely been litigation coupled with the introduction of technology, in the form of DRM, designed to enforce copy protection, which, ultimately, just inconveniences paying customers.
I look forward to seeing posts at last100 and elsewhere about the portable music players that will compete during the coming holiday season. The death of DRM will make this playing field more level, and the prices lower.