Bob Stanley
Pick up your copy of Joy Division: Closer at WHSmith today
Universal, the world’s largest record label, is still a stranger to how music lovers behave in the digital era. It thinks it has come to terms with the age of the download by announcing that it will test a program for selling music without digital rights management (DRM) software over the next six months. Universal seems to believe that scrapping DRM will lead to millions happily downloading songs at £1 a go. Universal is mistaken.
Most people who are vaguely computer literate are already downloading its songs for nothing. Any hit record released on a Universal imprint – including Polydor, Decca, Philips, Fontana and A&M – is already available online and without DRM, because anyone can burn a CD. Though the music industry would love to think otherwise, simply selling DRM-free music online won’t change that.
It is pretty hard to feel sorry for an industry that initially gained so much from the technological revolution. The introduction of the compact disc meant that its profits in the Eighties increased sevenfold. Yet though the apparently indestructible new format convinced the world to ditch scratchy old vinyl and repurchase its music, the industry didn’t emerge bathed in bonhomie and benevolence. To the consumer, the ugly “home taping is killing music” logo still disfigured new products. Musicians signing to one leading label still had to give up profit in a breakage clause. This little cracker referred to the losses the label would incur through records snapping in transit; the breakage clause referred to 78s. The company that still used this clause in the late Eighties was formed in 1962, two years after the last 78 was manufactured in Britain.
The music industry almost seems to go out of its way to be unloveable. While you can sympathise with its battle against piracy, Universal is selling its DRM-free music through Amazon, RealNetworks, and retailers such as Best Buy and Wal-Mart – but not Apple’s iTunes store. Although Doug Morris, Universal chairman and CEO, claims that the company is “committed to offering consumers the most choice in how and where they purchase and enjoy our music”, that choice doesn’t include the iTunes Store or the iPod.
“These devices are just repositories for stolen music and they all know it,” says Mr Morris, the man who wrote the Chiffons’ Sweet Talkin’ Guy in 1966. This may come as something of a shock to people who have been uploading their dozens of indestructible compact discs, bought at £15 a pop over the years.
Still it isn’t as shocking as the copy controlled CD, the bright idea some labels came up with at the start of the decade that ensured some discs wouldn’t play in your computer.
Apple is just as guilty as Universal in refusing to concede ground. It has its own FairPlay DRM to protect copyright owners – and its own iTunes Store for music players other than the iPod – even though this can be neutralised by burning to CD and creating an MP3. The “exclusives” that iTunes makes available within minutes of release are always on illegal download sites such as Kazaa.
The industry’s ultra-defensive tactics could do with a little forward thinking. No one knows where the music industry will be in five years. One short-term solution, apart from dropping DRM in music completely, would be for iTunes to sell songs much more cheaply. Convenience is everything. While a 14-year-old has hours of free time to sniff out the best quality, free download, those with limited time – people who work and thus have a bit of spare change – are the only ones likely to spend a quid to purchase a song from the iTunes store. If songs were 10p, even 20p, a throw even cash-strapped, time-rich kids would be more likely to pay for the facility.
Also, iTunes could drastically improve the audio quality of downloads. While I’m quite happy to listen to a compressed, lo-fi rockabilly recording from 1957, the same would hardly be true of a state-of-the art 2007 recording. As Bob Dylan said in a recent Rolling Stone interview, promoting his new DRM-loaded album Modern Times: “You listen to these modern records, they’re atrocious, they have sound all over them. There’s no definition of nothing, no vocal, no nothing, just like – static.”
The British hi-fi company Linn also has a record label that specialises in classical, jazz and Celtic music. It recently started offering downloads that are the equivalent of super audio CDs. Though the prices are a little higher than iTunes, Linn has no copy restrictions. Its site seems excited and enthusiastic about the new technology – compare this with the part Ned Ludd, part Eric Cartman, outbursts of Doug Morris.
Dylan also told Rolling Stone: “We all like records that are played on record players, but let’s face it, those days are gon-n-n-e.” On the contrary, vinyl is on the up. If the growth of the CD made music seem that much smaller, the download has pushed it off the map entirely. Without a physical product, music becomes like air – no wonder people are loath to pay for it. Pop consumers, teenagers, have swung back to the spiritual beauty of the 7in-single, the album. To walk to school with one under your arm is a badge of honour. Downloads, by comparison, are so uncool.
The industry may dismiss this as a fleeting trend, but one group is taking it very seriously indeed. Having decided that no digital format is stable enough for posterity, the Church of Scientology has been pressing the collected thoughts of L. Ron Hubbard on to futuristic, nondigital, unbreakable, good old-fashioned vinyl.
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no one speaks about what these facts do to hurt the quality of music released by the major labels -- i don't mind paying for a Led Zep, but since no one else will, the majors cannot 'develop' acts that are truly talented -- its already happening -- most all the biggest selling new releases are names that were known before 2000.
bill s., atlanta, usa
Vinyl will not fade away for a long time yet, infact sales are going up. Cds will be around for decades too. You cannot beat having that original recording in your hands with the credits and the artwork that goes with it.
Rupert Henson, Bradford, uk
I for one have recently gotten back into vinyl. I sold all my cd's to my favorite music store, which ironcally actually started selling vinyl!!! The mp3 route has good options (i.e. in the car, background music at parties, working out, bicycling, etc). In all these activities, "listening" to music is not the activity; we could do all of them with out music.
However, when sitting down and really enjoying the art of music, there is nothing like vinyl. As stated above, the key is a good playback system. With a decent table and preamp, you hear things that you never heard with digital because they were all compressed out. Instruments actually sound like they are played, not created. Hearing a high hat and snare on a good pressing sure beats a digital hiss any day.
I just hope more people catch on and vinyl doesn't fade away. Actually, many new vinyl releases come with the cd or mp3 downloads...that's the best of both worlds.
Paul, Augusta, USA
Cd quality was a step forward from vinyl.
What i don't get is how can a Mp3 compressed file, about
the 10th the size of a Cd wav, can somehow be astep
forward..............................
mp3's just a con ?
Some cds are as cheap as 2 or 3 pounds.
Long live the cd I say
M walker, worcs, worcs
The Music Industry will end up in the history books as an example of how to cause your own obsoleteness.
On top of that, how *wonderful* that we can buy the best selling releases so much cheaper at Tesco while almost all independent CD/record stores have bitten the dust.
Guido, La Linea,
The move by the Chuch of Scientology and L. Ron Hubbard must undoubtedly be inspired by L. Ron Hoover's "guest" appearance on a seminal Frank Zappa vinyl release.
Peter Koeb, Geneva, Switzerland
what about the pay for musicians who aren't talentless or famous? what about the people who have record deals, but who don't make millions, just a decent living? i don't think many tears would be shed over never having another brittany spears to suffer through, but the vast majority of musicians don't get the kind of cash the super pop-stars do. like it or not, those are the people who are hit the hardest by this.
dm, ky,
The dance music world, possibly the genre thought least likely to abandon their twelve-inchers, has gone digital. It is the future. Groups can make more money on tour. Releasing an album is the justification for going on tour, and ker-ching !
Stu, Bristol,
Excellent review. It's like a fly trying to fight its way out of a Web, the more the record companies fight, they more embroiled they get and nothing comes of their efforts to get unstuck. If they were profit- motivated, instead of power motivated, they should look at models like how manga or American Idol talent is essentially promoted by fans (on the fan's dime, mind you) and the powers with the licenses merely wait for the opportunities to cash in on the most marketable.
Tracey, Detroit, US/MI
Am sorry but your out of touch when it comes to the music industry ..
I've been buyin vinyl for many years and i've seen labels go , distributors close ....And it cheaper for new labels to sell online and cd ... instead of sellin vinyl .. I used to buy material by artists that was easily available on vinyl in the past .. no try and buy ther same trk on vinyl now is a bloody nightmare ..
Many dj';s have moved from vinyl to cd simply because of the cost factor ..
7/8 quid for vinyl when you payin less than 2 quid for dl ..
how does vinyl compete .. against a dl price wise ..
colin stephen , kilbarchan , renfrewshire
Spot on. And if you want a good model for the digital world and music, all you have to do is look at the Grateful Dead, who sell all their "legit" outout on their website, yet ENCOURAGE(d) their fans not only to tape their shows but also to trade them (no cash) with other fans.
Their takings have not been hit by this; indeed, I suspect that this approach has increased their take from record label productions.
You cannot beat the internet
Jeremy Poynton, Fromeville, 51st State
'While Iâm quite happy to listen to a compressed, lo-fi rockabilly recording from 1957, the same would hardly be true of a state-of-the art 2007 recording. As Bob Dylan said in a recent Rolling Stone interview, promoting his new DRM-loaded album Modern Times: âYou listen to these modern records, theyâre atrocious, they have sound all over them. Thereâs no definition of nothing, no vocal, no nothing, just like â static.â'
I think Bob was talking about state-of-the-art 2007 recordings, referring to the fact that most new recordings are hideously overmastered, especially for CD, regardless of how well recorded and mixed they are. Earlier recordings are far less compressed and tend to have a much sweeter sound. For most new music there's little difference between a CD and an mp3. Both sound awful.
mark johnson, Edinburgh,
The "Church" of Scientology is doing this because soon the records will be warped, just like the ideas of Lafayette Ron Hubbard.
A vinyl lp is capable of better quality sound than a routine commercial cd, including precision and ambience of the sound and dynamic range. At the extreme it was dangerous, for example, the famous recording of Tchaikowsky's 1812 which could shatter your windows.
However, for best performance you need a good-quality turntable and cartridge. In the days when cds first came out, most people had music centres with cheap and nasty turntables. The equivalent cd players in same-priced music centres had much better sound quality. Hence cds became more popular than lps.
The sound quality of commercial cds is lower than it could be. The quality of the compressed formats used online and for downloads is downright poor. If you have spent a four-figure sum for a proper sound-system, then downloads are noticeably poor quality.
sweetalkinguy, bourne, lincolnshire
I can remember going into a branch of HMV sometime in the 80's and after having searched around asked the young girl at the counter where are your records? to be met by a blank expression, you know those things about 12 inches wide with a small hole in the middle, what a fool (me). I have since converted tracks from my vinyl collection to wav files on computer and the sound quality is far better than digital mp3 sources its ambient, warm, analogue, dynamic. So they can keep their Turkey Twizzlers.
Simon, Leeds, U.K.
Why would I buy tracks at 10 or 20 pence a time when i can get them for free ?
Jake, Haverhill,
The digital age is the best thing to happen to music, because slowly, gradually, the monstrous profits and enormous pay for talentless popstars are being rescinded.
Since the 1980s, the industry has consolidated down to a select group of 5 who control roughly 80% of the market, which has an added bonus of being able to set prices and consolidate enormous rates of return. Then the 90s came and popstars began to earn vast sums of money off the back of one catchy single. To utilise the opportunity, the music industry focused more effort on target marketing, specifically to younger generations. Accordingly, an increasing portion of CD price was marked for both profit and for marketing, regardless of the music bought. And we had to suffer the rise of some of the worst musicians ever.
Lets hope that piracy brings the pay of music back to reality: obviously too much kills off the entire industry, but just the right amount puts a cap on profits and salaries for talentless 'musicians'.
Des, Amsterdam,
Mid life crisis Bob?
Benjamin, Gloucester,