On September 28th 1987, The Smiths released their last ever album ‘Strangeways, here we come’. It’s hard to believe that this is almost exactly 24 years ago now as I can remember the day itself.
I was 17 and at Frogmore Sixth Form then, taking my A-levels. In those days new records and movies came out in London first and then dripped out to the provinces over the following days and weeks. Even though we were only just outside London, it would still be impossible to get a copy of the album on the day of release, so me and a mate – David Ovington – took off on a bus to London that morning.
We got out at Kensington High street and bought copies of the album at Tower records, before crossing the street and catching a bus in the opposite direction.
We both went directly back to the sixth form common room and played the new album, much to the interest of the other assembled teenagers who were impressed at our dedication to Morrissey.
I haven’t bought a physical album for years now. The last one I know that I bought was the Manic Street Preachers, Journal for Plague Lovers, and that was because I specifically wanted the artwork. Apart from that, everything is downloaded or streamed these days.
For that reason, it harks back to a very different age. A time when two teenagers would spend most of a day just travelling to get hold of a piece of vinyl on the day it is released – a romantic idea that is already history and to the kids growing up today will sound archaic and deluded.
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Tagged 12", 1987, album, alder valley, bus, community college, david ovington, download, frogmore, indie, journal for plague lovers, joyce, kensington, london, londonlink, lp, manic street preachers, marr, morrissey, music, music mp3, record, rock, rough trade, rourke, sixth forum, smiths, strangeways, strangeways here we come, tower records, vinyl, yateley
Why on earth is the French government subsidising music purchases?
They say it is to get people into the habit of purchasing music, rather than stealing it through online file sharing. Did any of the bureaucrats ever consider that French citizens might use up their free allowance and then return to file sharing?
The big issue with music is that we are moving from a world where the consumer paid for a physical recording (LP, CD…), to a digital download (MP3), to access only. That’s right – even the MP3 files on your iPod will seem archaic when the next generation of iPods allows you to choose an artist or song, which it then automatically streams.
Most new TVs are already Internet-enabled, you can flick through YouTube as you watch regular TV. Imagine once car stereos, home audio systems, and iPods are all geared up for constant Internet access? There is no need to ever own a physical music product – you just pay for a song as you play it or pay a monthly access fee allowing you all you want to play.
Spotify uses this model already. The one thing that prevents it becoming the norm is that playback devices are still not ready for streaming-only – most people using Spotify are still playing the songs on their computer. But it won’t be long. It’s common to see streaming jukeboxes in pubs now – a jukebox with every song ever recorded and released. And that is what we will all have at home soon, a sound system with access to every song ever recorded.
The future is how you purchase access to recorded music, not purchasing a copy of recorded music.
Charts will be based on plays, rather than sales, and artists will be (more than ever) focused on live performance, merchandise, and specialist products – like the 78rpm vinyl version of the new Elvis Costello album. Who can even play a 78 these days?
Music is entirely changing and for a government to waste tax-payers money on a scheme that encourages ‘legal’ digital downloads is outrageous.
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Tagged apple, artist, band, cd, download, elvis costello, france, french, government, ipod, IPTV, lp, mp3, music, musician, record companya, spotify, subsidy, tax