Of 2023. Meaning, this year I spent most of my time listening to music I already own, rather than discovering new sounds on streaming services or radio. So not that much of it was music released in 2023.
Not sure how much this was cause vs. effect, but I also had trouble settling with any particular music streaming service this year.
Spotify: A service I’ve tried off and on over the years (whenever they offer me a discount, as I don’t like the ad version), but it was mostly off in 2023.
YouTube Music: I did subscribe to this earlier in the year. As a previous Google Play Music user, I’d built up a pretty good music data set in there. But YouTube Music has never been as good as Google Play Music was. On the July long weekend, I tried to find some sort of Canada Day playlist there, and pretty much came up empty. (Maybe because Google was at this point fighting with the federal government over streaming service regulations?) This led me to try out…
Apple Music, Spotify, Amazon Music, YouTube Music, Deezer, and ?
Amazon Music Unlimited which offered me a three-month free trial. I found that they had quite a few fun Canada Day playlists! Of course, in general they had only a fuzzy idea of my music tastes, but it still a decent enough service for when I wanted to listen to something other than “my” music. Still, when this offer ran out, we decided to switch to…
Amazon Prime Music: Because it was included with Prime, which we already had. But I had not realized that with Prime, in most cases, you can only listen to albums or playlists in shuffle mode. And it won’t even show you in what order it’s shuffled songs into. While this was perfectly fine for Jean, it was overly limited for me. Sometimes I want to shuffle; sometimes I do not. Either way, I like to see what’s up next. Hence, I decided to take up another three-month offer to try…
Apple Music: It’s pretty nice. No ads, no limitations, clean interface, good queue, embedded lyrics. Will I pay for it when the free period is done? Tbd.
No Spotify Wrapped for me
I did not use that service enough. I did find it pretty amusing that most every other digital service of any kind that I used tried to offer something similar. My Kobo erReader: What a bookish year it’s been! My Washington Post Newsprint: What’s your reader type? My Starbucks year in review? I’m not even kidding! Look back at your Starbucks routine!
I mean…
YouTube Music had enough data to cobble something together for me. Apparently the song I listened to those most on that service last year was…
This was the second of a two-part series on cognitive dissonance: how you try to convince yourself that a decision you made was the right one, even in light of evidence to the contrary. Pretty much all humans do this, so even if you’re well aware of that tendency, you might still do it. But the awareness can at least help you harness it for good.
Some really interesting examples here of how to harness cognitive dissonance for good, including in the realm of public health. Hmm…
The federal government is killing local news by trying to help local news
Thanks to Michael Geist, I’ve been aware of Bill C-18, the law that (essentially) says that Facebook and Google must pay news organizations for linking to their content, for years. And that it has resulted in Facebook (Meta now, I guess) doing exactly what they clearly said they would do if this bill passed, which is to stop linking to news. With Google now likely to do similarly.
What I learned from this Paul Wells podcast is how this has specifically hurt an organization that I had never heard of before. Village Media has been very successful at going into markets that have lost their traditional local news outlets. Village Media has filled that void, supplying communities with local news, all online. They have staff journalists, with benefits—not just a bunch of freelancers! They are profitable, and growing, and had been planning to expand into several new markets this year.
I went to see Lowest of the Low in concert again on January 20. That ties them with The Who, Bob Geldof, U2, and Sting as the artists I’ve seen live most often: three times each.
If I keep going back to see Lowest of the Low, it’s partly that it’s so easy to do: All the shows I’ve seen have been at small-ish venues in my hometown. But it’s also that, 26 years after their first album’s release, the music still holds up.
Now, the challenge of finding someone to join me at a Lowest of the Low concert is that most people have never heard of them. (The challenge of finding someone to join me at a concert by a more famous artist is that most people won’t like them enough to want to pay the ticket prices. So concert company is always a challenge.) But, I didn’t give Jean much choice in the matter, and then he suggested I invite Tim and Jess, and they were willing to give it a go.
My opinion of this year’s top music? That I probably didn’t hear most of it. Last year, under Adam Lambert’s Spotify / Twitter guidance, I actually heard a fair amount of the top 40. This year Adam had other priorities (tours, movies, TV shows), so I reverted to more typical behaviour for someone my age, and listened more to older stuff.
Still, some audio releases of 2016 managed to grab my attention.
Albums
The Hamilton Mixtape
We went to New York this year, but did not see Hamilton, the Broadway musical. I tried for tickets, but without really knowing much about the play, other than that it was super-p0pular. We did see the New York Library exhibit about Alexander Hamilton’s life, however, and it certainly was a colourful. So on my return, I finally listened the musical soundtrack, and really liked it. I definitely got into the story line, and a lot of the songs are just catchy. They’re not all hip-hop, but I liked those ones, too, generally.
So The Hamilton Mixtape, a collection of covers, re-imaginings, and out-takes from the musical, was the only album I got my hands on the day it came out. It did not disappoint. It just highlights why this story of someone from so long ago resonates today.
Favorite track: “It’s Quiet Uptown” by Kelly Clarkson, though it always makes me weepie
It actually took me a few listens to really get into the original E*MO*TION album, but I had no such trouble with Side B. Why these particular tracks didn’t make the original cut is a mystery, as they seem as strong as those.
Favourite track: “The One”
The Queen Extravaganza: A Night at the Apollo Hammersmith Live
The Queen Extravaganza are the officially sanctioned Queen tribute band, and on this outing they tackle the entirety of A Night at the Opera—something the original band never did. The do an impressive job of it. And then we get some other Queen hits.
What’s particularly striking about this band, though, is just how much singer Marc Martel sounds like Freddie Mercury. You’d occasionally swear this is a new recording by him, which is a mix of awesome and weird. The album is not available for streaming, but must be acquired from Pledge Music.
Favourite track: “The Prophet’s Song”. I dare you to not be impressed by it.
(You know it’s quite the year if on my favourite bands of all time is third!)
Via semi-legal webcast, I also enjoyed the Queen + Adam Lambert Rock in Lisboa, and by totally legal national broadcast, the Tragically Hip’s last show of their tour.
Podcasts
It didn’t occur to me to compile a list of particularly good podcasts, but I did spend part of the Christmas break working through Wired’s recommendations. Good list, though I have concluded I’m not really a fan of fiction podcasts, even if well done.
Audiobooks
Easy, because I only finished one (not enough road trips this year): Trevor Noah’s Born a Crime. This book has been well-reviewed and I can assure you, it’s deserved. His life is fascinating, and he tells it well.
Trevor Noah was born in South Africa, during the Apartheid era, of a black mother and a white father. Their relationship was illegal; hence, “born a crime”. He spent much of his early childhood indoors. When out with either of his parents, a ruse was necessary. He’d walk with a lighter-skinned friend of his mother’s, and his mother pretended to be maid. He walked across the street from his father.
Apartheid ending just changed the complications of figuring out where he fit in.
Though it’s his life story (and does not include the tale of how he became a successful comedian in South Africa, and ultimately star of The Daily Show), his mother is the real star here. What amazing woman, to be so strong and independent in a society that gave her no training or support for being so.
Noah does narrate the book himself (unabridged) and does a great job of it. It’s fun hearing him read out the various African languages and to get the proper pronunciation of everything. It wasn’t a very easy life, but as comedians will, he pulls many funny moments out of it nonetheless. One of the best things I heard this year.
The Who’s “long good-bye” tour was extended even further when Roger Daltrey came down with viral meningitis last year, forcing all fall 2015 shows to be rescheduled for spring 2016. For my Toronto show, this meant attending a year and four months after I bought the tickets. So I think the Who were really hitting 52 or so…
Some of the Who trivia that played before the show started
That I can rather easily put together a list of recent songs that I liked is certainly a change from my usual of being steeped in the music of the past. I can, of course, attribute much of this to one Adam Mitchell Lambert, my current celebrity crush, who also happens to be quite generous about recommending the work of his fellow musicians.
It’s also been bolstered by increased use of streaming services, along with Google Music’s habit of making entire albums of new music free or 0.99 to download. (This week: The new Pentatonix Deluxe Edition, free to own! I’m quite liking it so far.) Music radio, on the other hand, continues to have no influence on me, as I never listen to it.
We all knew Adam Lambert’s “Ghost Town” was going to be here, so might as well get it out of the way. A catchy song that is musically and lyrically off-beat enough to stand up to multiple (and I do mean multiple) listenings. But it’s only recently I actually listened to other “Ghosttown” song—the one by Madonna. It’s quite good as well! And completely different.
Saying you don’t like Adele is like saying you don’t like The Beatles: It doesn’t make you as cool as you think, and you’re just lying to yourself anyway. What I find amazing is that it seemed after only one listen, I knew all the lyrics already. How is that even possible?
And also, no one much comments on the slightly disturbing aspects of what Adele is doing in this song, eh?
Hi, it’s me, that person who broke your heart in high school, I heard you’re finally over me & it really bothers me; I keep calling…Hello?
As for Hedley: Hello! This is rock! Hedley is current and successful and they make rock music not pop music and that’s a reason to love them right there. Always like Jason Hoggard’s voice, too.
The Idols
One category, two non-winning yet ultimately successful alumni from American or Canadian Idol, so let’s add another: Carly Rae Jepsen.
Carly Rae made many “Best of” lists this year, and I agree; her new album is terrific. But there is a certain mystification that it hasn’t sold better. (Could it be inept management? The CD is often out of stock at Amazon, which just seems odd.)
At any rate, the single, “Run Away with Me” is just incredibly infectious.
And although I seem to be the only one, I just adore the blatant come-on of “I Didn’t Just Come Here to Dance” – Do you know what I mean? You know what I mean. If you just give me a chance, you’ll see what I see.
And speaking of horny women
Selena Gomez all grew up this year with the slinky “Good for You” and its yowza video. Leave this dress a mess on the floor, indeed.
And then we had Tove Lo, following up “Habits” with “Talking Body”.
And if you’re talking body, you’ve got a perfect one, so put it on me.
Swear it won’t take you long. (!)
If you love me right, we fuck for life… On and on and on
Why so subtle, Tove?
Little Big Town’s singer so wanted this guy, she developed a “Girl Crush” on his girlfriend. Pretty good for a country song.
The Fifty Shades of Grey soundtrack was hella better than the movie (not that’s it’s much of a bar), a nice collection of smooth, sexy songs. My tops from it are Beyonce’s “Haunted” and Ellie Goulding’s big hit, “Love Me Like You Do”.
And while it’s more quirky and lively than the above, one can’t miss Janelle Monae’s repeated request for her baby to “bend over” and “Let me see you do the yoga” in the wonderful “Yoga”.
That I like so many, uh, passionate songs? Not going there, but did feel that Alessia Cara was describing me in her big introvert anthem, “Here”, about how horrible it is to be at a party with a bunch of people you don’t really know.
French kiss
Bilingualism can be handy, because some French artists are great. And to widen their appeal, some of them sing in English also.
When on The Daily Show, Trevor Noah described France’s Christine and the Queens as “weird. But good. Good weird!” That’s about right. They are actually good; can’t help it if they’re tilted.
Quebec’s Coeur de Pirate also put out a really good album this year, with more English than French songs. I like several (such as “Carry on”), and I guess “Crier tout bas” is the single.
And le groupe Swing released a new album this year as well, with “La Folie” having some success in French Canada.
Who rule the world? [Girls, girls]
Not sure if you’ve noticed yet, but this a very female-dominated list. And until Adele came along, no one was more dominant than Taylor Swift, whose 2014 1989 I finally acquired this year, partly on the strength of the 2015 single, “Style”.
I also like Ryan Adams’ take on this album. (Here’s his version of “Style”, for example.) Although the original is still better.
But a few other guys not named Adam also put out some interesting music.
I know nothing at all about Lost Frequencies and their song “Are You With Me”, except that I adored from the first time I heard and still do, every time since.
Also great fun was Mark Ronson’s “Uptown Funk”. Watch me, baby, don’t stop! And Duran Duran (remember them?) put out a rather good album called Paper Gods. The single (I’m just learning) is “Pressure Off”. (I also liked “Sunset Garage”.)
Elle King was one of those cheap albums I acquired this year. Her voice has been described as Joplin-esque. “Ex’s and Oh’s” was her big song. Also check out “America’s Sweetheart”.
And to bring this full circle, I also enjoyed many remixes and mashups of Adam’s “Ghost Town”. In the “remixed live” category, Queen + Adam Lambert gave it a rock edge. In the non-live category, tt was nicely combined with Bieber’s “What Do You Mean”: What do Ghosts Mean? and even more successfully with “Prayer in C” by Robin Shulz and Lilly Wood & The Prick: Prayer in Ghost Town. But my favorite was the “Ghost Body” mashup of Talking Body with Ghost Town, with Tove’s blatant come-on met with Adam’s “Meh. My heart is a ghost town.”
Spotify playlist of most things (email people, you have to look at this post in a browser to get the Spotify playlist. And to see the embedded YouTube videos, for that matter):
Just let me feel the rush like the first night
Wanna breathe it out cause I’m going out my mind
Gotta feel the touch like the first time
Cause I’m
Chasing the original high
….
I’m trying to buy a fix but there ain’t no price
I try to feed the hunger that keeps me up at night
We were on a trip trying to replicate
But the highs I hit just ain’t doin it for me
…
Remember back in Hollywood?
The medication flowing through my veins was you…
— “The Original High”
The title track of Adam Lambert’s new album The Original High suggests that we spend much of our adult lives in a possibly fruitless quest: To rediscover the rush and excitement of the first time we experienced something great, whether that be drugs, sex, love, applause, success, or what have you.
It’s an interesting idea, particularly when considered in light my own Adam Lambert fandom. Why am I obsessing over this guy? What am I gaining from it? Am I chasing some original high here…?
”Remember back in Hollywood?”
Before there were actual boyfriends in my life, there were celebrity crushes. Those were much safer. You could have the thrill and excitement generated by reading about, listening to, or watching these famous strangers, without the risks of real conversations and physical contact with actual, unpredictable people.
Then of course, there were the boyfriends. And that could be very exciting, often in unexpected ways.
And then I found the one, who eventually transitioned from boyfriend to husband. The love and passion I feel for him hasn’t died with the passage of years, but it has changed. Improved, in many ways. But what hasn’t lasted is that initial, mind-blowing, almost insane obsession. That overwhelming high of falling in love.
Because you can’t live a whole life in that state. You wouldn’t want to. Remember that Pepsi commercial? “Is there anything else youthful you’d like to experience?” “Yeah, I’d like to make out like we used to” And then:
But you can certainly retreat to your harmless old pastime, the celebrity crush. For that safe, remote facsimile of the thrill of a new relationship.
“Just let me feel the rush like the first night”
The current style
Performing
In this limited capacity, Adam Lambert is fulfilling the chase fairly well. For all my recent defending of old rockers, it is nice to be into a young, healthy guy. I love his recent style, with less makeup, a more natural hair colour, the torn skinny jeans, the great shirts and jackets. The man always looks amazing, whether arriving an airport, doing a radio interview, performing, or all dressed up for the red carpet.
He is fun to look at.
And having listened to, read, and watched a ton of promotional interviews these past months, gotta say that Adam Lambert also seems to be one of the sweetest, most charming people on the planet. Many of the interviewers are great, but he also handles the uninformed or intrusive questions with a lot of grace, humour, and intelligence, And he’s a good sport about the many absurd little quizzes and activities he’s asked to participate in (Juggling! Dancing like Carlton! Giving the weather forecast! Drinking cheap tequila!)
So have I achieved celebrity crush nirvana? Well, hmm. I just wish… I just wish… I loved his new album.
Don’t get me wrong. I like the new album. The songs are very catchy. The lyrics have some intelligence. He’s never sung better (on a studio album). The production—the sound quality—is great, crisp, well-mixed. There aren’t any songs I actually dislike.
It’s just that… I don’t really love too many of the songs, either. It all feels a bit… light to me. Lacking in angst, maybe. In emotional power, somehow.
And it’s very odd for me to have this disconnect between the artist and his artistic output. I like listening to The Who’s music every bit as much as I enjoy looking at Roger Daltrey’s pecs. I appreciate Spike’s cheekbones and snark in the context of one of my favourite TV shows of all time, Buffy the Vampire Slayer. Sure, a song here, an episode there isn’t as great, but overall… Awesomeness.
Whereas a week of listening to Adam Lambert music and I’m like, wow. I need some Elvis Costello, or something.
“Cause I’m chasing the original high”
Now, I really want this album to be a success (though I don’t know what success is in this age of limited music sales), because if it is, he’ll tour. And I feel absolutely certain that I would love seeing him in concert, even if he doesn’t do a single cover song.
Because I do have considerable fondness for his second album, Trespassing. It’s true that the lesser songs on it are weaker than anything on The Original High. But the highs (there’s that word again)… “Trespassing” is probably my favourite song of his ever, an exuberant gay anthem with lyrics ambiguous enough for many other interpretations, and always a lovely ingredient in a remix. And I’m almost as fond of dance-oriented “Pop that Lock”, of angsty ballad, “Outlaws of Love”, of the beautiful, haunting Underneath, and of dark yet rousing bonus track Running.
But as for The Original High, it does contain “There I Said It” the big ballad, and the one song in which he does seem kind of angry and defiant. (“I won’t apologize to you anymore!”) I do love that song. I’m also rather fond of the sexy, R&B infused “Underground” and I must say that if I’m not sick of single “Ghost Town” after so many listens (and I’m not), there’s gotta be something to that dance track, also.
And I feel I should end with this blog-post inspiring song, “The Original High” which, yes, I do like very much. It’s an absolutely infectious pop song with smart lyrics.
At a recent dinner with friends, the opinion came up again that aging rock bands should just give it up, already, by age 60. This is a pretty popular opinion, with a long history (starting with the rock stars themselves, who once viewed anyone over 30 with suspicion). I once thought that way myself.
But I’ve changed my mind. For one thing, it is a pretty obnoxious opinion: Just because you don’t want to see older performers, everyone else should also be denied the experience? Musicians can’t decide for themselves how best to handle their own legacy? But beyond manners (and ageism), my own concert experience tells me it’s wrong. I dispute the notion that younger rock performers are always better than older ones.
Musical ability doesn’t disappear on one’s 60th birthday.
Barring a physical condition that affects manual dexterity, it doesn’t necessarily even decline for guitarists, bass players, keyboardists, horn players, and drummers.
Case in point: Queen. On his current tour, Brian May (67) feels he is playing better than he ever has. Certainly he sounds great to me. And while I’m no guitar expert, Brian May is, so I’m going to trust his opinion on this. (He is very smart, after all, what with the PhD in astrophysics.)
Brian’s opinion of bandmate Roger Taylor.(65) is equally high. Can Roger’s playing stand up to that of a younger’s player’s? You judge for yourself as Roger faces off with Rufus (his son):
What’s that sputtering I hear? That Queen doesn’t count because they tour with amazing singer Adam Lambert, who is only 33?
So this argument isn’t about guitarists, bassists, keyboardists, horn players, and drummers? It’s just about singers. Singers need to retire at 60?
Well, I do grant that everyone’s voice changes as they get older. It lowers, range is reduced, along with ability to sustain notes. It might become more raspy. However…
For some singers, the changes of age are an improvement.
And here I give you, Leonard Cohen, who is 80! And to me — though I love his songs — his own original recordings of them, recorded when he was young, are completely unlistenable. To me, that voice is awful, whiny, nasal.
Yet it has matured into this amazing thing, this low rumble of pure… sex, frankly. I could listen to that man all day (and go home with him later).
Is that more sputtering? That Leonard Cohen doesn’t so much sing as chant, and that his music is not rock, anyway, so that doesn’t count?
For some rock singers, voice quality is irrelevant, because they never had any.
Like, say, Bob Geldof, who is most definitely a rock performer. He can hit the notes, but nobody in the history of the world has ever said he has a beautiful voice, because he doesn’t. It’s sort of nasal and whiny (and come to think of it, if he ever sang Leonard Cohen, I would probably hate it).
So his musical career (still going!) has never been based on vocal quality. He’s an incredible songwriter. He’s an unbelievably charismatic performer. I love his songs despite his lacking vocal tone, because the lyrics are amazing, they are musically well constructed, he works with talented musicians, and he always sings with passion and meaning.
And Bob Geldof gives the best concerts I’ve ever seen. And the one he gave in 2012, when he was 60, was every bit as good as the one I went to in 2002. And just as good as Boomtown Rats shows from the 80s I’ve seen on DVD.
Bob Geldof live in 2012, Ottawa (Mudslide)
Even great rock singers don’t necessarily and always give their best concerts at a younger age
Ladies and gentlemen, I give you The Who. Unlike Cohen, or Geldof, Roger Daltrey had a great voice as a young man: powerful and with huge range. He could sing high, beautiful, affecting emotional notes, then slide down the scale with the most macho growl. His vocal work on the 1973 Who album Quadrophenia could be used a lesson in “how to be a great rock singer.” And coming off the Tommy and Who’s Next tours, The Who were widely regarded as the very best live band in the world,
And yet, The Who Quadrophenia tour in 1973 was a disaster. In his biography, Pete Townshend calls those shows “the most shameful performances of our career.” Under-rehearsed, over-drugged (except Roger), and exhausted, they simply could not put the complex songs and stories of Quadrophenia across to the crowd. Audiences were bored and left unsatisfied.
In 2012, what remained of The Who toured Quadrophenia once again, performing the entire album. Roger was 70 (Pete 69). Some of the songs had to pitched down. He adjusted the phrasing to reduced ability to sustain. In terms of pure vocal technique, he wasn’t as good he was in 1973.
But nevertheless, by all accounts, those concerts were better than the 1973 ones (that I have seen footage of, and it is pretty painful). The band was large enough, sober enough, and well-rehearsed enough to convey the power and complexity of the album, now reconceived as a tribute to the past, and to The Who themselves. (And for me personally, I thought Roger sounded the best he had in years at the Quadrophenia show I saw. “Love Reign O’er Me” gave me chills.)
This might be a painful realization, but rock is no longer the music of youth. It started in the 1950s and has had a great, long run. But who was the last big rock group–Foo Fighters? Founded in 1994? Look at the current charts; it’s all pop, EDM, rap, funk, and R&B. Nobody young plays rock anymore!
If the old coots don’t get out there and play it, then rock really is dead, Are you sure that’s what you want?
Thanks to their 0.99 cents for three months offer, I’ve been trying out Spotify Premium for a few weeks. Here are my inconclusive conclusions about it so far.
What is Spotify?
It’s a streaming music service, whereby you can listen to any song in their vast collection from your PC, phone, or tablet. They have apps for each and your login keeps your account synchronized between devices. Artists are paid according to their streaming popularity (though whether they are paid enough is under debate).
What’s the difference between free Spotify and Spotify Premium (paid)?
With Premium, you get:
No ads, which otherwise are played every few songs.
Higher music quality. And yes, it’s a noticeable difference, at least when playing through a good stereo system.
Play any song on demand. on any device. The free service prevents you from doing this on the mobile apps.
Ability to download songs on phones and tablets for offline playing, thereby reducing data usage. (You don’t keep the songs; they’re only available within the Spotify player.)
Skip as many songs as you like. With free, you can do this only five times per hour.
I’m not a big song skipper—if I’m hitting so many songs I don’t like I’d rather just change playlists or artists—but otherwise I would say the premium features make Spotify a much more pleasant listening experience.
What else is good about Spotify?
The size of the catalog, for sure. It’s terrific for checking out new (or old) artists or songs you’re curious about or revisiting old favorites.
The integrated lyrics. In the desktop version, with one click you transform the app into a sort of karaoke machine, with the lyrics scrolling by as the singer sings them. If the timing or words are wrong or missing, you can supply them yourself, if so inclined. In the Android app version, you can achieve the same with the floating MusicMix app.
The rather esoteric lyrics to Queen’s “The Fairy Feller’s Master Stroke”
The ability to follow other people’s playlists. Although, to be honest, I’m only following Adam Lambert’s. Still, it gives me a little happy that I get notified every time Adam adds a song to his playlist. (Even though we don’t have 100% the same taste in music, as it turns out.)
Now Playing with Adam Lambert (I wish… 🙂
What’s not so good about Spotify
They have a desktop browser version that makes me feel stupid, because every time I go there, I have a heck of a time figuring out how to get to my music. The link to that part of their site is teeny and buried and it’s so annoying.
Scroll down, way down, the Spotify website to get to the actual music player
(I guess it’s their way of pushing you to their desktop app instead, the usability of which is fine.)
No way to mark songs as favorites, which is a weird omission. I’m listening to find songs I like and might want to get back to, but there’s no easy way to do that. You can add songs to “My music” or playlist, but that isn’t quite the same…
How does Spotify compare with Google Play Music?
To truly answer this question, I’m going to have to give Google’s paid version another trial run.
But what I can say so far is, that Google beats Spotify on the following counts:
Google has a thumb’s up button to mark the songs you like.
Google does a better job of integrating my actual songs—that is, the thousands of songs I’ve purchased and lovingly categorized in iTunes lo these many years. With my permission, Google just takes all that music and puts it in the cloud for me, using their version when they have it and uploading my copy when they don’t. And unlike Apple, they do that for free, up to a size limit I’m never going to reach it. Spotify can only handle local “owned” music.
That’s all lovely; however… Having looked at my Google playlists more closely due to writing this post, I have discovered that they are kind of a mess, with each song in every one of them being repeated up to four times, for some reason.
My Summertime playlist in iTunes is a mere 195 songs, no repeats
Google bloats this exact same playlist up to 999 (!) songs by repeating each song multiple times….
And, Google playlists are arbitrarily limited to 1000 songs. Which is not enough for me. But, I am at this point grateful for that limit, since I suspect I would otherwise have each song repeated hundred of times in those playlists, instead of mere four or so…
When I’m truly trialing Google, I’ll have to investigate how to clean that up. And see if it’s really true that Google’s auto-generated playlists, based on an artist or song you like, are much better that Spotify’s (as I’ve heard).
In the meantime, I can say what’s about the same between the two:
The monthly price.
The option to download for access without data usage on mobile.
The size of the catalog of streaming songs (so I’ve heard).
The integrated lyrics in the app version.
And what it lacks compared with Spotify:
The web version doesn’t have integrated lyrics, at least not with such a good interface.
It does not allow me to follow celebrity playlists.
Also, Google doesn’t have an, ad-paid free option for listening to the streaming music. (I think this is true.)
Aren’t there other music streaming services?
Sure, lots, like Rdio, but Spotify is the market leader, and Google Play Music is a logical alternative for those using Android devices (as the upcoming Apple Music will be for iOs people).
And anyway, this blog post is long enough already.
Is it worth paying $10 a month for music vs. buying music as you want it and listening to that?
That is the question that I haven’t entirely figured out the answer to yet.
Because my purchased music, it has to be said, does has its own benefits:
It is already paid for.
It is already organized exactly the way I like it.
I don’t always to discover; sometimes I want what I know.
But also, I have enough of music (over 8000 songs) that I can actually do a fair amount of experimental listening just within my own catalog.
I can play it in my car via CD or iPod. But my car (despite being fairly new) has no bluetooth or wired support for Android devices, so no streaming services work in it.
I actually do have some songs you can’t get on the streaming services. They have a lot, but not everything.
But how long can I stick with buying rather than paid streaming?
That is the question. Apple no longer makes iPod Classics and has been basically ruined iTunes. (I’m still using version 10.) So what am I going to play “my” music (about 60 GB worth) on in the future?
And as for acquiring new stuff, who knows how much longer Amazon, Google, and Apple will be just as willing to sell you a CD or a digital music file as they are to have you pay a monthly rental fee for it?
Some recent-ish news about subjects previously featured in this blog…
KW Glee, who blew us away with their performance with the KW Symphony earlier this year, proved that performance was no fluke as they were named Show Choir Canada’s Grand Champions. They also won best vocal, choreography, show design, and new choir. Unsurprisingly, their spring concert is sold out! We’re going to have to be more on the ball for tickets if want to see them in concert again.
As for the TV show that inspired KW Glee, the last two season 5 Glee episodes featuring Adam Lambert — “Trio” and “New New York” turned out to be… Pretty good, actually. Not so good that I feel the need to watch more episodes of Glee or anything, but worth watching for more than the Lambert pretty.
Adam Lambert himself has been in full promotional mode this week, as his new single has been released. “Ghost Town” is incredibly catchy and rather, as long you’re OK with the house style (which I am). Now that I’m no longer in a grief fog, I’ve also been re-listening to his Trespassing album. It’s quite good (and more than just distracting pop, really); very surprising it wasn’t a bigger success. Let’s hope he gets the success he deserves with the new album, out in June.
And he’s still handsome. Guess that’s not news.
.But the other “Americans” I’ve been watching, Elizabeth and Phillip, have been recognized with a Peabody Award for Quality in Television. Well-deserved, I think; we’re nearly done watching Season 1 of The Americans and the show only get more complicated and fascinating as it goes. Apparently it’s just as good (or even better) through seasons 2 and 3. Great viewing ahead!
Easy, because I only finished one (not enough road trips this year): Trevor Noah’s Born a Crime. This book has been well-reviewed and I can assure you, it’s deserved. His life is fascinating, and he tells it well.
One category, two non-winning yet ultimately successful alumni from American or Canadian Idol, so let’s add another: Carly Rae Jepsen.
And then we had Tove Lo, following up “Habits” with 
Not sure if you’ve noticed yet, but this a very female-dominated list. And until Adele came along, no one was more dominant than Taylor Swift, whose 2014 1989 I finally acquired this year, partly on the strength of the 2015 single, 
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