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The Beatles Are A Big Hit On Spotify [Stats, Top Tracks] – hypebot

The Beatles Are A Big Hit On Spotify [Stats, Top Tracks] The Beatles finally made their streaming music debut on Christmas Eve, and Spotify is sharing stats from the first 2 days. The Beatles songs have been added to over 673k playlists in two days and 65% of The Beatles listeners on Spotify are under the age of 34.

UK: Most streamed tracks by The Beatles on December 24 and 25:

Come TogetherHey Jude  Here Comes the SunTwist and ShoutLet It BeI Want To Hold Your HandHelp!Love Me DoI Feel FineShe Loves You

GLOBAL: Most streamed tracks by The Beatles on December 24 and 25

Come TogetherLet It BeHey JudeLove Me DoYesterdayHere Comes The SunHelp!All You Need Is LoveI Want To Hold Your HandTwist And Shout

Source: The Beatles Are A Big Hit On Spotify [Stats, Top Tracks] – hypebot

Cortney Harding: 2015: The Year of a Million Streaming Services

2015 will go down as the year that Apple, YouTube, and Jay Z all looked at the current music landscape and thought, “You know what the world needs? Another streaming service.”

All numbers aside, the market just isn’t that huge.

kritische Gedanken zu Streaming Services- => lesen (

10 Thankful Songs For Your Thanksgiving Playlist – via hypebot

Hier haben wir ein Beispiel einer langweiligen Playliste, die jemand zusammengestellt hat, indem er oder sie eine Datenbank befragt hat. Suchbegriff «Thank you».

10 Thankful Songs For Your Thanksgiving Playlist „Alice’s Restaurant“ – Arlo Guthrie“Thank You (Falettinme Be Mice Elf Agin)“ – Sly & The Family Stone“Thank You“ – Dido“The Thanksgiving Song“ – Adam Sandler“Thank You For The Music“- Abba „Thank You Lord“ – Bob Marley“Thank You“ – Led Zeppelin“We Are Family“ – Sister Sledge“Thank U“ Alanis Morissette“Thank You Girl“ – The Beatles

Source: 10 Thankful Songs For Your Thanksgiving Playlist – hypebot

Music 360 – 2015 Highlights

Whether we’re in the car, at work, working out or surfing the web, we love listening to music. Ninety-one percent of the national population listens to music, spending more than 24 hours a week listening to their favorite tunes. While total listening figures are roughly the same as last year, how we access and engage with music is changing. Recorded music sales are down, but streaming is surging, listening on smartphones is increasing and interest in live music continues to grow, even when we can’t be there in person.


The streaming story continues to grow, with 75% of the population saying they listen to music online. When selecting a music streaming service, over 8 in 10 respondents cite cost and ease of use as the most important factors, followed by over 7 in 10 who say the song library is important.

Source: Music 360 – 2015 Highlights

Why the Pandora, Rdio Deal Makes a Lot of Sense [Cortney Harding] – hypebot

Im November 2015 kauft Pandorra Rdio für $75 Millonen. Damit wird Pandorra einer der grössten Streaming Player neben Apple Music, Deezer und Spotify.

Was gegenwärtig passiert, ist die Integration von Streaming Services wie vor vielen Jahren Labels sich zusammengeschlossen haben. Am Ende ist zu vermuten werden zwei, drei oder vier sein, die den Kuchen unter sich teilen.

Hier der Blogpost von Cortney harding bei Hypebot:

Pandora has acquired the assets of music streamer Rdio for$75 million and will use them to add to its paid offerings. Does the deal make sense and should it worry Spotify, Apple Musicand others.  Music industry consultant Cortney Harding says yes to both and explains why.

Source: Why the Pandora, Rdio Deal Makes a Lot of Sense [Cortney Harding] – hypebot

Winstons für «Amen, Brother» endlich bezahlt – aus Fundraising-Kampagne

Wo das Gesetz systematisch versagt, Gerechtigkeit zu schaffen, können beizeiten verantwortungsvolle Menschen etwas kompensieren. Eine schöne Geschichte: Der nach dem Funk-Stück genannte «Amen-Break» ist die Mutter aller Breakbeats. Dieser Drum-Break wurde gesampelt und im Hip-Hop und in der englischen Breakbeat-Musik abertausende Male verwendet – ohne dass Tantiemen an Band oder Drummer geflossen wären. Das Stück war selbst ein instrumentales Cover und auf Drum-Breaks besteht sowieso kein Recht auf Autorschaft und auf die damit verbundenen Verwertungsrechte.

Man wusste schon lange von dieser Ungerechtigkeit und so haben die beiden britischen DJs Martyn Webster und Steve Theobald eine Fundraising-Kampagne (Gofoundme) geschaltet, durch die die Band, bzw. das einzige überlebende Gruppenmitglied, der im Stück nicht singende Sänger Richard Spencer endlich, endlich 24’000£ erhielt. Der Drummer Gregory Cylvester ‚G. C.‘ Coleman verstarb leider zu früh für diese kompensatorische Genugtuung.

Winstons: «Amen, Brothers». Text und Musik: Gregory Coleman & Richard Spencer. Nachweis (Album): Metromedia MD 1010, 1969.

RETROMANIA: Join The Unprofessionals

Saturday, November 7, 2015

Join The Unprofessionals

Got a surprising amount of time for Noel Gallagher –  as a rentagob / motormouth (and you can’t deny „Champagne Supernova“ or „Live Forever“, a few others). (He also looks a bit like my Uncle Geoff which makes me warm to him).

But I did have to chuckle, and not in sympathy, at this riff from the Esquire interview, in which he talks about knowing all along that Oasis would be The Last of a Dying Breed, and rants at the pusillanimous professionalism of modern rock :

They don’t want someone like Ian Brown in their offices, or Liam, or Bobby Gillespie, or Richard Ashcroft, or me. They want professionals. That’s what it’s become now.

I guaran-fucking-tee you this: The Stone Roses never mentioned “career” in any band meetings. Ever. Or Primal Scream, or The Verve. Oasis certainly never mentioned it. I bet it’s mentioned a lot by managers and agents now: “Don’t do that, it’s bad for your career.” “What? Fuck off!” Like when we went to the Brits and we’d won all those awards and we didn’t play. The head of the Brits said, “This’ll ruin your career.” Fucking, wow. I say to the guy, “Do you know how high I am? You know who’s going to ruin my career? Me, not you. Bell-end. More Champagne. Fuck off.
Ten years ago, I said we’d be the last. I just felt it. I felt that story, the poor boys done good, which was retold from Elvis through The Beatles – we won’t mention The Stones because they’re posh kids – Sex Pistols, The Smiths, The Stone Roses, I felt at the time we were the end. And I’ve been proved right. And I don’t like that. I mean I love being proved right but not in that case.“

As if Oasis et al weren’t following a bleeding script written for them a couple of decades before  (and in some cases following it consciously, and wanting you to know that: hence that old ad „Primal Scream – know what I mean“ featuring Keith Moon)

Noel gets near to grasping this a few paras later in in the interview when he says that rock’n’roll is about freedom and honesty – saying „you have a duty“ to be those things. Exactly: that’s the job description of ye olde rocke & rolle.  That’s the designated role: being irresponsible, random, impulsive. That’s what you’re enlisting in, when you signed up for rock’n’roll. It was well established modus misbehaviourus by the early-mid Seventies; a hoary, encrusted tradition by the time of Sunset Strip metal and G’n’R; and God knows what it was by the time Oasis lurched into view. (By the time of Kasabian and the Libertines it was what Phil Knight, via Spengler, calls pattern-work – ritual reiteration of something whose original point is lost to immemorial antiquity).  Whatever edge that sort of not caring about anything / living in the moment / unbridled rapacity / wrecked recklessness / radical selfishness  had at a certain historical juncture has long, long gone. Probably it ceased to mean anything by 1974. (That was why Eno, for instance, regarded The Rolling Stones as the absolute opposite of what he was about).

Rather than being proud about being the Last of a Dying Breed, wouldn’t you rather be the first of a new breed?

Source: RETROMANIA: Join The Unprofessionals

Die grossen britischen Indie-Bands der 80er-Jahre standen in der Tradition der Beatles und der Velvet Underground: Sie waren Kunst von begabten Jungs (und manchmal Mädels) aus den Artschools, in die man Tunichtgute aus der Unterklasse steckte. Niemand brachte ihnen bei, wie sie eine Karriere als Künstler/-innen aufbauen können. Ihre Kunst war roh, ungeschliffen, selbst entdeckt. Heute ist das (hörbar) anders: Heutige Bands sind geschliffene Künstler, ihre Kunst ist vermittelt, raffiniert, akademisch. Ihr Portfolio ist vermutlich noch sorgfältiger gemacht als die Musik.

Lana Del Rey Says She Doesn’t Need To Talk About Feminism – Stereogum

Last year, in an interview with The FADER that instantly became somewhat notorious, Lana Del Rey more or less dismissed the entire idea of feminism, saying that it’s „just not an interesting concept.“ This led to people like Kim Gordon bashing LDR. So now, Lana Del Rey is trying to clarify what she meant, though she’s still doing it in characteristically opaque fashion. The actor James Franco recently wrote a book about LDR, though she doesn’t expect that book to come out. And now he’s sat down to talk with her for V Magazine. As Pitchfork points out, she talks a bit more about feminism in the interview: The luxury we have as a younger generation is being able to figure out where we want to go from here, which is why I’ve said things like, „I don’t focus on feminism, I focus on the future.“ It’s not to say that there’s not more to do in that area. I’ve gotten to witness through history the evolution of so many movements and now I’m standing at the forefront of new technological

Source: Lana Del Rey Says She Doesn’t Need To Talk About Feminism – Stereogum