I've been a Spotify subscriber for about 9 months now, and I view it as a really exciting and useful way to listen to new music. But some in the music industry view it more darkly - see for example comment articles by David Byrne and Thom Yorke. These two articles provoked a response from Dave Allen, who takes a different view.Personally, I think there's a fundamental problem with the discussion (though I think I tend towards Dave Allen's view): that is that none of these articles really contain hard data on music purchasing within the Spotify subscribers (and indeed comparing those people with non-subscribers).For my part, I'm of an age where my music listening and buying has seen several game changes. My first record was this:[embed size="compact"]https://open.spotify.com/track/2A0VyjrAJQPXVKxRzxEePG[/embed]And my first LP was Dark Side of the Moon:[embed size="compact"]https://open.spotify.com/album/3a0UOgDWw2pTajw85QPMiz[/embed]But in those days, finding and buying music was very different. I spent loads of time browsing through the inky music papers (NME in my case), listening to friends' LPs (and taping them), and above all frequenting dark record shops. Most of those record shops were bizarrely idiosyncratic in their owners' attitudes (see this listing for examples!). My memories of those days are obviously coloured by rose-tinted spectacles, but the sense of community was great, along with pressures of poverty meaning that every music purchase was most definitely considered thoroughly. And not just in terms of the music itself - peer group issues were very definitely an issue! My affection for vinyl remains because my shelf of LPs, perhaps 5 feet of LPs, contains records firmly registered in my memory as markers of my life: I can recall the circumstances in which I bought virtually every one of them. I recently digitised the majority of them, and the process became the most astonishing memory trip. I suppose the affection I have for vinyl is obviously related to the the packaging, almost invariably superior to a CD package, but also relates to the need to look after, cherish, the object.CDs became the medium for music (I ignore the cassette tape). Oh how wonderful it was to not have to worry about scratches, crackles and generally damaged product. But something was lost for me - buying records became a rather humdrum and unexciting business, and as internet ordering became the norm, I found myself less and less likely to actually visit record shops. I live in a town almost bereft of record shops now, and the overall effect was that my interest in, and purchase of, music reached an all time low.A few years ago, a review of a device made by Logitech - the Squeezebox - in a Linux magazine piqued my interest. I've blogged before about this system, sadly discontinued by Logitech, though it lives on beyond the grave (see also other systems such as Sonos). I quickly began ripping my CDs to disk - running a music server on an old Ubuntu linux box, I made the initial false move of ripping to mp3. Recognising my mistake, I re-ripped to flac! Listening to music through my home network really revitalised my interest music. There were so many advantages in accessing albums without ferretting around shelves of CDs, searching for obscure tracks became so much easier and so forth. Over the years, my Squeezebox system grew. Now I operate a Squeezebox Touch, my original Squeezebox 3, two Squeezebox Radios, plus I use a software player on my MacBook Pro, and apps on iPads and Android devices. Along the way, I started using last.fm as a way of interacting with others, and trying to find new music. But still, accessing new music remained an issue, despite buying Mojo (for classic rock music and dead, decrepit and generally missing in action musicians) and The Wire (for my more avant-garde tastes).Enter Spotify. Admittedly, I was a little late to the music streaming party but I've been enthusiastic ever since. I rapidly upgraded from the advert-laden free account to a paid Premium account, largely to enable listening on my iPad. I only interact with one friend on Spotify, but even that is enough to open my eyes to a wide variety of music I wouldn't normally here. I frequently don't like her suggestions, occasionally hate them, but quite frequently really enjoy her playlists. I also widely use Spotify to check out albums I've read reviews of.So, in all this, what effect has Spotify had on my music listening? Well firstly, it's enabled me to listen to music I'd ordinarily never hear. Secondly, it allows me to check stuff out before shelling out for it. I can use Spotify in conjunction with the Squeezebox to generate "Smart Playlists", uncovering some hidden gems.And guess what? I have greatly increased the numbers of albums I buy. This is an impact on the music biz that doesn't seem to be considered in many commentary articles on music streaming services. Maybe I'm an outlier here, but the exposure to music leads to increased purchasing, at least in my case. And I blundered across a review of music listening/purchasing trends among 'young' people (with a foreword by Feargal Sharkey) which as I recall seemed to indicate an unexpected (to me) desire to own the music rather than merely have a download. Another important factor is that the young do have a lower disposable income, and I would expect them to use copying to increase their music collection - much as I and my fellow students did with cassette tapes back in the 1970s. I guess what I'm trying to suggest is that this whole issue of fair remuneration for artists is wholly unresolvable without a robust dataset. And, of course, we can add to the discussion the role of the music companies in all this.

Here's a BBC News page with a segment from a recent Newsnight programme discussing Spotify and whether it does artists a disservice -Spotify - friend or foe of musicians?We still see the issue of low royalty rates for the musicians, but increased ticket sales as a consequence of exposure via Spotify is mentioned as a bonus. But, at the risk of sounding like a stuck record (!), why has no-one actually looked into the effect of music-streaming services on music purchases? Perhaps I am an oddity who buys more because I can listen first, and extensively before buying an album?The internet offers a hugely diverse route into finding music, particularly the social aspects of last.fm, Spotify, Bandcamp and Soundcloud (all of which I use), and many others I don't have time for. Maybe this isn't all about piracy, lost sales and the like but is a new way of business that needs to be grappled with.

Prompted by an article in The Guardian (Spotify opens up analytics in effort to prove its worth to doubting musicians), I visited a Spotify website which seeks to de-mystify the periodic brouhaha around Spotify's business model and whether or not artists are paid properly for their music which is streamed via Spotify. The article by Spotify is really a series of mini-blog articles on a new site (www.spotifyartists.com).It's an agreeably affable page that makes a series of assertions:

Spotify’s model aims to regenerate this lost value by converting music fans from these poorly monetized formats to our paid streaming format, which produces far more value per listener. The chart below shows the money a Spotify Premium customer spends per year compared to the average spend of a US music consumer who buys music (not including those who spend $0 on music).

There's also the claim that Spotify Premium users in the USA bring in $120 per annum to Spotify, and therefore a proportion of that makes it to the artists. There's an overview of the annual royalty payout in the period 2009-2013 (it looks almost exponential). Taken overall, the average Spotify user apparently coughs up $41 per annum. But presumably this is the trackable income that Spotify makes through direct user subscriptions and advertising (for example $10 per month = $120 per annum - it's a fair bit more pricy in the UK). There's evidence of a solidly growing user base:[caption id="" align="alignnone" width="299"] The growing Spotify user base[/caption]Spotify also outline how their revenue is split - approximately 30% is kept by Spotify, with the rest going to rights-holders. I guess it's up to labels and the like what proportion of that gets back to the artists. But the means by which rights-holders get their slice seems a little complex, and it's not on a per-play basis. Essentially the criteria are as follows:

An artist’s royalty payments depend on the following variables, among others:

I’m always interested in tinkering with alternative audio usage of my Raspberry Pi devices. As standard, I’m using them as Squeezebox substitutes, running the minimalist OS piCorePlayer, though I’ve also tried Squeezeplug and Raspbian for this. Rune Audio, which I think is derived from RaspyFi as a fork at the time RaspyFi became Volumio (though I may have that the wrong way round), recently released a version 0.3 beta for the Raspberry Pi, so (being naturally curious) I decided to try it out.

[caption id="attachment_3345" align="alignnone" width="1000"] Runeaudio's UI is elegant, clear and simple[/caption]

Rune Audio is managed via a web browser. The picture above shows what the main interface looks like. The bar at the bottom allows you to switch from Library to Playback or Queue (pretty self-evident what those are). Image art is centre stage, with the progress wheel on it's left (big number is elapsed time, smaller is track length), while on the right is the software volume control. The play controls are a little counter-intuitive - this is a screengrab while a track is playing, and I would have expected the play symbol to have been replaced with a pause symbol. Finally, the Menu link at top right is where you access most of the setup functions.

Been a while since I posted about cycling - the explanation is that I've mostly been in the garage pounding the turbo. To deal with the tedium that is turbo-training, I've been listening to a variety of music via Spotify (via an old 1st generation iPad). In no particular order, here's some recent training music:[embed size="compact"]Mindflayer – It's Always 1999[/embed]Loud, fast, noisy - just what's needed. You can't listen to gentle ambient when you're trashing the turbo!On the other hand, a bout of mid-70s nostalgia led me to It's Alive, a double live album by the Ramones. I mean, what can you say beyond One Two Three Four![embed size="compact"]Ramones – It's Alive[/embed]Sadly, It's Alive seems to be unreasonably expensive as a download, presumably because many sites price albums on the basis of the number of track. And when most songs are about 2 minutes long, there are a lot of them!And an Oblivians album:[embed size="compact"]Oblivians - Desperation[/embed]Related to Mindflayer, and in a very similar vein is Lightning Bolt:[embed size="compact"]Lightning Bolt – Hypermagic Mountain[/embed]On the other hand, recovery sessions on the turbo don't demand such an aural assault, and the latest album from Wooden Shjips fits the bill.[embed size="compact"]Wooden Shjips – Back to Land[/embed]This is billed as "psychedelia" - to be honest it sounds to me at times like Suicide but played with guitars.As ever, you can view my listening habits over at last.fm.And how is the training actually going? I've returned to the training programme that has served me well in the past, the Black Book (a.k.a. The Annual Manual) by Pete Read. This training manual seems to have achieved mythical status and appears to be hard to come by. Essentially, it describes a month by month progressive turbo training programme, based on heart rate. I guess it pre-dated the advent of affordable power meters. In any event I still prefer to train using heart rate over power, on the grounds that HR better reflects my physiology and the effort I'm putting in. I use the power meter data to better understand how a particular turbo session went and to estimate my fitness level as I move through a training plan.I do have a bit of experience with turbo training and, with a bit of work-life balancing, now train on the turbo early in the morning before cycling to work. This gives a good balance of higher intensity work with easier recovery style riding. The big hope for this winter is that I can make it to the 2014 season without a Christmas cold, or a recurrence of my lower back problems - both of which had a dire impact on my racing last year.The metrics as analysed using Golden Cheetah seem pretty encouraging, and I'm looking forward to the club's New Year's Day '10', about 6 weeks away. At the moment, I'm optimistic.

2013 was the year that I started to take music streaming seriously. I embarked upon a premium subscription to Spotify around February (largely  for playback via an old iPad while training in the garage), and it has revolutionised my music habits. Not only have I experienced music that I wouldn’t normally have encountered, but it gave me opportunities to share music that I’ve not been able to take before. I’ve taken quite an interest in how Spotify may or may not impact on the music business, and I do believe that there’s a lack in understanding how it does affect individual expenditure on music. As Dave Allen points out (Musicians versus Spotify: It’s about scale), Spotify itself is still a relatively small player in terms of numbers of consumers. My view is that too little information is available out there on how Spotify impacts on cash flow within the music business. I’m quite prepared to accept that I’m unusual in not stopping buying music in favour of streaming, but I’d like to see some decent information on this. I can’t believe that these studies haven’t been conducted as part of basic market research. Here’s one writer’s take on Spotify as a replacement for a music collection: Spotify, you’re wonderful, but I have to quit. Here’s a clue - it’s not a replacement!For my part, I’ve shifted far more towards buying downloads rather than physical media - mostly because I live in a small house. There are some exceptions, notably the extravagantly produced Deluxe edition of Nick Cave and the Bad Seeds’ album Push the Sky Away, which includes CD, vinyl and a reproduction of Nick’s notebook. Unfortunately I missed out on the autographed edition!   The Velvet Underground’s second album White Light/White Heat gained its 45th anniversary Super Deluxe Treatment - with stereo and mono mixes plus a live CD housed in a hardback book, it was a little less over the top than last year’s VU and Nico 6 x CD reissue, but still nice. In particular, some of the out takes and the mono version of the album are rather good.The upshot of subscribing to Spotify has been a substantial increase in the amount I’ve spent on music. And mostly this isn’t the big name acts that get all the press as Spotify “high earners”. At the same time, I occasionally buy hard copies from the very excellent Norman Records in Leeds.Having bought into the Squeezebox system of streamed audio a few years ago, it was disconcerting in August 2012 to find that Logitech had ended the line. Squeezebox users have ended up in a kind of ‘phony war’, where the Logitech maintained server mysqueezebox.com still continues, and the various devices in my house still run my local music collection via Logitech Music Server running on a small QNAP NAS. At the moment I have a fair variety of players - a Squeezebox Touch, a Squeezebox 3, two Squeezebox Radios, software that turns my two iPads into Squeezebox music players (iPeng and SqueezePad), and the software player SqueezePlay (which emulates a Touch on my laptop). So there’s life in the system yet. There seems to be considerable open development of hardware and software out there to keep a similar system up and running for some time yet - Daphile, Squeezeplug, Wandboard, Raspebrry Pi and others frequently pop up for discussion in the Squeezebox forums.Of course, I’ve been looking for commercial alternatives in case my Squeezeboxes start conking out. I’m attracted by Bluesound, but its appearance on the market seems to be rather slow, and I don’t see how it can gain traction against the likes of Sonos. It doesn’t appear to have an equivalent of the Squeezebox Radio. Sonos is probably the market leader, but also has some limitations (for me, a major issue is again the absence of an equivalent to the Squeezebox Radio), including file data types and, for those with rather larger music collections than I have, an upper song limit of 65,000 tracks. I also find the superior and evangelical tone in the Sonos user forums rather off-putting, in the same way as one sees in Apple forums (and I’m OS-agnostic, I use OSX, iOS, WinXP, Win7, several Linux distros and Android). But that the plug and play ethos of Sonos and (I expect) Bluesound would win at the expense of the more flexible Squeezebox system was perhaps inevitable.I’m gratified that HiFi makers have stepped up to the mark with their streaming systems, though from my perspective it shouldn’t take much in the way of hardware to stream bits accurately to a HiFi: the quality sound experience must surely be derived from downstream analogue processing. Hence the profusion of software packages aimed at utilising budget computing platforms such as Raspberry Pi and Wandboard.Some of my top albums of 2013:[embed size="compact"]Teho Teardo – Still Smiling[/embed]Interesting collaboration between Teardo and Bargeld.[embed size="compact"]Nick Cave & The Bad Seeds – Push the Sky Away[/embed]The dear old blokes just keep on hitting the spot with their excellent new album.[embed size="compact"]Wooden Shjips – Back to Land[/embed]Modern guitar-psych, and strangely reminiscent of Suicide at times.[bandcamp album=1105741548 bgcol=FFFFFF linkcol=4285BB size=grande]Immensely entertaining surf-punk from Leeds.[embed size="compact"]Simon Fisher Turner – The Epic Of Everest[/embed]Excellent soundtrack to the eponymous film released 2013 using the original footage from the ill-fated Mallory-Irvine Everest expedition[embed size="compact"]Black Pus – All My Relations[/embed]Crashing noise-fest from Brian Chippendale. Excellent on the turbo trainer.[embed size="compact"]Nine Inch Nails – Hesitation Marks[/embed]I'm not the world’s greatest NIN fan, but I did like this. I have both the regular and audiophile versions, but on my iPod the difference is marginal!Reissue of the year : The Velvet Underground - White Light/White Heat super deluxe 45th anniversary reissue.[embed size ="compact"]The Velvet Underground – White Light / White Heat[/embed]I also caught up with some other albums I’d missed out on in previous years, and discovered an affection for ‘near-ambient’ music!

I cannot easily understand why I like this album so much.  I heard of it via an interview with Viv Albertine at The Quietus (Like Choosing A Lover: Viv Albertine's Favourite Albums). It's an album of field recordings recreating a railway across Mexico, and apparently furst broadcast on BBC Radio 4.[embed size="compact"]Chris Watson – El Tren Fantasma[/embed]

Well, this album was really a little out of the ordinary for me. The only other record I have featuring Scott Walker is a Walker Brothers collection of some of their 60s output.I bought this as a flac download  several weeks ago, on its release date, and I've been listening since. I don't actually buy into this godlike genius thing - I think a genius might release more records - but after a few plays of samples via the web, I decided to buy it. And I'm not disappointed, though on the other hand I'm not overwhelmed. The record has an interesting juxtaposition of Walker's voice with a odd array of sounds and aural textures, which on the whole I really like. My reservations are more that I haven't really got to the bottom of the lyrics, and with an album like this, it's difficult to really form an opinion too quickly. Many of the songs seem to be making quirky connections between widely disparate people and events. It's safe to say this one's going to take a bit of concentration.

Here's a nice video of John Cale performing Venus in Furs - it's a TV broadcast from 10th January this year. h/t Here Comes The Flood

Pere Ubu - Lady from Shanghai. (Bought as flac download) David Thomas and Co are still at it, with another good album. From the website, it would seem that an accompanying paperback book is available outlining the way the album was constructed. This may seem a bit over the top, but note the extra special limited edition of Nick Cave's new album - perhaps this is a trend!The Haxan Cloak - I bought the eponymous first Haxan Cloak album, again as a flac download), after hearing one of the tracks (The Mirror Reflecting (Part 2)) from the forthcoming second album on Soundcloud, which I found via Cosey Fanni Tutti's Twitter. I suspect the new album, due in April, is likely to present a more atmospheric sound.Todd Snow - Emergence - This is something I also noted from Cosey's tweets. Quite atmospheric and almost ambient, it's available on Bandcamp in any format (of course, I chose flac).Magazine - Live and Intermittent - Bought on CD via the wire-sound website. Bit of a nostalgia trip for me. Magazine always were one of my favourite bands of the late 70s/early 80s. Their post-reform album No Thyself (it's on sale at the moment, good value at £5) is better than I expected and a worthy addition to their discography. Anyway, back to the live Magazine CD - it's a bit lo-fi in places, but if you were there back in the day a nice reminder. I also picked up Dave Formula's CD Satellite Sweetheart, but haven't  had a chance to listen to it much so far.

Here's a digest of recent music added to my collection.Black Pus - This came across my radar via the music site The Quietus which featured a track (1000 Years) from an upcoming album.[soundcloud id='70726224' color='#ff7700']There area  few Black Pus albums available on Bandcamp - I bought Pus Mortem. I kind of like the stripped down clatter of Black Pus and find it unaccountably invigorating.[bandcamp album=408643617 bgcol=FFFFFF linkcol=fa1520 size=grande]Cyclopean is a collaboration that includes a couple of founder members of Can. They have a four track EP out on Mute. You can get flac downloads, but not I think from the Mute shop. It's pretty straightforward electronica, but nonetheless enjoyable for that. Here's an edit from one of the four tracks on the EP.[soundcloud id='77259492' color='#ff7700']Fire! Orchestra - Exit! Slightly unusually for me, I added a free jazz album this month - Fire! Orchestra's album of late 2012, Fire! I've kind of been inveigled into Gustafsson sax jazz via Neneh Cherry and The Thing - see their cover of Suicide's Dream Baby Dream. Despite being live, this is quite laid back a lot of the time. Two tracks - here's an edit of one of them[soundcloud id='76288623' color='#ff7700']Merzbow Pandi Gustafsson Cuts A rather noiser outing for Gustafsson, this time in the company of Hungarian drummer Pandi and Japanese noise artist Merzbow. Bought as flac download. Here's a snippet:[soundcloud id='72072638' color='#ff7700']This I rather like. There's a general thread in my listening these days, to include sound textures as much as music, hence my liking for both the introspective analogue bleeps and gurgles of Pan Sonic and wilder noise.My Bloody Valentine mbv.  This caused something of an interweb sensation when released - the website crashed due to all the hits. I'm not a major MBV fan, but I bought it in part to see what the fuss was all about. To be honest, I wouldn't rave about it ... yet, but it's definitely growing on me. It's really a bit of an old-fashioned shoegaze type album, and I'd have to leave it to the MBV fans to identify whether it represents a significant advance over previous MBV offerings.Finally, today's the release date of the new Nick Cave and the Bad Seeds album, Push The Sky Away. Keenly awaited, the download link is still not active - I ordered the super deluxe edition to be released in April, so all I'll get at the moment is an mp3 download. I am sure it will repay the patience. More on that later.

I have decided to try a 30 day trial of Spotify premium. This is kind of alien to me, really, as my whole music listening past has been focussed on collecting music - mostly in album form - and the concept of merely accessing music from the web is anathema.I've installed the Mac app, the iPad app and the Logitech Media Server plugin.Actually, though, I can see this being an avenue to listen to music before buying it in a higher resolution format (I usually go for flac). I will give Spotify a month (i.e. the trial), then decide whether I'm really going to be getting £9.99 (per month) of value from it. Even the Premium account delivers pretty lo-res music.

I caught some of this when it was broadcast live yesterday (at 5am!). Here's the video...[youtube fymChgeO00g]

Way back in my late teens when I was first exploring the world of music, the usual way I would choose LPs would be browsing the inky music papers and by judging an LP by its cover. Shallow perhaps, but both avenues left me liable to be misled by the general scorched earth policy of punk and post-punk, particularly when informed by the NME. I particularly recall seeing albums by the three bands below in the racks at the Ezy Ryder record exchange in Greyfriars Market.The first of these, by the then London-based Ghanaian/Caribbean band Osibisa, was characterised by a Roger Dean cover, which naturally (if unfairly) led me to think this was some kind of ghastly Yes style prog rock. I say unfairly because, as the Wikipedia page on Osibisa observes, these covers predated Dean's work with Yes. I took advantage of my explorations on Spotify to have a listen to Osibisa's eponymous first album. I think I can safely say my younger self would have hated it (though partly to keep up with the prevailing taste of the era). Now, being a bit more broad-minded I actually quite like the record - at least enough to give it further listens (but probably not enough to buy it).[embed size="compact"]Osibisa – Osibisa (Digitally Remastered Version)[/embed]Van Der Graaf Generator are one of those bands which one definitely couldn't like by the time 1977 rolled round. Unfortunately, one of the things that determines whether or not I like something is the vocal. And I must say I didn't much care for this record too much.[embed size="compact"]Van Der Graaf Generator[/embed]Punishment of Luxury's Laugh Academy is an LP I definitely recall from EzyRyder's racks. Goodness knows why I never gave it a blast at the time. Listening in 2013 (34 years after its original release!), it's definitely a record of its period. But given that's an era I am particularly fond of, it's perhaps no surprise I rather like it. More listens forthcoming.[embed size="compact"]Punilux[/embed]

Here's a playlist of all 40 versions of the classic garage song Louie Louie that I could find in Spotify, after removing a few duplicates. It makes for great listening while training. The original version (or as close to it as makes no difference) is in numbers 9 and 10 on this list, while the version that really got the ball rolling is by The Kingsmen, number 3 in this playlist.[embed size="compact"]http://open.spotify.com/user/therealgrumpybob/playlist/3YIE7t3XjYcgAR0x1hE9kO>[/embed]Astonishingly, this song was the subject of a 31 month FBI investigation into supposedly obscene lyrics. The FBI concluded that the lyrical content couldn't be divined from listening to the song. More at Wikipedia's page on Louie Louie, and the web page devoted to Louie Louie.

This is going to be de rigeur on my next turbo training soundtrack. It's a remix by Death Grips of The Prodigy's Firestarter.[soundcloud id='87437928' comments='false' color='#ff7700']

A few years ago, I encountered a review of a networked music player that seemed rather useful - the Squeezebox. This was a small unit that connected wirelessly to a computer on the home network (or to a manufacturer-maintained server on the internet) to stream digital music from numerous sources. The Squeezebox itself connects to the HiFi via analogue of digital outputs.  The Squeezebox line of devices had been acquired by Logitech from its original manufacturers, SlimDevices. Over the following years, my Squeezebox system expanded to include a Squeezebox Touch, two Squeezebox Radios, and a number of software players for laptops and iPads, with my my music hosted on a QNAP NAS, running 24:7. You can see the general setup in this diagram (the Touch and Classic connect to the HiFi, while the Radios are standalone players):

The whole system is immensely versatile: I really only scratch the surface. The Logitech Media Server (LMS) offers the facility to add plugins, and over the years many official and third party plugins have been developed. I usually use LMS in preference to the Logitech maintained server MySqueezebox.com, and use it for playing local music files (a mixture of flac and mp3 format) and streaming radio. I scrobble my listening to Last.FM, but I don't subscribe to music streaming services. You can synchronise music between two or more devices, alternatively you can play different music to each device. Like I say very versatile.

There were of course issues with the system. Frankly, had I not some tendency towards geeky-ness, I might have been confused by the system. On the other hand, consumer understanding can't have been helped by continually renaming things - for example the server software changed from SlimServer, to SqueezeServer to Logitech Media Server (and I may have missed some out), and explaining to the customer how the local and internet servers worked must have been a complete pain for support.Fast forward to late August 2012. Having just bought a Squeezebox Touch (as an upgrade to my Squeezebox Classic), I was browsing round the Logitech website, when I noticed a new product, the Logitech UE Smart Radio, which looked remarkably like the Squeezebox Radios I owned. As I continued looking round the Logitech site, I could see all the pages relating to the Squeezebox range disappear, and within a very short time, pretty much all mention of Squeezeboxes had been expunged. I posted to the Squeezebox Radio forum, and you can see there the dismay this news caused.Logitech has indeed pulled out of supplying the best home networked music system that I can see on the market. They've rebranded the Squeezebox Radio, and reduced its functionality (though I have to say this generates an easier consumer experience). Oddly the newly branded UE Smart Radio can't play local music files without an internet connection. And there's nothing in the range that can output to a HiFi. So, all very sad.In the meantime, Logitech are supporting MySqueezebox.com for the foreseeable future, and even when that goes, those of us with functional local servers will continue using their Squeezebox systems.It's just a shame that the Squeezebox lineup has gone.

I bought my first copy of The Velvet Underground & Nico way back in the 1970s, when it was a relatively young thing of around a decade in age. Sadly, though it had the benefits of a gatefold sleeve, it lacked the peelable banana. Since then of course, the already considerable mystique of the Velvet Underground has grown and grown. During the transition from vinyl to CD, I did step up to the 5 CD Peel Slowly and See set, featuring the four 'real' Velvet Underground albums plus a variety of out-takes and demos (most notably the CD of the Ludlow Street demos).[caption id="attachment_2042" align="aligncenter" width="265" caption="The 6 CDs are housed in a large format hardback book"][/caption]So, having not fallen for the 2 CD Deluxe Edition released in 2002, you might think I'd not be that interested in this latest outing for this venerable and influential album. Well, of course I was interested! What were the attractions for me? Mostly the mono version of the album; the Sceptre Studios demos and Factory rehearsal tapes; and of course 2 CDs of the live show recorded in 1966 at the Valleydale Ballroom.CD1 - The album in stereo mix, followed by five alternate takes. Frankly not much needs to be said about this, it's one of the finest albums in my collection. In general, I'd note that the best choice was made on which song versions made the final selection for the album.CD2 - The album in mono mix (this is apparently considered to be the version closest to the sound the band were aiming at), followed by both sides of each of the two singles.CD 3 - Nico's first solo album Chelsea Girl. A bit of an odd choice for inclusion, despite featuring most of the VU on most of the tracks. But, hey, I didn't have this already and despite Nico's unhappiness with the final product, I quite like it - though I prefer other Nico albums.CD 4 - Possibly the main selling point of the set, this CD has the Sceptre Studios sessions, some from tape, some from the Norman Dolph acetate (which famously turned up in a New York flea market). Also on CD 4 are recordings from rehearsals at the Factory. All pretty much of interest in the evolution of the album.CD 5 and 6 comprise the whole of the only 'proper' recording of the Velvet Underground and Nico live. This was at the Valleydale Ballroom, Columbus, Ohio (which still seems to exist 45 years on!). At least parts of this set have circulated in bootleg form over the years. I have rather murky sounding CD of this set (with the two long free-from tracks omitted) entitled Down For You Is Up. I always said that the boot is quite good if you know what the song is before you listen to it! The recordings on these two CDs are definitely not high fidelity, but are definitely better than on the bootleg version.The six CDs are housed in slots in cardboard pages bound at the rear of the lavishly presented hardback book.This is packaging. Fine packaging. Very fine packaging. While I'd seen many of the photos before, many are new to me. The text is not what you'd call lengthy, but it really does set the music and lyrics in the set in their appropriate context.So basically, this is one of the truly great and influential albums from the 1960s. But I guess an expansive (and expensive) set such as this really is for the completist. I cannot believe that someone who doesn't already have a copy of VU&N would even consider this a reasonable purchase!

Apparently recording a cover album of Nico's classic 1970 album Desertshore was something of an obsession of Peter Christopherson (Throbbing Gristle, Coil, X-TG). Sadly this project was incomplete at the time he died. It was however resurrected by his X-TG colleagues Cosey Fanni Tutti and Chris Carter.The result has been an interesting artefact: a two CD release housed in an elegant and understated sleeve, along with a 12 page booklet and a postcard. The first CD consists of the covers of the Desertshore tracks, mostly featuring guest vocalists, including Antony Hegarty, Marc Almond, Blixa Bargeld, as well as Cosey Fanni Tutti. Before listening to this, I was somewhat worried that it might be something of a mismatch of styles: in fact, the individual tracks seem to gel really rather well, and I've found myself listening to the original Nico versions in parallel - enjoying both equally. The second CD is entitled The Final Report. As I understand it, X-TG is (or rather was) the three remaining members of Throbbing Gristle after Genesis P-Orridge left, and this is them signing off after the death of Christpherson. Personally, I find this an appealling set of tracks, but somewhat less marked that those of Desertshore with their characteristic guest vocals.Highly recommended - particularly for the TG and Coil aficionados. I bought my copy from Cargo rather than Amazon, due to the tax evasion situation.

It's hard for me to believe that it's almost 30 years since this album was released, to huge anticipation by a few (such as my immediate circle of friends)  in May 1980. Howard Devoto had left Buzzcocks just as they were on the verge of success and formed Magazine.  Their storming first album, Real Life, was followed by Secondhand Daylight, which was (as I recall) rather unfairly labelled as being a bit Pink Floyd-like, which was a fair old insult at the time.

The Correct use of Soap blasted out of my speakers like a revelation.  Devoto's snarled and sardonic lyrics, the great Barry Adamson's bass and John McGeoch's guitar work stand out for me. The production on this album was by Martin Hannett, and boy does that show.  The overall sound is kind of sharp and precise, and as if it was recorded in a BIG space.  Of course being as how I bought this when it was released (more truthfully a year or so later), my copy is on vinyl - I recently got my mitts on a digital copy which is a 2007 remaster, with a bunch of extra tracks which is now happily ensconced on my iPod.  It's likely to be my turbo training soundtrack of choice for the nexy week or so.