Steverino
|
I'm with you, Chris. 19-Feb-2026 18:42:13
| CorrsClub Time: 16-Sep-2026 08:41:01 |
There's something that I don't understand about what Nick told us: why did the streaming services REPLACE the one track of "Dreams" rather than simply ADD the original mix of the track?
I prefer to buy physical product when it's available; if not, my first choice is Bandcamp if something is there.
As my interests in music have expanded over the years, I have become aware that there is a surprising amount of music that never becomes available for either music downloads or streaming, including music from entire record labels.
Also, there is the irritating issue of "geo-blocks" - where - for certain unfathomable legal reasons - people are prevented from purchasing music simply based on where they live (at least not without IP address spoofing). I became aware of this many years ago when Sharon's demo of "Goodbye" became available at iTunes in the UK but never became available for purchase in the US. I was really hurt by that! To this day, I have never been able to buy a legal download of this demo. There's also a song that I really enjoy called "Welcome the Sun" by a Dutch artist that, although 15 years have passed, I have never been able to purchase.
Below is a copied-and-pasted summary "addendum" summarizing the distinctions between the methods of paying to acquire music, at least here under U.S. law, that figure into my decision:
* * * * * * *
The key differences in ownership rights for music come down to what you legally control as a consumer, based on U.S. copyright law (primarily under Title 17 of the U.S. Code), the first sale doctrine, and the terms of service or purchase agreements from platforms.
In all cases, you never own the underlying copyright to the music itself (the composition or sound recording)—that stays with the songwriter, publisher, artist/label, or rights holders. What varies is your rights over the specific copy or access you acquire.
1. Physical Copy (Vinyl, CD, etc.) You purchase and own the tangible object as personal property.
This triggers the first sale doctrine (17 U.S.C. § 109): Once the copyright holder sells a specific copy, they can't control what you do with that particular copy.
Rights include:
Play it on any compatible device.
Lend it to friends.
Sell it second-hand (e.g., at a record store or online).
Give it away or inherit it.
Keep it forever (as long as the physical media lasts).
Limitations:
You can't make unauthorized copies for distribution, create derivative works, or publicly perform it without separate licenses.
It's truly "yours" in the most permanent, platform-independent sense—no internet, subscription, or account required.
2. Music Downloads (e.g., iTunes, Bandcamp, Amazon MP3 purchases) You typically receive a digital file (e.g., MP3, AAC, FLAC) and a limited, non-transferable license to use it for personal, non-commercial listening. You do not own the file in the same way as a physical copy. The transaction is governed by the platform's terms (often described as a license rather than a sale of goods).
Rights include:
Download and store the file on your devices.
Play it offline indefinitely (as long as you keep the file backed up).
Make personal backup copies (fair use/fair dealing in many jurisdictions).
Transfer it to your own devices or players.
Key limitations:
No first sale doctrine protection: You usually cannot resell, lend, or give away the file legally (terms prohibit it, and DRM or account-tied enforcement often prevents it). If the platform shuts down or revokes access (rare for outright purchases, but possible with account issues), you might lose redownload rights, though you keep existing files.
It is more ownership-like than streaming, but still revocable in theory and tied to your account/devices. Many people treat purchased downloads as "owned" for practical purposes (e.g., you can back them up forever), especially from artist-direct sites like Bandcamp.
3. Music Streaming (e.g., Spotify, Apple Music, Tidal subscriptions) You pay for licensed access to a service's catalog (subscription-based "rental" model). You own nothing—no copies, no permanent rights.
Rights include:
Stream or download for offline use while subscribed (files are often encrypted/DRM-protected and expire if your subscription ends). Access a vast library on demand.
Key limitations:
Access ends if you cancel the subscription or the service removes the track/album (due to licensing deals expiring).
No resale, lending, or permanent ownership. Music is tied to the platform/account—no independent files you control. Even "offline downloads" are temporary licenses, not owned copies.
It's convenience-focused access, not ownership.
In summary, physical copies offer the strongest "ownership" rights under law, digital downloads provide a practical middle ground (you control the file but with restrictions), and streaming is essentially renting access with no lasting ownership. If permanence and control matter most to you (e.g., for archiving favorites or avoiding platform risks), physical or DRM-free downloads are the closest to true ownership.
| (This message has been read 102 times.) |