Tag Archives: iTunes

Top songs, albums on iTunes

The top 10 songs and albums on the iTunes Store, according to iTunes’ Official Music Charts.

Top Songs

  1. 7 Years, Lukas Graham
  2. Dangerous Woman, Ariana Grande
  3. NO, Meghan Trainor
  4. Work (feat. Drake), Rihanna
  5. My House, Flo Rida
  6. Stressed Out, twenty one pilots
  8. I Took a Pill in Ibiza, Mike Posner
  9. Love Yourself, Justin Bieber
  10. YOUTH, Troye Sivan
7 Years, Lukas Graham tops on itunes
At the top of the chart on iTunes. — PHOTO: Courtesy

Top Albums on iTunes

  1. Have It All (Live), Bethel Music
  2. This Is What the Truth Feels Like, Gwen Stefani
  3. 3001: A Laced Odyssey, Flatbush Zombies
  4. untitled unmastered., Kendrick Lamar
  5. Chapter 1 – EP, Kane Brown
  6. Something Beautiful, Jordan Smith
  7. Traveller, Chris Stapleton
  8. 25, Adele
  9. Incarnate , Killswitch Engage
  10. Hamilton (Original Broadway Cast Recording), Various Artists

— from Apple Inc.

New music: Coldplay, Troye Sivan, Tom Jones, Babyface

Coldplay :: ‘A Head Full of Dreams’

To even the most hardcore Coldplay fans, last year’s Ghost Stories, put together in the wake of Chris Martin’s breakup with Gwyneth Paltrow, might have sounded a little mopey. The one exception was the band’s collaboration with Avicii, “A Sky Full of Stars,” a top 10 hit that pointed in a more upbeat direction for the future. That moment is here on A Head Full of Dreams. With pop-soul producers StarGate in tow, songs like “Fun” and “Hymn for the Weekend” lift us up again. Paltrow even makes a guest appearance on “Everglow,” seemingly to let us know all is OK going forward. Don’t look for deep revelations about life here — this album doesn’t have the power of Coldplay’s Viva La Vida. But if you want some reassurance that the sun will come out after hard times, Coldplay is again your band.

Troye Sivan :: ‘Blue Neighbourhood’

Australia’s Troye Sivan is a 20-year-old gay man who grew up in a Jewish community in Perth and came out at age 15. That personal experience underlines the emotional gravity of the glistening pop music on his debut album. He has been praised by the likes of Taylor Swift and Sam Smith, and for good reason. If you fell in love with Lorde’s music and are looking for where to turn next, Blue Neighbourhood is a good option. The chilliness of the musical arrangements on songs like “Heaven” live in contrast to the deeply human impact of the lyrics: “Without losing a piece of me, how do I get to heaven?” Troye Sivan is a name to remember.

Tom Jones :: ‘Long Lost Suitcase’

Set aside any preconceived notions you might hold about legendary Welsh pop crooner Tom Jones. Long Lost Suitcase is the third album he has released since 2010 that digs deep into blues-infused roots. The opener “Opportunity to Cry” gives hints to what Elvis Presley might have sounded like if he lived into his 70s, and Jones even covers Gillian Welch’s “Elvis Presley Blues.” The arrangements here are subtle and put the spotlight squarely on Jones’ rich, resonant voice. On some songs, the showman in Jones milks the emotion for maximum dramatic effect, such as the nearly a cappella “He Was a Friend of Mine.” However, he is probably at his best with the simple chug of uptempo album closer “Raise a Ruckus.”

Babyface :: ‘Return Of the Tender Lover’

Kenneth “Babyface” Edmonds first gained success in the music industry outside the spotlight, as a keyboard player, songwriter and producer. When he did step to the front of the stage in 1989 with the album Tender Lover, he earned multi-platinum success and top 10 pop smashes like “It’s No Crime” and “Whip Appeal.” It has been 10 years since his last solo album of original material. Despite the title, Return of the Tender Lover is not a reprise of the previous release. Instead, it sounds more like an effort to take the spirit of the original and apply it to contemporary smooth R&B sounds. The result is a pleasure to hear. The album kicks off with the joyful “We’ve Got Love” and elsewhere includes reunions with past collaborators El DeBarge and the vocal group After 7. This album is your contemporary soundtrack to a romantic winter night with the one you love.

Are Spotify and other streaming platforms hurting artists?

The digital age of music distribution has taken the music industry completely by storm. In the last decade, streaming services have become one of the most popular ways that consumers can affordably and conveniently access their favorite artists’ music. 

That’s why Taylor Swift made headlines when she took her entire discography off Spotify and other platforms last year. The move was made just before Swift’s 1989 was released exclusively in stores. Music consumers have gotten used to immediate and unlimited access to our favorite artists through streaming services, so Swift’s decision shocked.

Swift has since chosen to release 1989 on a different streaming service, Apple Music (although not without publicly shaming the company into paying artists, record labels and publishers for streams during its three-month trial). But her opposition to Spotify and other streaming sites that offer free music isn’t just a publicity stunt. It’s also a bold statement of opposition to a business model that may not benefit artists as much as it promises, whether multi-million-dollar mega-stars or the bandmates in the garage next door.

Streaming models

There are two types of streaming services that consumers take the most advantage of: customizable, streaming radio and subscription-based, on-demand streaming services.

Pandora, and similar platforms including Slacker Radio, 8Tracks and Songza, provide a customizable streaming-radio experience. Most streaming radio sites, including Pandora, allow listeners to select genres and artists they like. The provider then supplies complementary music based on that choice, shuffling in new or different bands that may pique interest. 

Online streaming radio platforms generally don’t offer users the option to download songs from their site, steering listeners to retailers like Amazon or iTunes if they want to purchase single tracks or albums. These services also tend to be ad-supported, offering free sign-up but only removing audio and video ads after users purchase a subscription.

On-demand platforms allow listeners to play music from their staggeringly large libraries anytime, anywhere and as many times as they like. Spotify features 20 million songs, and while other services have much smaller catalogues, there’s still more music there than you could ever conceivably listen to. 

Spotify offers a free version, and premium perks come with the monthly fee of $9.99. Premium access eliminates ad interruptions between songs, allows for offline downloading of songs and playlists and plays tracks at the highest possible audio quality. 

Of the two methods, streaming radio has proven to be more profitable for artists. Since Pandora users can’t access any song or album at a given time, they’re far more likely to invest in the artists they discover by going elsewhere and purchasing albums at full price. Royalties are then generated in real-time unit sales and feed back into the artist’s business.

If artists’ collected works and new releases are available in full for a small fee to an on-demand streaming service however, users will simply listen to music there, without purchasing the record. It’s a distinction that has repercussions for artists. 

Crunching the numbers

The earnings for artists are miniscule in both the customizable radio and on-demand streaming models, but on-demand streaming more seriously jeopardizes their ability to earn a fair profit from their work because its goal is to overtake the current business model, not supplement it. 

Customizable radio services are engines for discovering new music or listening to personalized radio streams. At best, Pandora pays out a mere $0.0024 per stream, but because users can’t choose to listen to any particular song whenever they please, that small profit is added to sales elsewhere, not replacing them. Pandora and other streaming radio options thus become opportunities for artists to gain exposure without losing much of anything. 

Users of on-demand streaming platforms are led to believe that their monthly payment somehow makes its way back to the artists they stream in the same way album and individual track sales immediately pay an artist, but the reality is more complicated.

Take the data Spotify provides on its information page “Spotify Explained.” Spotify uses a complicated formula to determine how much money to pay artists, but those variables currently add up to an average payout of between $0.006 and $0.0084 per stream. Admittedly, it’s a rate higher than that on Pandora, but only if you don’t take into account the fact that Spotify users may never purchase the songs or albums they add to their digital collection. 

And it’s impossible for all but the biggest artists to make the same amount as they would in direct sales. In order for a listener to stream an artist’s song enough to equal an iTunes or Amazon pricetag of $0.99, the listener would have to play one track 120 and 167 times — an unlikely scenario for even the most popular new tune. 

If payments are so low, why do artists sign on? The answer comes down to one seemingly insurmountable threat: piracy. Spotify argues that because of piracy, musicians are losing money that is rightfully theirs and signing up for their service is the best way to get anything for their music.

For Grammy award-winning composer and Los Angeles-based artist Christopher Tin, both sides of the streaming coin are worth acknowledging. “The streaming model is wonderful for consumers, no doubt about that, but the problem is, it really undervalues the product,” he said. “When a streaming service tells its customers they can listen to any music they want to that has ever been recorded, anywhere, (and) all they have to do is pay $10 a month for access, that’s a great value for the customer, but it isn’t sustainable for the artists.”

Spotify’s CEO, Swedish entrepreneur Daniel Ek, has maintained that his company’s major initiative has always been to bring the value of music as great art back to life by seeking to circumvent Internet piracy. He said his service is designed to bring those marauders back into the fold as paying music consumers. 

In an interview with USA Today, Ek said, “We’re getting fans to pay for music again. We’re connecting artists to fans they would never have otherwise found, and we’re paying them for every single listen. We’re not just streaming, we’re mainstreaming now, and that’s good for music makers and music lovers around the world.”

Tin said there are a few hang-ups with that argument. But the most important is that Spotify changes the dynamic of the music industry, from one where users pay artists to one where users pay streaming services. 

“If users can subscribe to a service like Spotify for only $10 a month and listen to everything that’s out there, there’s no need for the consumer to purchase music anymore,” Tin said. “It cuts into artists’ album sales, and that’s something that smaller artists really still rely on. When that is replaced by only streaming revenue, which is fractions of pennies, then that artist or band won’t make enough money to be able to record their next album.”

Analysis: Valuing music

Artists have taken many different stances in response to the popularity of streaming services. Some artists in the Taylor Swift camp have chosen to keep their albums off of services such as Spotify. 

Swift’s move away from the streaming giants directly affected the outcome of 1989’s success in unit sales. Her followers on Spotify — numbering in the multiple-millions — would have had immediate and unlimited access to her album for a $10 payment to Spotify. Her decision re-routed the revenue, with her fans’ $13.99 payment for 1989 going directly to her and her team. 

Other musicians choose to temporarily keep their new albums off of streaming platforms for a short period after their release — Coldplay held its last two albums off Spotify for four months, for example. Others, such as Tin, never release their collections in full, which allows for fans who purchase his full albums to enjoy a level of exclusivity those on streaming services don’t get. 

For artists like Swift or Coldplay, who are already successful, marketing new projects and reaching fans is easy and profitable. Local and emerging artists, however, effectively have to get lucky, because they can’t make enough from digital distribution to become successful otherwise.

If streaming is going to succeed, it needs to find a way to make this new and largely still experimental market work in everyone’s favor. It’s a sad economic system that pits the consumer and artists against each other. It should be about the symbiosis in music commerce between the consumer and their favorite artists. 

The bottom line, offered by Tin, is a question of balance and economy: “The question is, How do you use the (streaming) services such that you get the exposure element but you don’t cannibalize your own sales?” 

This is a time when anyone with a desire to produce music can jump in and get creative. This also is a time of live musicianship where niche genres like jazz, classical, roots, blues, world music, among others, are still alive and being developed. While streaming platforms may be valuable for some performers, smaller artists still need the opportunity to recoup costs or they won’t be able to keep making music. 

“My albums are expensive — I go to great lengths to record them,” said Tin. “If I can’t recoup at least some of that on sales, then I have to cut corners on the production or I just have to stop making albums. Artistry is sacred and you don’t want things like economic factors to shape the music that’s created.”

Artists can get coveted exposure through all of the different streaming services, but eventually, that exposure needs to earn artists a living.

Milwaukee jazz artist Chris Newlin recognizes these circumstances. “I’m from the standpoint that all of the hard work you put into a product has value,” he said. “And you deserve an amount of compensation for that which is not accurately represented in what Spotify pays at all. Exposure, however much that’s worth, it does not even come close to making up for the amount that a product is actually worth.”

Music has always been considered a cultural cornerstone, a commodity of the highest value. If the value of music is going to be maintained in this digital age, consumers can help by becoming more aware of how they acquire it, and how artists are — or are not — compensated. 

Who’s Who in music streaming: Tidal, Spotify, Pandora & more

Since Apple shook up the music world with iTunes a little more than a decade ago, online music has exploded and become the central way many people enjoy and discover music. Internet services such as Pandora and Spotify have millions of users. Now, several high-profile musicians are behind what’s being billed as the first artist-owned music-streaming service.

Tidal isn’t new, but it’s getting a reboot from rapper Jay-Z, who bought the Scandinavian company behind it, Aspiro. Madonna, Rihanna and Beyonce are among the co-owners. That’s notable because many artists complain about how little payment they get from other music services, such as Spotify. As owners, artists could insist on better deals.

There are now three main ways to get music, and many services offer a blend:

• Pay per song. Apple’s iTunes has made it easy to buy singles or albums. Many artists release new albums early through iTunes. Google and Amazon now compete, but the premise remains the same: Buy songs or albums to own forever.

• Unlimited listening. For a monthly subscription of about $10, you can listen to as many songs as you want on a variety of personal computers, phones, tablets and other devices. Many also let you download songs for offline playback. Once you stop paying, though, you lose all your songs, even ones you’ve already downloaded. Some offer free versions with ads and other restrictions, such as song selection only on PCs.

• Internet radio. You can’t choose specific songs or artists, as you can with the unlimited-listening services. But you can fine-tune your Internet stations by specifying a song, artist, genre or playlist. The station will then stream songs similar to your choices. You can personalize stations further by giving thumbs up or thumbs down to songs you hear.

Music services typically have deals with all major recording companies, so they differ mainly in features rather than song selection. That said, Taylor Swift took her music off Spotify last fall in a dispute over fees. All but her most recent album are on Tidal, Rdio and Beats.

Here’s a look at who’s who in music streaming.


One of the most popular music services, with 60 million active users worldwide, and a quarter of them paying subscribers. Just this week, Spotify launched an app on Sony’s PlayStation game console. The two companies worked closely to make listening seamless, so music can be heard in the background while playing games, without losing the game’s sound effects, for instance. Spotify offers unlimited listening and Internet radio. It’s free with ads; on mobile devices, users are limited to Internet radio and can’t choose songs. Paying $10 a month gets you an ad-free premium service that offers song selection and offline playback on mobile devices.


Offers Internet radio only. More than 81 million active listeners. Free with ads, or pay $5 a month for an ad-free premium service and higher-quality audio over Web browsers.


Unlimited listening. Among the few services offering high-fidelity songs, which many audiophiles prefer over MP3s and other formats that reduce quality in the compression process. Offers music video and curated playlists from experts. $10 a month for standard sound quality and $20 for high fidelity. There’s no free offering.


Pay per song to download and own forever through iTunes. Free Internet radio through iTunes Radio on Apple devices. Also owns Beats Music, which offers unlimited listening for $10 a month, with no free version. Beats touts its playlists and other recommendations curated by experts, not computers.


Pay per song through Google Play. Google Play Music service offers unlimited listening for $10 a month, with no free option. Google also offers YouTube Music Key for selected music videos, free of ads, for $10. Paying for one gets you the other, too.


Pay-per-song offering. Amazon’s $99-a-year Prime membership comes with unlimited listening, though the song selection isn’t as broad as what rivals offer.


Offers free Internet radio like Pandora and others, but tries to make it easier to find music to match your mood. Instead of typing in songs or artists to find matching stations, you spin an on-screen wheel to go through various genres until you land on something you like. Initially exclusive to Samsung TVs and mobile devices, there’s now a Web player for personal computers.

WiGWIRED: People spent $10B in its app store in 2013

Apple says people spent more than $10 billion in its app store last year, on apps such as “Minecraft,” “Angry Birds Star Wars” and “Sleep Cycle” alarm clock.

December was the most successful month in the store’s history, as customers spent $1 billion that month.  Apple says the year’s total was also a record.

There are more than a million apps available in the app store for the iPhone, the iPad and the iPod Touch. Besides games, there are newspapers, magazines, travel, business and health and fitness apps, among others.

Apple launched the app store in 2008, a year after the iPhone with 500 apps.

Obama’s iPod a bit like his electorate – varied

President Barack Obama’s iPod could pass for a voter outreach tool. Interviewed recently on Cincinnati radio station WIZF, Obama ran through his musical tastes, an eclectic and all-encompassing list of artists and tracks that reflect the varied coalition of voters he is seeking to attract.

Asked what was on the “presidential iPod,” Obama replied that he had “a pretty good mix.”

“I’ve got old school – Stevie Wonder, James Brown. I’ve got Rolling Stones, Bob Dylan,” he said.

There are also plenty of tracks that young voters might have downloaded to their own collections.

“And then I’ve got everything from Jay-Z, to Eminem, to the Fugees, to you name it. There’s probably not a group that you play that I don’t have on my iPod,” Obama told the station’s E.J. Greig.

For the voters whose tastes are more esoteric, “I’ve got some jazz – John Coltrane, Miles Davis, Gil Scott-Heron,” the president said, adding, “You’ve got to mix it up. It just depends on what mood I’m in.”

No mention of The Boss, Bruce Springsteen, who has been campaigning for Obama, including in Wisconsin. And he apparently doesn’t have any bootleg of Bill Clinton on saxophone.

Or country music. That vote tends to tilt to the other guy.

New Catholic confession app called anti-gay

Truth Wins Out, an organization that fights anti-LGBT extremism, condemned a new iPhone App that guides Catholics through confession, saying it promotes anti-gay religious dogma. Among one of many offensive items on “Confession: A Roman Catholic App,” TWO says, is the question: “Have I been guilty of any homosexual activity.”

“This is cyber spiritual abuse that promotes backward ideas in a modern package,” said Truth Wins Out executive director Wayne Besen. “Gay Catholics don’t need to confess, they need to come out of the closet and challenge anti-gay dogma. The false idea that being gay is something to be ashamed of has destroyed too many lives. This iPhone App is facilitating and furthering the harm.”

Three young men in South Bend, Ind., designed the app with the help of two socially conservative priests. Roman Catholic officials in both the United States and the United Kingdom have sanctioned the app.

According to iTunes, the app is ranked No. 22 in sales worldwide.

“When a person feels his or her most innate feelings of sexuality and love are sinful, it denies them a healthy connection to humanity,” Besen said. “This app is helping to create neurotic individuals who are ashamed of who they are. The creators of this device are the true sinners and they need to confess for the damage they are doing in the name of religion.”

Recently, there has been concern that the Catholic Church is becoming more anti-gay and intolerant, TWO said in a statement. The organization Catholics for Equality recently voiced unease over new funding from the Dioceses of Oakland and Colorado Springs for the establishment of chapters of the “ex-gay” organization Courage, which has traditionally focused on celibacy for gay people.


Anti-gay iPhone app approved by Apple, then disappears

An anti-gay iPhone app approved by Apple apparently is no longer available for download from the iTunes store after causing a stir on the Internet.

The app, titled The Manhattan Declaration, is a four-question survey on same-sex relationships, marriage and abortion that’s promoted as a “call of Christian conscience.” If the user’s answers do not conform to the viewpoint of right-wing fundamentalist Christians, the user is told his or her answers are wrong.

At the end of the survey, users are asked to sign a document in support of the anti-gay agenda promoted by the app’s makers. The document’s supporters include James Dobson, founder of the anti-gay Focus on the Family, and Tony Perkins, president of the Family Research Council, which was recently labeled a hate group by the Southern Poverty Law Center.

After reviewing the app, Apple awarded it a 4-plus rating, which means it contains nothing objectionable.

On websites and blogs throughout cyberspace, LGBT people and their allies complained that the app was very objectionable, especially considering the fact that Apple will not allow gay-inclusive apps to be made available for download.

Change.org said the app favors “homophobia and extreme anti-choice views” and started a petition to have it removed.

Creators of the Manhattan Declaration responded, “These radicals often pollute the debate with ranting. They rant about ‘equal rights,’ without explaining how homosexuality deserves it, ‘women’s rights,’ without explaining how women have a right to kill their child, and even ‘hateful Christians,’ without showing instances where we hate.”

After complaints about the app spread throughout the Web, it abruptly disappeared without notice on Nov. 26. Whether the disappearance is a glitch or a purposeful decision made by Apple remains to be seen.