Alert for prog fans: albums on the prolific Musea label are beginning to show up at eMusic. There’s already some great stuff up, including both Carpe Diem albums, Weidorje’s only album, a couple Wapassou albums, and so on. If you haven’t taken the plunge, maybe now is the time. For me, the Musea catalog is a perfect match for my eMusic downloading habits, as many of their releases are albums I’d probably enjoy but would never spend a full $16-$18 on. Now everyone’s happy: Musea is getting a little bit of money from me, and I’m getting a bunch of music I would never have otherwise heard.
A little while ago there was a discussion on the ReRmegacorp Yahoo! group about the merits of electronic distribution. That Mike Borella was a proponent of releasing all future ReR releases electronically is no surprise to anyone who follows his Avant Music News blog — apparently he now buys all his music electronically and has not purchased a CD in two years. A few months ago, I made my first tentative steps into the world of downloading legal MP3s; now I’m pretty much sold. I still buy a lot of music on CD, but only music I can’t otherwise get online. I realized that when I get a CD, the first thing I do is rip it into a high-quality MP3 so I can listen at my computer (which I have hooked up to my stereo) or on my portable player. Most of the time I don’t even really look at the liner notes.
Besides, with eMusic so ridiculously cheap, why pay $15 for a CD when I can have it for less than a dollar? Under the iTunes model, buying CDs is still economically justifiable, but under the eMusic model it’s lunacy. Given how little the end user pays, I would be very, very interested to hear the details of how exactly the artists and labels make enough money to justify hosting their albums at eMusic.