Beats Music joins a crowded cloud of music streamers but still ignores geeks

Randall Roberts
Los Angeles Times (MCT)

Got discerning taste? Interested in digging in the digital crates for the best music available in the cloud? Then you’ve no doubt been targeted by Beats Music in the last few months.

The much-hyped streaming service is the latest entry in an increasingly crowded field that includes Spotify and iTunes. It offers access to millions of songs and hundreds of hand-selected playlists for $9.99 a month (or, for ATT customers, $14.99 for a family plan).

It was unveiled last month during a big-budget rollout by longtime music business executives and hitmakers Dr. Dre and Jimmy Iovine through their company, Beats Electronics. Considering their Beats by Dre brand upended the headphone market after launching in 2008, other streaming services have to be nervous.

At first blush, the app is crush-worthy, featuring playlists galore from Usher, Miranda Lambert, Vampire Weekend and dozens of other artists, taste-making outlets and organizations including Pitchfork, XXL and Mojo. A host of in-house experts seemingly builds playlists by the hour.

Offering boundless avenues to bundles of songs, the easy-to-navigate interface seems to have overcome log-in issues during the rollout that left some early adopters frustrated.

It was a rough few days, considering the competitive market for digital music portals populated by similar subscription and free services from iHeartRadio, MySpace, Rdio, Rhapsody and dozens of others. Each is claiming territory in a future in which music ownership is replaced by unlimited access to files stored on faraway servers but readily available wherever, whenever and in whatever order you so desire.

Combined with chief creative officer Trent Reznor (Nine Inch Nails, How to Destroy Angels) and a roster of musical minds to guide you, Beats is marketing itself for its curatorial prowess and is banking that the founders’ cache and histories as innovators will lend a musicianly air to what has so far been a crowded and decidedly under-evolved streaming-music experience.

Their thick Rolodexes don’t hurt.

Curious as to what Richard Sherman was listening to while prepping for the big game? The Seattle Seahawks cornerback compiled a playlist that features rap tracks from Kendrick Lamar, Kanye West, Ace Hood, Yo Gotti and others. (His taste is as exquisite as his play.) For his part, quarterback Peyton Manning offered a collection called “There’s No ‘I’ in Peyton,” with nods to Lynyrd Skynyrd, Johnny Cash and Bob Dylan.

Stevie Nicks offers soft rock. The Academy of Country Music and the Grand Ole Opry highlight old and new twang. Top 40 guide PopCrush, hip-hop realm Rap Radar and the metalheads at Revolver and Decibel aim to draw the young and obsessed. Indie haven Pitchfork offers 32 different playlists. Naxos Records spins classical through filters including “Sampled: Classical Music in Hip Hop, Vol. 1.” Reissue go-to guide Mojo Magazine, jazz standby Downbeat and electronic chroniclers DJ Mag all offer fresh and resurrected sounds.

Genre tabs point to constantly updated playlists of new releases and “trending tracks,” all incredibly useful for those like me whose life revolves around fresh sounds.

Browse by genre and find tips on indie, pop, electronic, kids music, comedy, country, “musica Mexicana,” new age, punk, reggae and everything else amid the millions of songs.

Though all of this is certainly a step in the right direction, Beats still hasn’t addressed the gaping hole of missing data, images and information, so it isn’t the revolution it promises to be.

So far it’s the prettiest window dressing into the same 15 million to 20 million songs that most services offer, one best enjoyed on hand-held devices in range of a solid WiFi connection.

The major commitment that Beats, like Spotify and the others, has yet to make is in gathering all the informational minutiae of music. It’s hard to get lost in the wormhole of geekdom if said tunnel is only a few inches deep.

For example, unlike film and television streaming service Netflix, which breaks down films by not only genre but cross-references details on actors, creators, directors and links to important reviews, Beats has yet to build a similarly well-connected infrastructure, even though the service costs 20 percent more than Netflix a month.

Specifically, searching Queens of the Stone Age mastermind “Josh Homme” reveals vague, uninformative links to other “similar” artists (Kurt Cobain, Helmet’s Page Hamilton and Jerry Cantrell of Alice in Chains among them). In a perfect world, I’d be able to get lost searching for unfamiliar Homme moments or happen upon strange corners through a combination of curatorial expertise and exploratory data.

Why can’t I see a scan of the original packaging?

Why isn’t there a “liner notes” tab where I can learn who played on which tracks?

Ideally, when I search on Trent Reznor, I’d see not only a link to Nine Inch Nails and How to Destroy Angels and accompanying liner notes, but producer and studio notes a la LP jackets and CD booklets, links to Reznor’s work in film scoring, his early contributions to work from Pigface and 1000 Homo DJs, his remixes and guest appearances. Each detail would be linked.

As it stands now, Reznor’s page offers bio and recommended links to soundtrack composers Howard Shore and Cliff Martinez, director John Carpenter and Nine Inch Nails. That’s it, even though a Reznor production playlist is available one step away, through the Nails page.

If I’m greedy, I’d want to know what recording studio Sly and the Family Stone used for “There’s a Riot Goin’ On.” When it lists the Village Recorder in Santa Monica, it’d be fascinating to connect it to artists and albums by Fleetwood Mac, John Mayer, Bob Dylan and Missy Elliott and the hundreds of others who have worked there.

Nitpicky, perhaps, and a very complicated undertaking. But that’s how grand innovation is built, and even if Beats’ volume of curatorial insight is, indeed, impressive — especially for the price — the system feels unfinished. A more deeply connected database would provide geeks of the world to use Beats’ many excellent playlists more as a springboard into the system.

The data crumbs are out there, scattered among Wiki pages, All Music Guide discography details, liner notes packaging and lyric sites, a Web waiting to be connected into a grand informational database that gathers sound and history into one grand cathedral.




Price: $9.99 per month

Free version: Yes

Pitch: “Millions of songs at your fingertips.”

Platforms: iOS, Android, Windows

Target audience: Everyone


Price: $9.99 per month

Free version: Yes

Pitch: Music evolved: Play and discover free.

Platforms: iOs, Android, Windows

Target audience: Independent-minded taste-makers


Price: Free

Free version: Yes

Pitch: “Listen to your favorite live radio stations or create your own commercial-free custom stations from a catalog of 18 million songs.”

Platforms: iOs, Android, Windows

Target audience: Fans of Ryan Seacrest, Clear Channel


Price: $9.99, or $14.99 for ATT Family plan

Free version: No

Pitch: “A new music service curated by people who believe music is emotion and life.”

Platforms: iOS, Android, Windows

Target audience: The more discerning listener, serious fans


Price: $9.99 per month

Free version: yes (storage locker for streaming)

Pitch: “Unlimited music made easy.”

Platforms: Android

Target audience: Google devotees, Silicon Valley millionaires


Price: $9.99

Free version: No

Pitch: “Listen to your favorite music, ad free.”

Platforms: iOs, Android, Windows

Target audience: Everyone

To be a migrant worker in America is to relearn the basic skills of living. Imagine doing that in your 60s and 70s, when you thought you'd be retired.

Nomadland: Surviving America in the Twenty-First Century

Publisher: W. W. Norton
Author: Jessica Bruder
Publication date: 2017-09

There's been much hand-wringing over the state of the American economy in recent years. After the 2008 financial crisis upended middle-class families, we now live with regular media reports of recovery and growth -- as well as rising inequality and decreased social mobility. We ponder what kind of future we're creating for our children, while generally failing to consider who has already fallen between the gaps.

Keep reading... Show less

The World of Captain Beefheart: An Interview with Gary Lucas and Nona Hendryx

Gary Lucas and Nona Hendryx (photo © Michael DelSol courtesy of Howlin' Wuelf Media)

Guitarist and band leader Gary Lucas and veteran vocalist Nona Hendryx pay tribute to one of rock's originals in this interview with PopMatters.

From the opening bars of "Suction Prints", we knew we had entered The World of Captain Beefheart and that was exactly where we wanted to be. There it was, that unmistakable fast 'n bulbous sound, the sudden shifts of meter and tempo, the slithery and stinging slide guitar in tandem with propulsive bass, the polyrhythmic drumming giving the music a swing unlike any other rock band.

Keep reading... Show less

Very few of their peers surpass Eurythmics in terms of artistic vision, musicianship, songwriting, and creative audacity. This is the history of the seminal new wave group

The Rock and Roll Hall of Fame nominating committee's yearly announcement of the latest batch of potential inductees always generates the same reaction: a combination of sputtering outrage by fans of those deserving artists who've been shunned, and jubilation by fans of those who made the cut. The annual debate over the list of nominees is as inevitable as the announcement itself.

Keep reading... Show less

From Haircut 100 to his own modern pop stylings, Nick Heyward is loving this new phase of his career, experimenting with genre with the giddy glee of a true pop music nerd.

In 1982, Nick Heyward was a major star in the UK.

As the leader of pop sensations Haircut 100, he found himself loved by every teenage girl in the land. It's easy to see why, as Haircut 100 were a group of chaps so wholesome, they could have stepped from the pages of Lisa Simpson's "Non-Threatening Boys" magazine. They resembled a Benetton knitwear advert and played a type of quirky, pop-funk that propelled them into every transistor radio in Great Britain.

Keep reading... Show less

This book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

Marcelino Truong launched his autobiographical account of growing up in Saigon during the Vietnam War with the acclaimed graphic novel Such a Lovely Little War: Saigon 1961-63, originally published in French in 2012 and in English translation in 2016. That book concluded with his family's permanent relocation to London, England, as the chaos and bloodshed back home intensified.

Now Truong continues the tale with Saigon Calling: London 1963-75 (originally published in French in 2015), which follows the experiences of his family after they seek refuge in Europe. It offers a poignant illustration of what life was like for a family of refugees from the war, and from the perspective of young children (granted, Truong's family were a privileged and upper class set of refugees, well-connected with South Vietnamese and European elites). While relatives and friends struggle to survive amid the bombs and street warfare of Vietnam, the displaced narrator and his siblings find their attention consumed by the latest fashion and music trends in London. The book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.