If I stuck around just a few months more, I would have been an eMusic subscriber for a decade. Instead, I canceled my membership at the end of December 2015.
I also had a low-level Spotify subscription for about the price of a fancy drink at Starbucks every month, but I realized I only even launch the Spotify desktop application to update the Musicwhore.org Favorite Edition Playlists. So I canceled that subscription as well.
My streaming service of choice is now Google Play Music.
The music locker pretty much sewed it up for me. When Google Music launched, it offered space for 20,000 songs for free. Amazon had a similar offering with an up-sell to more space, but the size of my music library pretty much steered me in Google’s direction.
It took a number of years to fill that limit, which I did some time in 2013. By then, Google Music became Google Play Music and transformed itself into a streaming service. I signed up for a trial offer and liked the convenience of my uploaded library supplemented with the streaming offerings. I became a paying member and eventually shut out everything else.
eMusic had become an online version of Columbia House, where I had to download something every month to make the subscription worthwhile. I’ve accumulated a lot of digital flotsam and jetsam as a result. In a way, eMusic downloads became my replacement for pre-recorded cassettes, a convenient, sub-prime format to listen to an album. If I liked it enough, I’d buy a copy in a format with higher fidelity.
This idea of a “paid preview” allowed me to support artists on a graduated level — the more I liked the music, the more I would invest. When I signed up for eMusic in 2006, Spotify had only just launched in Europe, but I knew when it reached the US, my days as an eMusic member would be numbered. I’m actually surprised I hadn’t canceled years ago.
As it turned out, I hated the Spotify desktop application. Years of using Winamp and tolerating iTunes conditioned me to resist some of Spotify’s user experience choices. I can’t name them now because I was so thoroughly turned off that I went back to using eMusic and eventually adopted Google Music. But I kept the $5 subscription for fear of missing out on artist exclusives. It took some time before I realized I actually didn’t care for exclusivity in streaming services either. I’m not about to sign up for Tidal just to listen to Prince.
Google Play Music has so far ticked off all the boxes I require in an online music service. The locker stores the albums I own that the streaming service doesn’t provide, which is a lot given my tastes. The streaming service allows me to preview albums I may eventually buy, while throwing a few minuscule cents of royalties in the direction of the artist. I have the convenience of listening to NUMBER GIRL at work or at home, then switch over to a Cathy Dennis album I stream until I’ve made up my mind to buy it.
The only other comparable service would be Amazon Prime and its cloud storage, but the Music Manager desktop applications provided by Google Play Music have pretty much locked me into its platform. I do appreciate AutoRip on those rare occassions the two-day shipping isn’t fast enough.
I won’t consider Apple Music because that means I have to use iTunes. The only time I use iTunes is to manage my iPod. I hate iTunes on Windows more than I hate the Spotify desktop application.
So it’s Google Play Music for me.