A GHOST STORY RETAILED
ACT II: DEPARTMENTS and POSTURES
To continue the paean to independent retailers and their traditions of service:
Having swamped the town centres, the superstores promptly moved out again. Easily renegotiating or subverting regulations that govern planning permission, they annexed green-field sites beyond the conurbations, often – oh, the poetry of it – on the land of farmers bankrupted by their own policies (but I’ll come to those in due course). While out-of-town leviathans reinforce the transcendence of the great god Convenience – all you could ever want under one roof – they obviously discriminate against those dependent on public transport: the unregarded old and disabled, the bored and recalcitrant young and non-conformists like me who happen never to have learned to drive.
As a result of this concentration of diverse retail under single massive roofs, thousands of independent and specialist shops closed. Multi-purpose emporiums on single sites died too. When I was young, one of the great treats of visiting London was to dawdle round the department stores, most of which seemed to be owned by two proprietors, each of whom bestowed upon them his surname: Swan & Edgar, Dickens & Jones, Marshall & Snellgrove, Debenham & Freebody, Bourne & Hollingsworth, Derry & Toms, Arding & Hobbs.
Whiteley's in the early 1920s
Like Harrod’s and Liberty, Fortnum & Mason depends on its wealthy regulars to keep going. But the others – along with both Barker’s and Ponting’s in Kensington High Street, Jones Brothers on the Holloway Road and Maples the Tottenham Court Road furniture store (“see Maples and die”) – are gone, as are rather more recent multiple retailers that had huge London branches: Littlewoods, C&A and Allders. The founding branch of the Allders chain in Croydon does still trade under the brand, however. The much-loved store in Queensway, Whiteley’s, survives only as the name of a shell within which there is a mall made up of chain stores and a multiplex cinema. Gordon Selfridge’s world-famous Oxford Street store has effectively gone the same way.
Waring & Gillow lorded it before my time. That was a legendary store with branches in provincial cities such as Lancaster (where Gillow originated, I think) and Coventry. The store was the first to become a byword in furnishings for the middle class home. WS Gilbert makes mention of it in a lyric for HMS Pinafore.
The stores hit their stride in the mid-19th century. The most compelling account of them I know is Zola’s novel of 1883, Au bonheur des dames (my edition translates it as The Ladies’ Paradise), which sets a rather sentimentalized love story in an emporium based on the world’s largest retail outlet before World War I, Aristide Boucicaut’s Bon Marché in Haussmann’s rebuilt Paris. Boucicaut’s great perception was that his primary customers were female. In Zola’s docu-fiction version, his “sole passion was the conquest of Woman. He wanted her to be queen in his shop; he had built this temple for her in order to hold her at his mercy. His tactics were to intoxicate her with amorous attentions, to trade on her desires, and to exploit her excitement … his most inspired idea … was that of conquering the mother through the child … [he] stopped the mothers as they were walking past by offering pictures and balloons to their babies”. Perhaps the bosses of McDonald’s have read Zola.
The fabulous bon marché in Paris
Swan & Edgar commanded the primest of prime sites in London at what seemed the hub of the Empire (when there was still an Empire): the block between Piccadilly and Regent Street, fronting Piccadilly Circus. “Outside Swan & Edgar” was the traditional place to meet friends in town. This was despite that the railings separating the pavement from the road for the length of the store frontage were known as ‘the meat rack’ because so many rent boys lolled there, day and night. Swan & Edgar’s ruled from 1812 to 1982, a fabulous run in anybody’s book. Then it became Tower Records, then Virgin, then Zavvi, now something called The Sting, apparently a Dutch clothes store.
Swan & Edgar looms over Piccadilly Circus
Debenham’s shed the Freebody half, but thrives, much altered, as a down-market chain owned by a multinational buy-out consortium. It has branches from Iceland to Qatar. The House of Fraser, last owner of Dickens & Jones, announced that store’s closure in 2005. Fraser have also folded into its own identity other great names (DH Evans, Kendals of Manchester, Barker’s, Baird of Wishaw, The Army & Navy among many) but preserved the historic brand of Jenners of Edinburgh. Like the House of Fraser, Fenwick and the liberally-managed John Lewis chain continue to expand. Bennett’s of Derby, reckoned to be the world’s senior department store, still stands. So do Peter Jones on Sloane Square and the store with the blithely Milliganesque name, HJ Knee of Trowbridge. But Biba, which succeeded Derry & Toms in Kensington, and, beyond London, David Morgan of Cardiff, Blinkhorn & Son of Gloucester and Robinson & Cleaver of Belfast went into oblivion.
Jenners of Prince's Street, Edinburgh – just what a department store should look like
The most beguiling London store of my childhood was the unique and now unimaginable one that specialized in “novelties, magic and tricks”: Ellisdon & Sons of High Holborn. I knew it first through its celebrated catalogue that listed all its treats in boxed sections with line drawings that must have dated from the 1930s. As far as my pocket money allowed, I ordered from this hilarious list: black-face soap, whoopee cushions, bird whistles, fake tooth gaps and so on. You could get plastic dog turds with which to outrage your Mum (who sportingly pretended to be fooled) and plastic spiders (“men scream, women swoon” shouted the catalogue which, even to my innocent sensibility, looked a somewhat over-egged claim). You could “learn to throw your voice”, which, the catalogue undertook, would cause chaos in the adult world. And there was the inspired Seebackroscope, basically a contraption containing a standard-issue mirror that allowed you to “spy on” people (especially courting couples, it was suggested) who were behind you. Such larks.
Where to find an indestructibe fried egg
Just before a seaside holiday, I received through the post a much-anticipated Ellisdon’s fried egg which I secreted in my bag. The hotel’s French mâitre d’, who anyway appeared ever on the edge of hysteria, most reluctantly agreed to have this hoax introduced into someone’s meal and, obligingly, my Dad ordered a mixed grill for breakfast and made great play of saving the plastic egg till last. The mâitre d’ hopped about agonised in the background, ready to replace the offending item with a proper egg. But he required the smelling salts when, later, I left the egg on the carpet outside the restaurant, surrounded by bits of (real) broken biscuit.
Another much loved store in High Holborn was Gamages, which ran a renowned mail order service: its catalogues are collectors’ items today. A typical ad for the store offered, as well as “an unlimited variety of attractive merchandise at money-saving prices”, a host of other facilities. These included a “luxuriously appointed” snack bar, the “largest and most up-to-date Salon in Central London”, “more than 200 different kinds of sandwiches” in the cocktail bar (beat that, Prêt) and, in two restaurants, “good, well-cooked food expeditiously served in comfortable surroundings. Moderate prices”.
1947 and crowds flock into Gamages
Simpson’s, the elegant gents’ outfitters, used to dominate the south side of Piccadilly. I once spotted the Labour cabinet minister Richard Crossman in there, standing ramrod-backed for all to see with his arm raised to shoulder height and folded at the elbow while an assistant measured him for a jacket. That kind of personal attention has become too expensive to supply, save at the very top of the market. The many-floored Simpson’s building is now the largest branch of Waterstone’s, the bookshop chain that is modelled on Barnes & Noble in the States.
Waterstone’s is now owned by a Russian-led consortium, but at least it has appointed as the managing director a vocational bookseller in James Daunt. Tim Waterstone founded the chain thirty years ago, after he was sacked as marketing manager for WH Smith, to whom he then went and sold out twelve years later. In turn, Smith’s sold the shops to HMV, already owners of the Dillon’s chain, which it promptly rebranded as Waterstone’s.
When I first knew both HMV and Dillon’s, each was a single store. Dillon’s was off Gower Street, serving its neighbour, University College London, where I was an undergraduate. You’d be there all day, turning up volumes of the most arcane academe. Foyle’s, on the opposite Charing Cross Road corner (now a sex shop) from its present site, had an even bigger stock. Mind, you could go mad in Foyle’s. Until quite recently, you had to collect an invoice from an assistant to whom you entrusted your purchases. You then went to a kiosk to pay the bill before reclaiming the bag that, if the assistant was on the ball, contained the books you had bought. Ridiculous.
Collector's item: Gamages catalogue
Hatchards of Piccadilly soldiers on – it’s part of the Waterstone’s group – as do the OUP shop in Oxford and the Blackwell’s chain that also began life in Oxford. But other fine bookshops have vanished. Politico’s, a unique place in Victoria that was heaven to browse, now trades only on-line. Camden’s compendious Compendium, full of more jaw-dropping titles than any other bookshop in the world, was replaced by a retailer of tat. Though it could hardly compare with specialist movie dealers in Los Angeles and New York, the Cinema Bookshop, which finally closed its doors at the beginning of 2006, was a grievous loss to London.
Collett’s, Zwemmer’s and Silver Moon, all of Charing Cross Road, are no more, like Hachette on Regent Street, Pipeline of Holborn (who also distributed), the Hammersmith branch of Any Amount of Books, Bumpus of Baker Street, Crouch End Bookshop, Prospero’s Books, Flask Walk Bookshop in Hampstead Village and, beyond London, William Smith in Reading (which burned down) and the vast (Robert) Maxwell’s in Oxford. And of course the disappearance of Ottakars (taken over by Waterstone’s) and the collapse of the twinned chains of Books etc and Borders, while they were less cherished than the idiosyncratic shops, was still a blow to books and the diversity of their dissemination.
In another part of the forest, the aforementioned HMV had occupied premises at 363 on the south side of Oxford Street for nearly half a century when I first shopped there: Elgar was guest of honour at the opening. Lodging for two years in a student rooming-house opposite Selfridge’s, I came to use HMV a lot. In those days (the late ‘60s), the shop’s relatively new embrace of pop music was confined to the basement. The ground floor – its sounds overwhelmed you as you entered – was given over wholly to classical music. The selection was magnificent, needless to say, the listening booths were elegant and comfortable and the reference section was unrivalled. A splendid spiral staircase, redolent of an ocean liner, took you to the more recondite selections on the upper floors.
Inside the old HMV
HMV abandoned these premises around the turn of the millennium for a less characterful building across the road, but closed that last year. The original shop was taken over by something American called Foot Locker, about which I know just two things: its marquee is disproportionately large for its or any other façade; and a teenager was stabbed to death just outside on Boxing Day. For both reasons, I shall never set foot in that locker. HMV retains another site on the north side of Oxford Street, close to the Tottenham Court Road turn. The last time I looked, it still kept a relatively generous stock of classical CDs in the basement, backed by knowledgeable staff, which is certainly not the case in any other remaining HMV branch that I have visited.
The HMV chain is now in dire trouble, suffering a double-whammy from the internet: on-line shopping and pirate downloading. Few one-off music shops can survive this onslaught. The wondrous Duck Son & Pinker of Bath, a music store that still emitted a pre-war whiff, closed its doors last year. In London, Dean Street used to maintain a fabulous store for lovers of the musical; its successor, Dress Circle in Upper St Martin’s Lane, struggled through some hairy moments last year. Off St Martin’s Lane used to be an indispensable shop for collectors of jazz – James Asman.
The economics of a single-site store or indeed a modest chain are bound to be problematic in a market dominated by increasingly diversified multi-site giants. A major player can negotiate favourable terms on bulk buys, indeed can insist on such terms. Lone stores cannot compete on price reductions. Nor can they service the lame-brained shopper who pops in just for a box of washing powder and emerges with an oven-ready chicken, three nylon blouses (reduced), a hanging basket of busy lizzies, a pack of do-it-yourself stone-cladding, a baby’s high chair, a CD of Ricky Martin’s Greatest Hits, a novel by Alan Titchmarsh and two jeroboams of Pina Colada (though without the washing powder).
Ah yes, the superstores. I really should get to those … TO BE CONTINUED.
Showing posts with label HMV. Show all posts
Showing posts with label HMV. Show all posts
Friday, January 06, 2012
Saturday, June 06, 2009
The MUSIC GOES ROUND and ROUND
The prefects are moving in on illegal downloaders. Research revealed by something called the Strategic Advisory Board for Intellectual Property calculates that some 4.73bn (yes, billion) items are ripped off each year by illicit filesharers in Britain, let alone the rest of the world. For its part, the International Federation of the Phonograph Industry reckons that for every paid-for download to a British computer, there are six items that are stashed in collections without payment. These statistics, by the way, were stolen from an on-line article in The Guardian. As I have been buying the paper since before most of its New Media correspondents were born, I feel that I have already paid handsomely to make use of this info.

As one who certainly wishes to protect his own intellectual property rights, I don’t for a moment condone naked piracy. At the same time, I daily download material without paying for it and I do so with no compunction whatsoever. Permit me to explain.
I have never sought to watch a movie on-line or in any other circumstance on my iMac because I doubt that my screen (even at 17 x 11 inches) or my sound system will do it justice. I have picked up a couple of torrented episodes of American television drama serials that, for one reason or another, I missed on transmission but, believe me, that isn’t denying anybody any income because I am not about to buy the DVD of the whole of, say, season four of The West Wing just to bag one episode. In fact, if there had been no other way of accessing the missed episode, I would have been more likely to give up on the whole enterprise.

But I do download a lot of music. In the last year or two, I have certainly taken many more copies off filesharers’ sites than the “songs” (as they call each track) that I have paid for on iTunes or, lately, Amazon. Downloading is not anyway my preferred manner of collecting music. I will never love any recording medium the way that I – and those of my generation – loved vinyl but, even with the lack of tactile pleasure and vastly reduced user-friendliness of so-called jewel-cases and their booklets as opposed to album sleeves, I am reconciled to CDs (though I was a very late convert). And I will go out and buy CDs far sooner than download them, paid for or not.

But the music retail trade is in full retreat. It’s of course a chicken-and-egg situation but the fact is that I find it easier and easier to find what I want on-line and harder and harder in shops. Last Tuesday, I asked after classical CDs in the central Bristol branch of HMV and was told that they were to be found as “a sub-section of Easy Listening”. How grotesquely shaming. Mind, as the meagre selection on offer appeared to be dominated by the likes of Katherine Jenkins, Russell Watson and violin-scraping glam group Bond, it was perhaps not an inappropriate arrangement.
HMV originally built its business on selling recordings of classical music. When I first shopped at HMV in the 1960s – what was then its sole outlet, situated on the south side of Oxford Street – classical LPs were what greeted you as you entered the store on the ground floor. “Pop” and other vulgar stuff was relegated to the basement. In their day, I bet HMV made more relative income from the sale of 78s of Richard Tauber, Kathleen Ferrier or Dame Myra Hess than they ever have from CDs by Girls Aloud, Sonic Youth and Eminem.

There are now two branches of HMV on Oxford Street – both of them on the north side – and each does actually carry a very useful if (necessarily) not all that comprehensive range of both recent and standard-repertoire recordings, though not of course on the ground floor. I never leave either branch with fewer than a dozen purchases. London also boasts the legendary Harold Moores Records on Great Marlborough Street (where I rarely find what I’m looking for but discover all manner of other treasures while looking), the specialist Opera Shop on St Martin’s Lane and, in a different part of the forest, the fabulous Dress Circle on Upper St Martin’s Lane. The Virgin stores (which became Zavvi), that often had good selections for those who didn’t just want pop/pap, are gone now.
Down our way, we are pretty lucky with Bath Compact Discs and the timeless Duck, Son & Pinker, also in Bath; Sounds Good in Cheltenham; and Blackwells Music Shop in Oxford. But the internet has really opened up the retail of CDs and indeed LPs for the discriminating, largely because local storage is not an issue if your business is mail order or commercial downloading. These days, on-line shopping has made deleted recordings available in greater profusion than ever before.
And this brings me back to the matter of “pirated” acquisitions. While I am a steady purchaser of current recordings as mp3 downloads from iTunes – and I never dream of seeking free access to new or recent releases – the music I download for nothing is, in the first place, very largely by people (composers, songwriters, arrangers, performers) who are dead, frequently quite a long while dead. I am not denying residuals to these artists and if I am denying income to their descendants and other exploiters of their back catalogues (reissuers, repackagers) then I cannot feel badly about it.

Next, even among those artists who are alive, the examples of their work that I am most apt to download are long deleted. The only way I am likely to encounter this material otherwise is through high-priced specialist dealers or via the serendipity of charity and other junk-type shops. Either way, none of the profit is going to anyone associated with making the music. For the customer, getting what one wants by such means is considerably more of a lottery than is finding a like-minded filesharer on the net and gratefully copying the collection that he – let’s face it, it is always a ‘he’ – uploads to his blog. For the sites I am accessing without money changing hands are those set up by enthusiasts who take pleasure in sharing their interests. And there are hundreds of them.

Now I could go to, for instance, the incomparable Footlight Records store in New York City and spend a fortune on well-preserved long-players of show scores and standards singers but, again, only the store would make any money from it, not the songwriters or performers or musicians. And while I will assuredly always visit the store when I am in Manhattan, I wasn’t there yesterday when I was able, without leaving my study, to download for free a Dinah Washington 10-inch LP that the store might – or of course might not – have had in stock for (you can be sure) a pretty fancy price.
And here’s the crucial point. I am downloading the stuff because I can. It’s a resource that I am availing myself of. Take this treasure trove away and it will benefit the music industry nothing. Because it is there and for free, I am, on the one hand, filling a few gaps in my huge and ancient collection, from Scherchen conducting Mahler or Eleanor Steber singing Samuel Barber to long-deleted LPs of the likes of Lee Wiley and Moondog. On the other hand and much more significantly, I am greatly expanding my knowledge of areas of music on which I have previously had a much slenderer grasp – for example, jazz and blues – as well as widening my view of areas that hitherto I have always cherished – classical music, show tunes and standards. Thanks to the uploading enthusiasts, I have increased my store of stylists of the past, from Mabel Mercer to Johnny Mercer, by way of Carmen McRae, Gordon MacRae, Connee Boswell, Eve Boswell, Judy Holliday, Billie Holiday and all the rest. I have further investigated the music of Bernard Herrmann and Woody Herman, Bill Evans and Gil Evans and so on.

Now, I would never have bought these things, either because finding them would be too much trouble, too fraught with disappointment – imagine rushing home with a precious vinyl recording of Pablo Casals, say, or Luisa Tetrazzini and finding the surface noise was intolerable – or because I knew too little about the work and/or artist and would be reluctant to spend money on spec. I don’t mind a bit downloading for nothing and then investigating an artist whose work I am not familiar with – recently, for instance, Cannonball Adderley, Jane Froman, Charlie Patton – but I’m never going to hand over folding money for them, sight unseen.
So what I’m saying is this: the downloads that I am taking for free are having no effect whatsoever on the economy of the music business. Indeed, by widening the compass of my interests, this “illicit” activity is making it more, not less, likely that I will expand the number and scope of items on my shopping list. So the authorities should beware of jumping to the conclusion that by shutting down the filesharing market they would be righting a wrong. As with most issues, it just isn’t as easy as that. Unless of course the Department of Culture can ensure that CDs at competitive prices by, say, Blind Willie McTell, Sylvia Syms, Lotte Lehmann and Ellis Larkins will be generally available in perpetuity, it seems to me that it would be better all round if that true free market – the internet – were left alone.
The prefects are moving in on illegal downloaders. Research revealed by something called the Strategic Advisory Board for Intellectual Property calculates that some 4.73bn (yes, billion) items are ripped off each year by illicit filesharers in Britain, let alone the rest of the world. For its part, the International Federation of the Phonograph Industry reckons that for every paid-for download to a British computer, there are six items that are stashed in collections without payment. These statistics, by the way, were stolen from an on-line article in The Guardian. As I have been buying the paper since before most of its New Media correspondents were born, I feel that I have already paid handsomely to make use of this info.

As one who certainly wishes to protect his own intellectual property rights, I don’t for a moment condone naked piracy. At the same time, I daily download material without paying for it and I do so with no compunction whatsoever. Permit me to explain.
I have never sought to watch a movie on-line or in any other circumstance on my iMac because I doubt that my screen (even at 17 x 11 inches) or my sound system will do it justice. I have picked up a couple of torrented episodes of American television drama serials that, for one reason or another, I missed on transmission but, believe me, that isn’t denying anybody any income because I am not about to buy the DVD of the whole of, say, season four of The West Wing just to bag one episode. In fact, if there had been no other way of accessing the missed episode, I would have been more likely to give up on the whole enterprise.
But I do download a lot of music. In the last year or two, I have certainly taken many more copies off filesharers’ sites than the “songs” (as they call each track) that I have paid for on iTunes or, lately, Amazon. Downloading is not anyway my preferred manner of collecting music. I will never love any recording medium the way that I – and those of my generation – loved vinyl but, even with the lack of tactile pleasure and vastly reduced user-friendliness of so-called jewel-cases and their booklets as opposed to album sleeves, I am reconciled to CDs (though I was a very late convert). And I will go out and buy CDs far sooner than download them, paid for or not.

But the music retail trade is in full retreat. It’s of course a chicken-and-egg situation but the fact is that I find it easier and easier to find what I want on-line and harder and harder in shops. Last Tuesday, I asked after classical CDs in the central Bristol branch of HMV and was told that they were to be found as “a sub-section of Easy Listening”. How grotesquely shaming. Mind, as the meagre selection on offer appeared to be dominated by the likes of Katherine Jenkins, Russell Watson and violin-scraping glam group Bond, it was perhaps not an inappropriate arrangement.
HMV originally built its business on selling recordings of classical music. When I first shopped at HMV in the 1960s – what was then its sole outlet, situated on the south side of Oxford Street – classical LPs were what greeted you as you entered the store on the ground floor. “Pop” and other vulgar stuff was relegated to the basement. In their day, I bet HMV made more relative income from the sale of 78s of Richard Tauber, Kathleen Ferrier or Dame Myra Hess than they ever have from CDs by Girls Aloud, Sonic Youth and Eminem.

There are now two branches of HMV on Oxford Street – both of them on the north side – and each does actually carry a very useful if (necessarily) not all that comprehensive range of both recent and standard-repertoire recordings, though not of course on the ground floor. I never leave either branch with fewer than a dozen purchases. London also boasts the legendary Harold Moores Records on Great Marlborough Street (where I rarely find what I’m looking for but discover all manner of other treasures while looking), the specialist Opera Shop on St Martin’s Lane and, in a different part of the forest, the fabulous Dress Circle on Upper St Martin’s Lane. The Virgin stores (which became Zavvi), that often had good selections for those who didn’t just want pop/pap, are gone now.
Down our way, we are pretty lucky with Bath Compact Discs and the timeless Duck, Son & Pinker, also in Bath; Sounds Good in Cheltenham; and Blackwells Music Shop in Oxford. But the internet has really opened up the retail of CDs and indeed LPs for the discriminating, largely because local storage is not an issue if your business is mail order or commercial downloading. These days, on-line shopping has made deleted recordings available in greater profusion than ever before.
And this brings me back to the matter of “pirated” acquisitions. While I am a steady purchaser of current recordings as mp3 downloads from iTunes – and I never dream of seeking free access to new or recent releases – the music I download for nothing is, in the first place, very largely by people (composers, songwriters, arrangers, performers) who are dead, frequently quite a long while dead. I am not denying residuals to these artists and if I am denying income to their descendants and other exploiters of their back catalogues (reissuers, repackagers) then I cannot feel badly about it.

Next, even among those artists who are alive, the examples of their work that I am most apt to download are long deleted. The only way I am likely to encounter this material otherwise is through high-priced specialist dealers or via the serendipity of charity and other junk-type shops. Either way, none of the profit is going to anyone associated with making the music. For the customer, getting what one wants by such means is considerably more of a lottery than is finding a like-minded filesharer on the net and gratefully copying the collection that he – let’s face it, it is always a ‘he’ – uploads to his blog. For the sites I am accessing without money changing hands are those set up by enthusiasts who take pleasure in sharing their interests. And there are hundreds of them.

Now I could go to, for instance, the incomparable Footlight Records store in New York City and spend a fortune on well-preserved long-players of show scores and standards singers but, again, only the store would make any money from it, not the songwriters or performers or musicians. And while I will assuredly always visit the store when I am in Manhattan, I wasn’t there yesterday when I was able, without leaving my study, to download for free a Dinah Washington 10-inch LP that the store might – or of course might not – have had in stock for (you can be sure) a pretty fancy price.
And here’s the crucial point. I am downloading the stuff because I can. It’s a resource that I am availing myself of. Take this treasure trove away and it will benefit the music industry nothing. Because it is there and for free, I am, on the one hand, filling a few gaps in my huge and ancient collection, from Scherchen conducting Mahler or Eleanor Steber singing Samuel Barber to long-deleted LPs of the likes of Lee Wiley and Moondog. On the other hand and much more significantly, I am greatly expanding my knowledge of areas of music on which I have previously had a much slenderer grasp – for example, jazz and blues – as well as widening my view of areas that hitherto I have always cherished – classical music, show tunes and standards. Thanks to the uploading enthusiasts, I have increased my store of stylists of the past, from Mabel Mercer to Johnny Mercer, by way of Carmen McRae, Gordon MacRae, Connee Boswell, Eve Boswell, Judy Holliday, Billie Holiday and all the rest. I have further investigated the music of Bernard Herrmann and Woody Herman, Bill Evans and Gil Evans and so on.

Now, I would never have bought these things, either because finding them would be too much trouble, too fraught with disappointment – imagine rushing home with a precious vinyl recording of Pablo Casals, say, or Luisa Tetrazzini and finding the surface noise was intolerable – or because I knew too little about the work and/or artist and would be reluctant to spend money on spec. I don’t mind a bit downloading for nothing and then investigating an artist whose work I am not familiar with – recently, for instance, Cannonball Adderley, Jane Froman, Charlie Patton – but I’m never going to hand over folding money for them, sight unseen.
So what I’m saying is this: the downloads that I am taking for free are having no effect whatsoever on the economy of the music business. Indeed, by widening the compass of my interests, this “illicit” activity is making it more, not less, likely that I will expand the number and scope of items on my shopping list. So the authorities should beware of jumping to the conclusion that by shutting down the filesharing market they would be righting a wrong. As with most issues, it just isn’t as easy as that. Unless of course the Department of Culture can ensure that CDs at competitive prices by, say, Blind Willie McTell, Sylvia Syms, Lotte Lehmann and Ellis Larkins will be generally available in perpetuity, it seems to me that it would be better all round if that true free market – the internet – were left alone.
Labels:
Amazon,
CDs,
downloading,
file-sharing,
HMV,
iTunes,
music,
New York,
record shops,
The Guardian,
vinyl
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