My Half-Year of Streaming Music

Denying for years to join the 21st Century, I indulged as recently as last summer in purchasing CDs, pulling the trigger on albums by Esperanza Spaulding, William Shatner, Bright Eyes, Paul McCartney and Field Music.  But last November I took the plunge and joined a streaming service – first Napster, whom I was told paid artists more but whose service I determined was inadequate, and then Spotify, a company vilified by some and praised by others.  Since then I’ve delved into scores of albums I’d never taken the time to investigate before, and for this reason alone, music streaming has a new fan.  I still love having physical CDs in the car, where I can immerse myself into an album and listen the way I used to, but for hanging out at home and investigating unexplored musical territory, streaming services can’t be beat.

I’m not much into playlists and haven’t utilized this aspect of Spotify more than a handful of times.  Instead, I’ve listened to albums and bands I hadn’t given attention to in the past.  Since November, I’ve fallen in love with the following albums:

• Manifesto, a brilliant release by Roxy Music, surpassing what some claim to be their crowning achievement, Avalon.
• Underneath the Colours, the debut album by an almost unrecognizable INXS.  Angry, edgy, melodic.  Fantastic.
• Sit Down Young Stranger (or, alternatively titled, If You Could Read My Mind) by Gordon Lightfoot, heartfelt folk-rock from start to finish.
• Odessey and Oracle by The Zombies, an amazing album recorded around the same time as St. Pepper, but – in my mind – surpassing it in some ways.
• Grand Hotel by Procol Harum, a collection of wonderful melodies with gravitas

I've delved into so much more that I never would have done without the aid of a streaming service.  I checked out releases by Cat Stevens, Van Morrison and James Taylor.  I finally listened to the Rolling Stones of the 1960s, and concluded that aside from Beggar’s Banquet, much of it falls flat for me (and that Their Satanic Majesties Request may be among the worst albums ever recorded).  I learned that I’m not as fond of Lloyd Cole and the Commotions as I am of Lloyd Cole’s solo work, and that I'm not as fond of Jethro Tull and King Crimson as I am of other prog rock bands.  I discovered that early Chicago albums are padded with really bad, lengthy tracks, and that each of Esperanza Spaulding's releases are worth my attention.  I gave the last half-dozen releases by Elton John a chance, concluded that Aimee Mann continues to put out quality material, but without the punch of her first three releases, and that the J Geils Band is a great party band with some standout tracks, but ultimately doesn’t grab me.

I also listened to classical guitar by Ryan Walsh, Latin music by Natalia Lafourcade, Mansieur Perine, and Vicente Garcia, fusion by Snarky Puppy, jazz by Chet Baker, Ella Fitzgerald and Louis Armstrong, and newer releases by Empty Pockets, Young the Giant and Lake Street Dive.

And on and on.

Now, the question remains: can artists make a living making music when people only use streaming services?  That remains to be seen, but for a guy in his 50s who sometimes has difficulty keeping up on music, streaming can’t be beat.

Of course, of the five albums I highlighted above, I’ve purchased four of them on vinyl. 

So yeah, I’ve still got the disease.

My Experience with Blue Apron

While recognizing that my somewhat cushy existence as an at-home dad/musician/writer doesn’t give me much leeway for complaining, after being the primary meal planner and preparer of the house for the past twenty years, I decided that I needed a break.  It wasn’t so much the shopping and cooking that bothered me as it was the planning.  Deciding what to eat in order to satisfy everyone’s tastes and restrictions was getting to be a mental chore, so for my 50th birthday I requested a gift certificate to Blue Apron, a meal delivery service that supplies its customers with all the ingredients needed to cook recipes you choose on-line.  Easy peasy, and it seemed like a fine antidote to the meal planning virus I’d contracted. 

While I’ve enjoyed aspects of the service, after eight weeks of using Blue Apron, I’ve decided that the pros don’t outweigh the cons, and this morning I cancelled my service.  Let me preface this by saying that if both my wife and I were working full-time, I might not be so quick to abort the mission.  The fact that I have a lot of flexibility to shop and prepare meals changes the ledger considerably.

So why did I cancel?  There were three things that made me feel uneasy about the service, as good as it might be. 

First, it’s not cheap.  I of course knew that going in, but seeing the bill show up on the credit card each week started to wear on me, especially knowing full-well that I could easily drive to a grocery store to pick up whatever food I needed at a fraction of the cost.  I was paying $10 per person per meal, so $80 a week.  This is not unbelievably expensive, and I doubt a company could do it for much less, but nevertheless, price was one nagging concern.

Second, I found my shopping to be much less frequent, which on the surface is a good thing, but my trips became so infrequent and my habits so poor that our food inventory suffered as a result.  It was so easy to say “I’ve got dinner all set for tonight – we can hang in there one more day before I do another shopping run” that we’d be left to face a breakfast of toast and a lunch of peanut butter sandwiches (not that there's anything wrong with that).  We also kept running out of basic items like milk, yogurt and bananas.  In short, I grew terribly lazy and used Blue Apron as an excuse to avoid shopping at all costs.

But the biggest reason for cancelling the service is the staggering amount of waste created each week by the Blue Apron deliveries.  As a guy who started recycling two decades before curbside pickup was a thing, unnecessary waste is an important point for me.  Ellen Cushing wrote a nice summary of the waste incurred with a service like Blue Apron (competitors have similar issues) and the somewhat disingenuous claim that most of the materials can be recycled.  Blue Apron used to have a free recycling program that allowed customers to send all the contents back to the company, but this has been cancelled, no doubt due to the cost.

If Blue Apron or a service like it could be localized so that – like the Chicago-based Oberweis dairy deliver service – we could have a cooler with reusable ice packs, I would be on-board.  Eliminate the box and the ice packs, include a synthetic insulator to separate cold items from the rest, and this could be a service that yields nothing more than a few small plastic bags.  

There are also grocery delivery businesses like Instacart and Peapod that are good fits for some people, and I may one day yield to that temptation, but for now I’m going to go back to shopping more regularly and forcing my family to share the burden by choosing a few meals each week that they want me to shop and cook for.  At least that’s the plan.  How long before it goes awry?

Al Stewart in Chicago

Over the years I’ve met a few people who so dislike Al Stewart, the mere mention of his name leads to something akin to a gag reflex.  During freshman year in college, my old friend Tom, upon hearing that I owned a greatest hits CD of said Stewart, grimaced as if he’d just sampled a plate of cow dung.  Nevertheless, I continued to be a casual fan of Stewart, having purchased four of his records on vinyl – all of them either used or cutouts (remember those?) – but not going beyond 24 Carrots.  When Russians & Americans came out in 1984, I was tempted to take the plunge with my hard-earned money from Kolb’s Garden Center, but instead opted for Elton John’s Breaking Hearts. 

Seven years later, when I learned that Stewart was playing not three blocks away from my apartment at a tiny stage on Cathedral Square in Milwaukee on a sunny afternoon – not exactly the venue or the time of a major rock star – I figured, what the hell.  I walked alone, took a seat, and Stewart took the stage with accompanying musician Peter White and played a great set in front of a sparse crowd, but what stuck with me most were the haunting images of a then-unreleased song called “Trains,” another of Stewart’s history lessons, culminating in the tragic turns that locomotives took in the carrying out of Nazi orders during the Holocaust.

Last night, I was once again graced with a fine concert by Stewart, this time at the City Winery in Chicago, the first of two nights with a particular album highlighted.  I opted to see The Year of the Cat from 1976 rather than Past, Present and Future from three years prior.  What can I say?  My fandom of Stewart’s catalog only goes so deep, but it was great to hear the man once again after twenty-seven years.

Opening with three tracks (“Sirens of Titan,” “Antarctica,” and “Time Passages”) prior to delving into the evening’s featured album, 72-year-old Stewart’s voice sounded rather thin, but since he never had a powerhouse voice to begin with, all that was truly missed was some of the high range, and he had to weave in alternative melodies on “Time Passages” and many of the songs from Year of the Cat.  Dressed in dress slacks and long-sleeve button-down shirt, he looked more like a banker on lunch-break than an artist, but Stewart wasn’t even hip in the 1970s, so what would one expect when he finally reached his 70s?

What Stewart lacked in singing voice he made up for in telling stories, offering several insights between songs that kept the audience (my son may have won the prize for youngest attendee) engaged and – often – laughing.  Stewart mentioned that for a folk-rock historian, having a hit was not enviable, and so he began Year of the Cat with a song about a naval battle in 1591 (“Lord Grenville”) followed by another history lesson with “On the Border.”  Alas, the second song was a hit, as was the album’s title track, perhaps making Stewart very uncool among his folk-rock brethren.  He also told a story of how he began to play the guitar in the middle of nowhere, England, only to eventually find another guitarist nearby named Robert Fripp, the eventual virtuoso of King Crimson fame.  Not a bad find, even if Stewart ultimately rebuffed Fripp’s insistence on learning jazz chords. Introducing the song “Broadway Hotel,” Stewart explained that the song was about a seduction at a hotel in Portland, Oregon.  He waited a beat, then added: “I highly recommend it.”

Joined on-stage was Stewart’s opening and accompanying band, Chicago’s very own Empty Pockets, a stellar act whose six-song opening set of tight harmonies and soulful melodies fit well into the evening’s performances.  The standout for me was guitarist Josh Solomon, who nailed every part required of Stewart’s catalogue and then some, including a fine electric piano solo that surpassed anything I could have performed.  (I hate it when guitarists can also play keys better than me!)  Also on-stage was multi-instrumentalist Marc Macisso, who hammed it up for the appreciative audience, particularly during the signature sax solos of “Time Passages” and “Year of the Cat.”

Gone are the days when a melodic history lesson could become a radio hit, but for one night in Chicago, history was cool again.  I had asked several people to joined me for the evening, but none took the bait, and my son, who knew little of Stewart prior to the concert, said afterwards, “I’m glad your friends said no to the show.”  So there you are, Al.  You’ve earned the appreciation of a 16-year-old.  Not a bad feat for an aging rocker.