Tag Archives: music-industry

Tuesday Night Music Club: A case study in collaborative work and the distribution of recognition acknowledgement and ownership

Posted on October 21, 2026 by nathanalbright

Executive summary Sheryl Crow’s Tuesday Night Music Club illustrates how a collaboration can be commercially successful while leaving its participants divided over what that success means. The central difficulty was the relationship between a shared creative process and a public … Continue reading →

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Received Simplicity: Why Artists Disdain the Plain Songs They Are Handed and Revere the Plain Songs They Are Given

Posted on October 11, 2026 by nathanalbright

Executive Summary A recurring pattern runs through popular music history. Performers frequently resent straightforward songs written for them by outside writers, especially when those songs become their biggest hits. Yet the same performers often describe their own most successful and … Continue reading →

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Rodeo Culture in Country and Western Music: The Tension Between Cautionary Tale and Cultural Allure

Posted on May 6, 2026 by nathanalbright

Introduction Country music has carried rodeo as one of its central narrative subjects for nearly a century, and the relationship is genuinely complex. On one hand, country songs about rodeo have repeatedly functioned as cautionary tales — warning against the … Continue reading →

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Kiss Me And I Might Drop Dead

Posted on April 17, 2026 by nathanalbright

At 9:00PM PDT, the first single of Olivia Rodrigo’s third album, “drop dead” was released. By the time I had finished watching both the official and lyrics video to the song within ten minutes later, the lyrics video alone had … Continue reading →

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Platform Comparison: How Apple Music, Tidal, Amazon Music, and YouTube Music Handle Exploration

Posted on April 13, 2026 by nathanalbright

White Paper 3 of the Beyond the Playlist Series Abstract Spotify is the dominant streaming platform by subscriber count and cultural visibility, but it is not the only architecture through which listeners engage with the recorded music catalog in the … Continue reading →

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Album Review: Lemon Pound Cake

Posted on March 19, 2026 by nathanalbright

Lemon Pound Cake, by Afroman [Note: Content warning. This may not be suitable for all audiences.] Like many people, I am most familiar with Afroman for his successful early 2000s rap single “Because I Got High,” which humorously discussed the … Continue reading →

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Creating A Better Compilation For Peter Cetera

Posted on March 19, 2026 by nathanalbright

Early in this blog’s existence, I created a slightly premature imaginary liner notes for an imaginary compilation of Train. Later on a proper compilation album was made for Train that was highly different than I had imagined, with material that … Continue reading →

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Album Review: You’re The Inspiration: A Collection

Posted on March 19, 2026 by nathanalbright

You’re The Inspiration: A Collection, by Peter Cetera When examining a collection like this–and at seven songs it’s really too small to be considered an album, and it is most properly (though not labeled explicitly) as an EP–one has to … Continue reading →

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Album Review: Peter Cetera

Posted on March 17, 2026 by nathanalbright

Peter Cetera, by Peter Cetera In the understanding of the pop music world, Peter Cetera’s solo career began with the album “Solitude/Solitaire,” a popular album that included two #1 hits, “Glory of Love,” (from the Karate Kids 2 Soundtrack) and … Continue reading →

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Album Review: Midnight Light

Posted on March 12, 2026 by nathanalbright

Midnight Light, by LeBlanc and Carr You may be forgiven if you have never heard of the duo LeBlanc & Carr. I certainly had not until recently, and the circumstances that brought them to my attention were unusual. First, while … Continue reading →

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