It all amounts to exactly this: The field is full of rip-off artists, sleazy characters, phonies, and middlemen out to wring every dime from content that doesn't really belong to them.
Like a good country song, the details change but the stories stay the same -- trucks and a heartache.
The problem with that speech, of course, is that it's true and everybody knows it. The music business as it stands right now, as it has stood for decades, is a rip-off. It can be more or less effective, it can represent artists and serve the listeners better or worse, but in its present form it can't be a truly honest business.
This is because, as I said in last week's column, music isn't a commodity. It's not a product that can be assembled in a production line or held in your hands. It's something that comes naturally from every living person -- some better than others -- and can be enjoyed by every living person, for free as long as the musician is willing, with no other assistance needed.
The standard business model, perfected in the age of vinyl recordings, presented music as a tangible thing -- a record -- that a businessman could manufacture and sell like any other widget. But the music on those records is only a captured bit of the ephemeral, constantly changing musical experience.
A Bruce Springsteen song is never exactly the same two concerts in a row. A performance of Beethoven or Bach sounds different depending on who is playing, and were those composers themselves to play their most famous music for us, we would likely hear shocking differences from the versions we know -- more radical than any modern interpreter would dare.
The experience of music is determined by its creators and by its listeners. By definition, it is never completely recreated, but is created anew every time. It happens in the moment and will change in the next moment.
The traditional music business, built around the sale of fixed music recordings, handles manufacturing, packaging, and distributing, middlemen selling something they didn't make themselves, something never really theirs to begin with.
These days, though, tech is trashing that model, by fits and starts turning the business of music from a product-based market into something more like a social media service directly connecting artists and listeners.
As I noted in my conversation with composer Bob Ostertag, artists are wrestling with the new tools, using the freedom the Internet provides to bypass the middlemen entirely and using sales platforms like Apple's (NASDAQ:AAPL)
While recordings are still the primary currency of these artists, more and more are emphasizing the recordings as calling cards, samples of the more true, live experience.