Casual visitors will still be able to explore many aspects of the archive for free, but streaming will be limited to subscribers. “We’ll be continually adding content as it becomes available,” manager Roberts said.Īt the six-month mark, Young says he’ll introduce a couple of levels of subscriptions for those who want continued access. Not everything Young has released is up yet in high-resolution - notably his five ’80s albums for Geffen Records, and the Buffalo Springfield box set - making it something of an ongoing work in progress.
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The site does offer those still old-school enough to want to download songs or albums a mechanism for doing so, with hi-res versions selling for around $23 per single album - something Young said he would change if he could negotiate a lower price with the music conglomerates he’s working with. “All I can do is take care of my music, so that’s what I’m doing,” he said. Ī search function quickly calls up a half-dozen different renditions of “Sugar Mountain.” or the date “when Geffen Records sued for making music unrepresentative of himself (Dec. 30, 1965, at the Wobbly Barn in Killington, Vt. There’s also an interactive timeline that lets users discover when Young played his first show in the U.S. Within the folders are sub-folders for individual songs, often containing hand-scrawled lyrics, where Young aficionados will find that the original opening line of his song “Cinnamon Girl” was “I wish to marry a Cinnamon Girl,” a line that soon morphed into “I want to live with a Cinnamon Girl.” Virtual folders house music and memorabilia for each of Young’s studio and live albums as well as rare tracks and unreleased material. It’s organized like an old metal file cabinet - complete with audible clicking and thunking of drawers. Sonic fidelity is a big part of Neil Young Archives, but the rest of the site is created with similar attention to, and passion for, quality. “The record companies, by charging three times as much for hi-res music as they charge for regular music, they’ve killed hi-res music,” he said. Who wants to copy something if you can stream it? And today with streaming, you don’t have the problem. “The file doesn’t cost any more to transfer. “It’s my feeling that all music should cost the same,” he said. Why would anybody pay three times as much?”Īlthough he said that users downloaded more than 1 million high-resolution audio tracks from Pono, ultimately there wasn’t sufficient momentum, or financial success.
“They killed it by insisting on charging two to three times as much for the high-res files as for MP3s.
Consumers also were shifting away from stand-alone players like iPods and using their smartphones to manage their music choices.īut for Young, the biggest hurdle for Pono was monetary. It entered the market at a time when consumers were rapidly moving away from owning music and jumping to streaming services such as Spotify. More recently, he set up his own high-resolution digital music store and playback system, Pono, which he shuttered last April about five years after introducing it. He has previously released his music in high-quality audio formats such as high-definition CDs (HDCDs) and on Blu-ray audio with the 2010 physical version of the first volume of his long-term archive release project. “It blows my mind what has happened right in front of us,” said Young.
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