REVOLVER: BRIAN BOYDon music

LAST OCTOBER, in a typical Revolver thunderer, we sent a shiver through the corridors of power when railing against the time lapse between a new record playing on the radio and going on sale. To quote ourselves: “In the moribund music world, there’s an unconscionable time lapse between when a popular song goes to radio and when it becomes available as a download or physical unit – usually six to eight weeks. Is it any wonder fans are flocking to their local, friendly but illegal file-sharers?”

We stuck it to The Man and The Man quaked, and he’s now taken this column’s sage advice. From next month, two of the biggest labels (Universal and Sony) will make their tracks available to buy the same day they go to radio.

Hey, don’t thank me. I’m just doing it for the kids. Think of it as another ramping up in the battle against the pesky downloaders.

With the old six-week gap between radio and retail, any self-respecting 16-year-old had the technological wherewithal to find the track on some dodgy torrent site and have it down within five minutes.

The six-week gap belonged to a different era. It was there to “set up” the song for its eventual retail release (build up anticipation and pre-orders). This might have been fine at a time when rock bands were referred to as “beat combos” and there was no such thing as digital distribution. But in a radically changed information environment, it was an atavistic throwback for an industry that still hasn’t recovered from the shock and awe unleashed by Shawn Fanning and Napster way back in 1999.

Linking radio play to retail availability to deter illegal downloads (now running about 75 per cent of all digital music downloaded, according to the latest figures, which are probably exaggerated) should have happened years ago. And full industry backing for the free/freemium streaming services should have happened years ago.

Everyone knows – and will admit so in private – that the only long-term, watertight and workable solution to illegal downloading is for a critical mass to migrate to streaming services. There’s a key youth demographic out there who have thousands of songs in their possession and haven’t paid for any of them. They’ve grown up with a culture of “free music” and happily scorn those who suggest they should use legal pay sites such as iTunes.

The streaming services (Spotify, We7, et al) offer free music – almost unlimited amounts of free music, which is subsidised by ad revenue. This week, We7 (which many believe is a superior streaming site to Spotify) launched in Ireland, their first foray outside the UK.

It’s an impressive, easy to navigate and straightforward site. However, like Spotify, it’s yet to show any sign of turning a profit – and We7 is now in its fifth year.

For many, the streaming sites (which, it needs to be emphasised, offer free and legal music) are struggling for profile.

Record labels and music publishers have been screaming about the evils of illegal downloading for the past few years. No one is listening any more. Time for a change of emphasis, and time to get fully behind the streaming services. All they need to do is to make some of their big hitters available (a Rhianna or a Kings of Leon) to do the promo for their next album in conjunction with the streaming sites.

It will push traffic to the sites, be a showcase for all they have to offer and let a critical mass music- buying audience know that, yes, there is free, safe and legal music available on the internet.

Mixed Bag

• It took her 12 years to get her last album out (2005's Aerial) but after a mere six-year absence the wonder that is Kate Bush will have a new release out this year. Rejoice.
• No Guns N' Roses tracks for Glee. Slash thinks the show is "worse than Grease". Someone should show him the size of Journey's royalty cheque for Don't Stop Believing.