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The two most important parts of album design are the timeline of the story, and the actual design. Often times trying to do both of these things at the same time is what will slow the design process down. When you really need to speed through a design, start with just the timeline.
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The idea is simple: Being able to create collections or lists of whole albums. Of course you could just add albums to regular playlists but then it just adds the songs separately, which is messy, so you can't easily see which or how many albums are there in the list or checking if there are missing songs.
By having album collections we could easily see which albums are added to them and it would make it quicker to select certain albums for downloading by toggling the download button of a collection containing them. We could also re-order the list of albums quicker than re-ordering a simple playlist of consecutive albums broken down to songs.
You can download/un-download every album in the collection with one tap, you can also either play the albums in order or shuffle them, or even shuffle all songs within the albumsAdding or removing albums from collections
great idea, the managing in Spotify is not really good now. (I tried to manage the songs/albums via Playlists/Folders/Subfolders, and it worked (somehow, but not great) two years (i think, but im not qute sure) ago even on Android (there was a shuffle Button in the Folder View, but after one "update" this button went missing )
That you can manage both, albums and playlists, inside these collections, not "just" albums (and maybe Collections too). So e.g. you have a collection 'Metal' with collections 'Metallica' and 'Iron Maiden' plus a playlist 'favourite metalcorestuff' and 'best Power-Metal'. In 'Metallica' there are all albums and maybe a playlist with the Favourite stuff and so on. And with the 'shuffle albums' funktion playlists are 'used as albums' (playing the songs in playlist-order and then jumbing to the next album) and maybe if there is the same album in different subcollections it should be handled as if there was this album just one time in the complete collection.
The steps: you first create an empty playlist folder (name it like you want). Then you go to an album that you would like to place there. Go to the options of that album and create a NEW playlist. Now on the left side there should be two playlists: the empty folder and the album. Now just pull the album over and thats it.
This is such a rad idea! Right now, I don't save albums to my music because I can't put them in folders (which the proposed Collections effectively is). So I've been saving every album as a playlist, which can then be put into a playlist folder.
I Like this idea. Im the type you described "collector user" and I had made lot of effort ordering my playlists. I made my colection of albums as you say by using playlists folders. Sometimes it's hard to move from one way to other. I like to sort by year of album launch, top albums of decade, styles, genre and i like also the shuffle listening mode too.
Browne was still living in his childhood home, The Abbey San Encino, where he began writing the songs for his third album. Because of the high costs of recording his previous album, Asylum Records founder David Geffen required him to complete this next album quicker and at less cost. Browne decided to use his touring band of David Lindley, Doug Haywood, Jai Winding, and Larry Zack. It was also decided that Al Schmitt, an engineer on For Everyman, would co-produce to aid in the album being completed on time. The album was completed in six weeks and at half the cost ($50,000) of For Everyman. Numerous friends of Browne's, including Dan Fogelberg, Don Henley, and J. D. Souther contributed harmony vocals. There were only eight songs on the album, five of them longer than five minutes.[2]
The title track was used in the 1976 Martin Scorsese film Taxi Driver.[3] "Fountain of Sorrow" was covered by Joan Baez on her 1975 album Diamonds & Rust; "Before the Deluge" was covered by Joan Baez on her 1979 album Honest Lullaby; Baez and Browne performed the song together on her 1989 PBS concert special. "Walking Slow" and "Fountain of Sorrow" were released as singles but both failed to chart.[2]
Browne has publicly acknowledged that the cover art for Late for the Sky was inspired by the 1954 painting L'Empire des Lumieres ("Empire of Light"), by Belgian surrealist René Magritte. The album itself contains the credit, "cover concept Jackson Browne if it's all reet with Magritte". The original photograph was shot on South Lucerne Avenue just south of West 2nd Street in Windsor Square,[8] about 10 miles southwest of Browne's childhood home, the Abbey San Encino, in Highland Park, California. Designer and front cover photographer Bob Seidemann said, "I spoke to Jackson in 1980 and he told me he thought it was his favorite cover. Lest the jacket appear too funereal, a mood-defusing photo of a relaxed Jackson, almost smiling and looking as though he has a surprise to share, occupies a small square of the back cover."[9]
Reviewing for Rolling Stone in 1974, Stephen Holden highly praised the album, calling it Browne's "most mature, conceptually unified work to date" and saying that the "...open-ended poetry achieves power from the nearly religious intensity that accumulates around the central motifs; its fervor is underscored by the sparest and hardest production to be found on any Browne album yet... as well as by his impassioned, oracular singing style."[16]
In a retrospective review for AllMusic, William Ruhlmann describes the themes of the album as "love, loss, identity, apocalypse", similar to Browne's debut album, feeling that Browne "delved even deeper into them...Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well."[10]
Musichound Rock: The Essential Album Guide call it "a bit mopey, but it hangs together as Jackson Browne's strongest and most melodious album, with a couple of rockers thrown in to perk up the listeners."[12] Robert Christgau was more critical in Christgau's Record Guide: Rock Albums of the Seventies (1981), saying that Browne's "linguistic gentility is inappropriate, his millenarianism is self-indulgent."[11]
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