Evan Eisenberg’s The Recording Angel, which examines the idea of music as a commodity, was published more than 20 years ago. But with recorded music going digital, Eisenberg thought it was time for an update. He discusses how technology has fundamentally changed recorded music.
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Eisenberg’s a clever and funny writer of features for The Atlantic and The New Yorker. His book is not a history – its an eccentric, anecdotal excursion into the psychology, economics and aesthetics of recorded music and what’s fascinating is that it barely grazes the digital era and serves as a reminder that making a permanent record of the experience of music was awkward and controversial long before the CD and the MP3.