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AllMusic (previously known as All-Music Guide and AMG) is an American online music database. It catalogs more than three million album entries and 30 million tracks, as well as information on musicians and bands. Initiated in 1991, the database was first made available on the Internet in 1994.[2][3] AllMusic has been owned by RhythmOne since 2015.

Key Information

History

[edit]

AllMusic was launched as All-Music Guide by Michael Erlewine, a "compulsive archivist, noted astrologer, Buddhist scholar, and musician". He became interested in using computers for his astrological work in the mid-1970s and founded a software company, Matrix, in 1977. In the early 1990s, as compact discs (CDs) replaced LPs and cassettes as the dominant format for recorded music, Erlewine purchased what he thought was a CD of early recordings by Little Richard. After buying it, he discovered it was a "flaccid latter-day rehash".[3] Frustrated with the labeling, he researched using metadata to create a music guide.[4] In 1990, in Big Rapids, Michigan, he founded All Music Guide with a goal to create an open-access database that included every recording "since Enrico Caruso gave the industry its first big boost".[2]

The first All Music Guide, published in 1992, was a 1,200-page reference book, packaged with a CD-ROM, titled All Music Guide: The Best CDs, Albums & Tapes: The Expert's Guide to the Best Releases from Thousands of Artists in All Types of Music.[5] Its first online version, in 1994, was a text-based Gopher site.[2][6] It moved to the World Wide Web as web browsers became more user-friendly.[3]

Erlewine hired a database engineer, Vladimir Bogdanov, to design the All Music Guide framework, and recruited his nephew, writer Stephen Thomas Erlewine, to develop editorial content. In 1993, Chris Woodstra joined the staff as an engineer. A "record geek" who had written for alternative weeklies and fanzines, his main qualification was an "encyclopedic knowledge of music".[3] Allmusic developed a list of 1,400 subgenres of music, a feature that became central to the site's utility. In a 2016 article in Tedium, Ernie Smith wrote: "AllMusic may have been one of the most ambitious sites of the early-internet era—and it's one that is fundamental to our understanding of pop culture. Because the thing is, it doesn't just track reviews or albums. It tracks styles, genres, and subgenres, along with the tone of the music and the platforms on which the music is sold. It then connects that data together, in a way that can intelligently tell you about an entire type of music, whether a massive genre like classical, or a tiny one like sadcore."[7]

In 1996, seeking to further develop its web-based businesses, Alliance Entertainment Corp. bought All Music from Erlewine for a reported $3.5 million. He left the company after its sale.[3] Alliance filed for bankruptcy in 1999, and its assets were acquired by Ron Burkle's Yucaipa Equity Fund.[4]

In 1999, All Music relocated from Big Rapids to Ann Arbor, Michigan, where the staff expanded from 12 to 100 people.[3] By February of that year, 350,000 albums and two million tracks had been cataloged. All Music had published biographies of 30,000 artists, 120,000 record reviews, and 300 essays written by "a hybrid of historians, critics, and passionate collectors".[8][9]

In late 2007, AllMusic was purchased for $72 million by TiVo Corporation (known as Macrovision at the time of the sale, and as Rovi from 2009 until 2016).[10] In 2012, AllMusic removed all of Bryan Adams' info from the site per a request from the artist.[11]

In 2015, AllMusic was purchased by BlinkX, later known as RhythmOne.[12][1] The AllMusic database is powered by a combination of MySQL and MongoDB.[13]

The All Music Guide series

[edit]

The All Media Network produced the All Music Guide: The Definitive Guide (at first released as The Experts' Guide),[3] which includes a series of publications about various music genres. It was followed by the Required Listening series, and Annual guides. Vladimir Bogdanov is the president and the main editor of the series.[14]

  • All Music Guide: The Definitive Guide to Popular Music (1st edition: 1992, 2nd ed: 1994, 3rd ed: 1997, 4th ed: 2001, 5th ed: 2008)
  • All Music Guide to Classical Music: The Definitive Guide to Classical Music (2004)
  • All Music Guide to Country: The Definitive Guide to Country Music (1st ed: 1997, 2nd ed: 2003)
  • All Music Guide to Electronica: The Definitive Guide to Electronic Music (2001)
  • All Music Guide to Hip-hop: The Definitive Guide to Rap & Hip-hop (2003)
  • All Music Guide to Jazz: The Definitive Guide to Jazz Music  (1st ed: 1994, 2nd ed: 1996, 3rd ed: 1998, 4th ed: 2002)
  • All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul (1st ed: 1995, 2nd ed: 1997, 3rd ed: 2002)[15]
  • All Music Guide to Soul: The Definitive Guide to R&B and Soul (2003)
  • All Music Guide to the Blues: The Definitive Guide to the Blues (1st ed: 1996, 2nd ed: 1999, 3rd ed: 2003)
  • All Music Guide Required Listening: Classic Rock (2007)
  • All Music Guide Required Listening: Contemporary Country (2008)
  • All Music Guide Required Listening: Old School Rap & Hip-hop (2008)
  • All Music Guide to the Music of 2002: Your Guide to the Recordings of the Year (2003)
  • All Music Guide to the Music of 2003: Your Guide to the Recordings of the Year (2004)

Reception

[edit]

In August 2007, PC Magazine included AllMusic in its "Top 100 Classic Websites" list.[16][2]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

AllMusic

View on Grokipedia
from Grokipedia
AllMusic is an online music guide and database that provides in-depth reviews, biographies, discographies, ratings, and recommendations for millions of albums, artists, songs, and genres across all styles of recorded music. Founded in 1991 by , a and archivist based in , AllMusic originated as a comprehensive print guidebook and titled the All Music Guide, aimed at cataloging the entirety of recorded . The project predated the and initially distributed its data through early internet protocols like before launching as a website in the mid-1990s, quickly establishing itself as one of the internet's pioneering music resources. Over the years, AllMusic has grown into a vast editorial platform, employing professional critics to produce star-rated reviews and contextual analysis, while licensing its underlying database to major companies including Amazon, Apple, and for use in their music services. The AllMusic website is currently owned by Netaktion LLC, with its content provided under license by , a specializing in media and solutions; AllMusic maintains a free-to-access model supported by and subscriptions, attracting millions of monthly users for exploration, discovery, and professional research.

Overview

Founding and Purpose

AllMusic was founded in 1991 by as the All Music Guide, an ambitious project to compile a comprehensive, objective database of music information that covered recordings across all genres and eras without favoring mainstream artists. Erlewine, a former musician who played in the 1960s Ann Arbor blues band Prime Movers alongside future , had transitioned to computer programming in the 1970s, founding in 1977 to develop the world's first astrology programs for microcomputers. This experience with structured data systems directly informed his vision for a music database, driven by personal frustration over replacing a sold record collection and a desire to guide listeners toward essential recordings regardless of obscurity or style. The initial launch took the form of a 1,200-page print guidebook and a companion , both released in 1992 by Erlewine's All Media Guide company in , providing detailed discographies, artist biographies, and editorial reviews for around 23,000 recordings. By February 1994, the database had expanded to over 200,000 titles and become available in an online format, accessible via and a public gateway hosted at , predating widespread adoption and establishing it as one of the earliest major digital music metadata resources. This early presence utilized text-based interfaces like , allowing users to search and browse music data remotely. At its core, AllMusic's purpose has been to facilitate music discovery and research by offering authoritative biographies, complete discographies, star-rated reviews, and genre classifications, enabling users to explore artists, albums, and tracks in a neutral, encyclopedic manner. Erlewine emphasized collaborative input from music experts to ensure accuracy and breadth, positioning the site as an archival tool for both casual fans and industry professionals rather than a promotional platform.

Scope and Coverage

AllMusic maintains a vast and comprehensive database of music information, cataloging over 5 million albums and 40 million song tracks as of 2025. This extensive collection encompasses a wide array of musical genres, ranging from classical and to , R&B, electronic, and , while also including global acts and niche artists from various cultural traditions. The database draws from a robust metadata library provided by , ensuring broad coverage that extends beyond mainstream releases to incorporate diverse musical expressions worldwide. Central to AllMusic's scope are detailed data elements for each entry, including artist biographies, complete album track listings, personnel credits for musicians and producers, genre and subgenre classifications, and mood or theme tags that describe the emotional and stylistic qualities of recordings. These elements enable users to explore not only commercial albums but also non-commercial and historical materials, such as film soundtracks, compilation sets, and reissues of older works, providing a holistic view of music history and production. For instance, the platform includes credits for collaborative projects and tags that link tracks to specific moods like "energetic" or themes such as "protest," facilitating deeper contextual understanding. As of , AllMusic continues to expand its coverage through ongoing additions of new releases, with daily featured s highlighting recent and anticipated works to keep the database current. This process integrates streaming metadata from various platforms, enhancing accessibility and relevance for modern users while maintaining the site's commitment to comprehensive archival depth. The platform's evaluative content, including reviews, complements this raw catalog by offering critical insights into the covered materials.

Content and Features

Reviews and Ratings System

AllMusic employs a star-based ranging from 1 to 5 stars for albums, songs, and artists, utilizing half-star increments to provide nuanced evaluations. This system, originating from the print editions of the All Music Guide in the early , assesses works relative to an artist's catalog and genre context rather than cross-artist comparisons. For instance, ratings consider factors such as the band's history, performance sound, song selection, and overall artistic execution. Five-star ratings are exceptionally rare for new releases, often awarded retrospectively as cultural significance emerges. Reviews are crafted by a network of staff editors and freelance contributors, emphasizing descriptive analysis that highlights , , and historical context over subjective personal opinions. This approach ensures critiques serve as informative guides, focusing on how a work fits within an artist's evolution and broader musical landscape. With dozens of freelancers alongside a core editorial team, the process prioritizes factual insight and balanced evaluation. The platform features full album critiques, song highlights, and artist overviews, each rated accordingly to capture essential qualities. Album reviews often dissect tracklists and production in relation to an artist's trajectory, while song analyses spotlight lyrical or musical innovations; artist biographies provide overarching narratives of career development. Influential examples include early reviews tracing hip-hop's evolution, such as the 5-star assessment of N.W.A's (1988), which praised its raw innovation and social commentary as a pivotal shift in . In the 2010s, AllMusic supplemented its professional reviews with user-generated ratings on the same 1- to 5-star scale, introduced in 2013 to incorporate perspectives alongside editorial content. This evolution enhanced user engagement without supplanting the core professional methodology, maintaining the site's focus on expert-driven criticism.

Search Tools and Recommendations

AllMusic offers advanced search capabilities that enable users to navigate its extensive database through a variety of filters, including , mood, theme, year, editorial rating, and style. For instance, users can query for "melancholic from the 1970s" by combining mood and filters with a specific release year range, allowing precise discovery of albums like those by artists such as or that match the criteria. This functionality supports exploration across albums, artists, and songs, with options to clear filters and refine results iteratively. The site's recommendation engine provides personalized suggestions based on user interactions, such as album ratings on a five-star scale, which generate tailored album recommendations. Users can follow artists to receive notifications for new releases, enhancing discovery through algorithmic matches and "Similar To" features on artist pages that suggest comparable acts based on style, aesthetic, and curated by editors. AllMusic provides links to streaming services like on album and artist pages, allowing users to access full tracks externally where available. Additional tools include timeline views on pages, which outline career milestones through integrated biographies and discographies, and the Lists feature for generating custom playlists of up to 100 albums, introduced in to track favorites, wishlists, or themed collections. Mobile functionalities, available via the responsive website since the , support these tools on smartphones, allowing on-the-go access to searches, recommendations, and list management without a dedicated app. Basic access to AllMusic's search tools and recommendations is free, providing core discovery features to all users, while a premium subscription at $16 USD per year offers an ad-free experience and improved site speed for uninterrupted navigation.

History

Early Development ()

AllMusic's early development began in 1991 when , a and based in , assembled a team of freelance music writers and experts to create a comprehensive database of recordings. Drawing from personal vinyl and CD collections, as well as interviews with artists, the team manually compiled discographic information, biographies, and reviews, aiming to catalog the entirety of recorded —an ambitious endeavor described as potentially "impossible" due to its scope. By 1992, this effort culminated in the first edition of the , a 1,200-page reference covering thousands of albums across genres, which served as a for the broader database. Development continued through 1993 and 1994, refining the content into a structured format suitable for , including an initial version released alongside the book to reach users without . Early partnerships with publishers helped distribute the database, marking AllMusic's initial foray into formats. The online beta launched in 1994 as a text-based site hosted on servers, predating the widespread adoption of the and providing early internet users with searchable access to the growing database. By , AllMusic achieved its first full online release, transitioning from offline prototypes to a web-accessible resource. Throughout the , development faced significant challenges, including limited that restricted access to a small audience and the absence of capabilities, confining the platform to text-only information without audio or images. These constraints focused efforts on building a robust, searchable textual foundation, prioritizing depth in metadata over visual or interactive elements.

Expansion and Digital Transition (2000s–Present)

In the , AllMusic underwent significant corporate changes that facilitated its expansion as a digital resource. The company behind AllMusic, All Media Network, was acquired by Macrovision Corporation (later rebranded as Rovi) in late for $72 million, integrating it into a larger entertainment metadata ecosystem. This ownership shift supported enhancements aligned with trends, including the addition of such as ratings and comments, alongside multimedia embeds like audio clips and videos to enrich album and artist pages. A site redesign in 2004 aimed to modernize the interface but faced criticism for increased clutter, prompting iterative improvements to balance comprehensive data with usability. Entering the , AllMusic focused on technological adaptations to mobile and streaming landscapes. In , a major redesign introduced a cleaner "" aesthetic, streamlined , and better support for mobile browsing, reflecting the growing use of smartphones for discovery. The database expanded substantially, cataloging approximately 2.2 million releases and 20 million tracks by , enabling deeper coverage of genres and artists. Ownership transitioned again in 2015 when All Media Network was acquired by Blinkx (subsequently ), allowing continued investment in integrations with emerging streaming services through partnerships that linked AllMusic data to platforms like and . In the 2020s, AllMusic has emphasized adaptability to digital shifts amid the dominance of streaming and remote consumption. A 2023 site update improved readability with larger fonts, enhanced spacing, and optimized mobile interactions, addressing user feedback on accessibility. The platform introduced direct streaming of sound samples on album pages in 2024, bridging editorial content with on-demand listening. Following further corporate changes, AllMusic is currently owned by Xperi Inc. as of 2025. As of 2025, the database includes over three million album entries, supporting its role in an era where streaming accounts for the majority of music access.

Ownership and Operations

Corporate Evolution

AllMusic was founded in 1991 by , a and software developer, as an independent venture initially focused on compiling comprehensive music discographies through print guides and software. Operating under Erlewine and his partners at , the project was primarily funded by sales of and music-related software, allowing it to build a substantial database without external corporate backing until the mid-1990s. This period of independence enabled rapid expansion of its editorial content, with Erlewine hiring family members like his nephew to contribute reviews and biographies. In 1996, All Music Guide was acquired by Alliance Entertainment Corp., a music distribution company, marking its first major corporate integration and providing resources for digital transition. Alliance's ownership lasted until 1999, when the parent company was purchased by the investment fund, which retained All Media Guide (the parent entity encompassing AllMusic) as a standalone unit focused on metadata services. This shift positioned AllMusic within a larger portfolio, emphasizing its role in content licensing for retailers and software developers. A pivotal change occurred in 2007 when Macrovision Corporation (later rebranded as Rovi Corporation) acquired All Media Guide for $82 million, aiming to enhance its entertainment metadata offerings with AllMusic's extensive music database. This purchase integrated AllMusic into Rovi's ecosystem of solutions, including guides and video metadata, expanding syndication opportunities to and streaming platforms while maintaining its core editorial operations. Rovi's strategy leveraged AllMusic's data to power recommendation engines and features across the industry. In 2015, Rovi sold All Media Network—including AllMusic—to Blinkx plc (rebranded as ), a digital advertising technology firm, for an undisclosed amount, redirecting the asset toward ad-supported web properties. This acquisition folded AllMusic into RhythmOne's portfolio alongside sites like and SideReel, prioritizing monetization through over pure content aggregation. Despite the pivot to digital ads, AllMusic retained its , with changes primarily affecting backend syndication and site design to align with RhythmOne's video and display ad networks. In 2020, RhythmOne sold the AllMusic website to Netaktion LLC, a company, for an undisclosed amount; the site continues to license its core music database from . (successor to Rovi). Each ownership transition embedded AllMusic within broader corporate structures, enhancing data distribution but safeguarding its foundational role as a neutral music resource.

Current Structure and Challenges

As of 2025, AllMusic functions as a key web property owned and operated by Netaktion LLC, a company. This structure positions AllMusic within a focused emphasizing content distribution and , with the site serving as a dedicated for metadata and discovery. The operational team consists of approximately 11 to 50 core staff members, primarily editors based at the company's headquarters in , augmented by a network of freelance contributors for reviews and updates. AllMusic's revenue model relies on a combination of displayed across its platform, licensing and syndication of its extensive database to e-commerce retailers like Amazon for product recommendations, and premium services that enable third-party integration of music data for developers and media companies. This approach supports an estimated annual revenue of around $3.1 million, though it remains modest compared to the scale of integrated streaming giants. Contemporary challenges for AllMusic include fierce competition from algorithmic discovery tools on platforms such as and , which have diminished reliance on standalone databases by embedding personalized recommendations directly into listening experiences. Additionally, ensuring data accuracy has become more complex with the proliferation of AI-generated music and metadata, leading to occasional inaccuracies in artist credits and release information that require ongoing human curation to maintain credibility. In response, AllMusic has intensified editorial oversight in 2024 and 2025 to verify user-submitted content and mitigate potential in reviews.

Publications and Media

All Music Guide Book Series

The All Music Guide book series originated with its inaugural edition in 1992, a comprehensive titled All Music Guide: The Best CDs, Albums and Tapes, edited by and published by Miller Freeman Books. This 1,176-page volume provided expert reviews and star ratings for thousands of artists across diverse music genres, serving as an authoritative reference for recorded music selections. The series expanded significantly from the mid-1990s through the early 2000s with genre-specific volumes, including the All Music Guide to (first edition, 1994, edited by Ron Wynn) and the All Music Guide to (first edition, 1997). Additional titles covered (1996), rock (1995), and other styles, reaching a peak in 2002 with updated comprehensive editions such as the fourth edition of All Music Guide to and the third edition of All Music Guide to Rock, which together encompassed reviews of over 20,000 recordings by thousands of artists. These books featured encyclopedia-style entries, including artist biographies, album reviews with star ratings, and curated recommendations to guide collectors and listeners toward essential recordings. The print series concluded with the 2008 "Required Listening" line—focused on , contemporary country, and old-school rap—marking a shift toward the online AllMusic database, though select volumes remain available as digital reprints via platforms like as of 2025.

Digital and Syndicated Content

AllMusic has engaged in content syndication since the early 2000s, licensing its reviews, biographies, and metadata to major platforms and services. In 2001, the All Music Guide database, which powers AllMusic, entered a long-term licensing agreement with Alliance Entertainment and Microsoft, enabling distribution to retailers and internet sites for enhanced music discovery. Platforms such as Billboard, Apple Music, and Spotify rely on submissions to Xperi, AllMusic's parent company, for album information and metadata licensing. Submissions for new releases are handled through Xperi to ensure accurate data distribution to these services. While no public API is available directly from AllMusic due to third-party data restrictions from Xperi Inc., developers can access similar metadata through Xperi's licensed services, supporting integration into apps and databases. Beyond core licensing, AllMusic produces digital exclusives through its blog, offering in-depth features on new releases and industry trends. Launched as a platform for news, opinion, and premieres, the blog highlights upcoming albums, such as the 2025 anticipated list featuring artists like and clipping., providing editorial previews and contextual analysis unavailable on the main database pages. These blog-style articles often include exclusive streams and downloads, fostering direct engagement with emerging music. Interviews with artists, including discussions on songwriting and career milestones—like Jerry Cantrell's 2024 talk on riff collection or Justin Hayward's 2025 reflection on hits—add narrative depth to the site's data-driven approach. Multimedia elements have evolved to enhance user interaction, with embeddable streaming players integrated into album and artist pages since 2024. These players, sourced from partners like Spotify and Amazon Music, allow previews of full tracks directly on AllMusic, bridging editorial reviews with immediate listening experiences. Video content extends this through the official AllMusic YouTube channel, which hosts promotional clips, album previews, and artist discussions dating back to the channel's early activity around 2010, though production has focused on short-form content rather than full podcasts. AllMusic does not produce official podcasts, but its blog occasionally references audio features in partnership with external platforms. AllMusic's global reach emphasizes comprehensive coverage of international music without localized language versions, prioritizing English-language editorial on non-English markets. The site catalogs genres from African traditions to Asian folk, including artists from regions like and in features such as the 2022 global hip-hop overview. By 2025, Xperi's licensing of the database supports broader distribution to international streaming services, aiding discovery in diverse markets despite the site's primary English interface.

Reception and Impact

Critical Assessments

AllMusic has received praise for its depth and comprehensive coverage since its launch in the early 1990s, establishing itself as a vital resource for music discovery and exploration. Library research guides emphasize its utility in providing in-depth information on over 500,000 albums, artists, and tracks, aiding both casual listeners and dedicated enthusiasts in navigating vast musical catalogs. A 2011 reference review highlighted its strengths in delivering detailed metadata, including track listings, genres, credits, release dates, and chart performance, making it an essential tool for understanding musical contexts. Critics have also noted AllMusic's enduring influence amid corporate ownership changes, with users and commentators acknowledging its role in shaping music recommendations despite shifts in management. For instance, discussions around its evolution under entities like point to its sustained relevance as a curated , even as digital transitions altered its operations. The website has been owned by Netaktion LLC since 2020, while the underlying database is licensed from . (formerly Rovi and TiVo). However, AllMusic has faced criticisms regarding potential biases, particularly in its early years when coverage leaned heavily toward rock genres, potentially underrepresenting other styles like by women artists. Support forum complaints from 2022 underscore gaps in reviews for underrepresented genres, suggesting sourcing and choices may perpetuate imbalances. More recent critiques, including a 2024 analysis of its operational decline, highlight issues with outdated content and ad-driven modifications that have compromised review quality and site usability, such as intrusive pop-ups and slower loading times. These changes have led to perceptions of reduced rigor and increased spam in user contributions. In July 2024, senior editor was laid off by after 32 years, further contributing to concerns about diminishing expertise. Musicologists and researchers value AllMusic for its utility, frequently citing it in academic studies on music influence and during the 2020s. For example, a 2019 ISMIR paper utilized AllMusic's artist influence data to quantify disruptive impacts in networks, demonstrating its reliability for . Similarly, university projects in network have drawn on its metadata to map musical influences, underscoring its role as a foundational in scholarly work. User engagement data from AllMusic's own features, such as its annual readers' polls and , indicate strong satisfaction, with thousands of global participants voting on top albums and contributing reviews that align closely with editorial assessments. In comparative analyses of music databases, AllMusic is often ranked highly for its professional, curated reviews and biographical depth, surpassing user-driven sites like in editorial consistency and polish. However, it trails in user-editable details for physical releases and variants, where contributions enable more granular cataloging of editions and labels. This positions AllMusic as a balanced intermediary, prioritizing expert insights over exhaustive user modifications.

Influence on Music Industry

AllMusic has profoundly shaped music discovery practices since the , establishing itself as the internet's largest and most influential music database with over three million album entries and thirty million tracks as of , enabling users to explore vast catalogs through interconnected recommendations, mappings, and editorial insights. Its early adoption of online search and similarity algorithms influenced user habits, fostering a shift toward self-directed exploration that predated widespread streaming services and empowered listeners to uncover obscure releases beyond mainstream radio and retail. In the realm of music journalism, AllMusic served as a foundational platform for emerging critics, with senior editor authoring thousands of reviews over 32 years, honing a style that emphasized contextual analysis and artist trajectories, which in turn informed broader industry narratives and listener education. The site's editorial data has been leveraged in predictive models for awards like the Grammys and in label marketing strategies, where aggregated ratings and biographies guide promotional campaigns and artist positioning. AllMusic's five-star emerged as an industry benchmark for evaluation, adopted by retailers and streaming platforms to standardize consumer feedback and enhance discoverability, while its comprehensive metadata—encompassing credits, genres, and historical performance—underpins for services like Nielsen, ensuring accurate tracking of trends and royalties. Over the long term, AllMusic democratized access to global music by offering free, detailed coverage of international and niche catalogs, significantly boosting genres like during the 2010s through dedicated style overviews and recommendation networks that amplified underground scenes to wider audiences. In 2025, the site introduced a option to support its ad-supported model.

References

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  56. https://archives.ismir.net/ismir2019/paper/000102.pdf
  57. https://snap.stanford.edu/class/cs224w-2015/projects_2015/Influence_Networks_in_Popular_Music.pdf
  58. https://www.allmusic.com/blog/post/the-2024-allmusic-readers-poll
  59. https://www.discogs.com/forum/thread/735251
  60. https://www.researchgate.net/publication/360008621_What%27s_Next_Artists%27_Music_After_Grammy_Awards
  61. https://www.allmusic.com/style/vaporware-ma0000013555
  62. https://forums.stevehoffman.tv/threads/allmusic-is-now-asking-for-donations.1222245/
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