Who needs the music critic?

THE Raconteurs’ decision to release a new record to the public and critics at the same time, leading Times pop music critic Ann Powers to write about the role of the critic in an interactive world. Her story, at latimes.com/ raconteurs, asked readers to weigh in online. Did they ever:

You are always going to have critics and “taste-makers” whether they are professional writers with their own newspaper or magazine columns or one of your friends whose opinion you value. Fact is most people are followers. If you state something enough times or create a well-written article, even garbage will become acceptable. What else would explain the continuing success of “American Idol” or Madonna being inducted into the Rock and Roll” Hall of Fame?

-- G

There’s just too much music -- period. . . . Everyone is entitled to their opinion, but getting the facts straight in matters related to ephemeral pop culture is a Herculean task best left to professionals, or whoever one feels to be knowledgeable, reliable, fair. Whether self-appointed or established, I feel all critics should aspire to separate and explain that which is truly original and influential in its virtuosity from the majority of creators in all fields who are either good or bad imitators. To be or not to be -- that is the question, along with if you should waste or spend your time and money on it.

-- Maghit

I would much rather wait a week to read an informed, well-considered review than a slapped-together knee-jerk reaction based on a single listen. Anyone determined to buy a CD the moment it drops is obviously a hard-core fan (or a hard-core trendie) and is not likely to be swayed by a review. Listeners on a budget, as so many of us are these days, would prefer that critics consider their opinions as carefully as we must consider our buying decisions. I have wasted too much money on highly praised duds to take the word of someone more concerned with getting it out than getting it right.

-- Abaum

Music is by its very nature these days a global phenomenon the millisecond it reaches the World Wide Web. By not denying this, artists like [Jack] White can make art that might have some meaning, and record companies might have a chance to market and distribute art that generates revenue for them and the artist over a long period.

-- Seriousfun

Control is the paradigm of the past . . . facilitation is the paradigm of the Internet . . . welcome to the music evolution!

-- Muzlink

I like getting albums at the same time as everyone else. I have ears. I know what I like and dislike. Why keep the release hierarchy? I hope to see more and more bands do exactly what the Raconteurs did -- release great albums directly to listeners. I’ve already told all my friends this album is great. Word of mouth is sometimes better than press. No offense, I appreciate great writing, but I don’t need critics to tell me what I like and don’t like. I do like to read a great review that I agree with.

-- Craig

When someone makes music this good it doesn’t matter when it is released. I am all for musicians cutting out the greedy corporate middle man. Releasing an album to everyone at the same time is a great idea.

-- Ladoo

Music criticism is irrelevant to the general purchasing public and has been so for years. Music is to be heard and while readers may check in with reviewers to validate their own beliefs (or get indignant that reviewers disagree with their taste), it is absurd to think that musical criticism creates a sales trend that is any different than an advertisement. Of course, anyone with a half-hour and iTunes or access to Amazon.com can listen to samples and make up their own minds. Which is what would happen even if he or she read a review that sparked their interest.

-- Veggies