It’s not clear which aspect of Total Music has piqued the Justice Department’s interest, though it’s likely concerned that participating labels might collude to set wholesale music prices. And for good reason–the major labels were found guilty of wholesale CD price fixing back in 2000.

Really, an album that someone worked on for two years–is that worth only $9, $10, when people pay two bucks for coffee in Starbucks? People never really understand what’s happening to the artists. All the sharing of the music, right? Is it correct that people share their music, fill up these devices with music they haven’t paid for? If you had Coca-Cola coming through the faucet in your kitchen, how much would you be willing to pay for Coca-Cola? There you go. That’s what happened to the record business.”

–UMG CEO Doug Morris, Wired, Nov. 27

Offering its entire catalog of digitized video and music for free to the 19 million users of an upstart social-networking site was once about the furthest thing from Universal Music Group’s mind. Now, with the Internet rejiggering the music industry’s economic structure, it’s at the very top of it.

And so this morning, UMG said it would allow members of social network Imeem to stream its music for no charge, in exchange for a cut of the revenue from advertising aired while songs are playing. “Imeem has developed an innovative way to make our artists’ music a central part of the social-networking experience,” UMG CEO Doug Morris said in a statement. “They’ve done so the right way–by working with UMG to provide an exciting musical experience for consumers, while ensuring that our artists are fairly compensated.”

And ensuring that UMG is fairly compensated as well. As part of the deal, the company will get an equity stake in Imeem and is rumored to have received an upfront payment of more than $20 million.

UMG is the last of the ‘big four’ major labels to ink such a deal with Imeem, following in the footsteps of Warner Music Group, Sony BMG and EMI. All four majors–quite an achievement for a company that this past summer didn’t have a deal with any of them. Seems the music industry isn’t quite as wary of advertising-supported business models as it once was. “2008 is going to be the year of music labels trying to put themselves in front of everyone, no matter what business model it takes,” Forrester analyst James McQuivey told CNNMoney. “The labels have realized that you have to be everywhere on the Web, because the customer is everywhere. You need to put yourself in front of them when they make their entertainment decisions.”

Doug’s a very special guy. He’s the last of the great music executives who came up through A&R. He’s old school. I like him a lot.”

–Apple CEO Steve Jobs on Universal Music Group CEO Doug Morris

The per-device royalties Universal Music Group receives for every Zune player sold were apparently substantial enough to buy CEO Doug Morris a bigger set of balls, because he’s out drumming up support for an industry-owned subscription service with which he hopes to loosen Apple’s grip on the digital music market.

The endeavor is called “Total Music,” and Morris has already approached Sony BMG Music Entertainment and Warner Music Group about participating. His proposition: a subscription-based music service for the hardware industry, one whose cost could be baked into the hardware that supports it. Under the Total Music model, hardware makers subsidize the cost of music, which consumers are then given for “free” when they buy a new digital media player. That’s more money up front for hardware makers, but it’s a wise investment because, as Morris reckons, they’ll make that money back and then some by selling many more devices.

Interesting business model. “If the object is to wrest control of the market from Steve Jobs,” said Gartner analyst Mike McGuire, “this is a credible way to try it.”

Sadly for Morris, it’s also one inevitably complicated by recent turmoil in the music industry. With Radiohead releasing its latest album as a pay-what-you-will digital download, Nine Inch Nails declaring itself a free agent, and Madonna about to dump Warner Music Group for a concert promoter, we’re clearly seeing a sea change in music discovery, distribution and consumption, one perhaps lost on an industry so hardened by years of CD price fixing. So while the music industry struggles so to wrest control of the digital music market from Apple, some of today’s biggest popular artists are crafting an entirely new business model.

These devices are just repositories for stolen music, and they all know it. So it’s time to get paid for it.”

–Universal Music Group Chairman/CEO Doug Morris on digital music players, November 2006

Universal Music Group appears to have finally taken Steve Jobs’s “Thoughts on Music” essay to heart–although not in the way the Apple CEO might have imagined. Heeding Jobs’s call to abandon digital-rights management, the company announced late yesterday that it will sell at least some of its music catalog online without copy protection for the next few months. Described by UMG as a “test” of the DRM-free option, the effort will see the label selling DRM-free tunes through retailers like Amazon.com, RealNetworks’ Rhapsody and Best Buy.

But not Apple’s iTunes.

Why exclude the third largest music retailer in the United States? Publicly, Universal claims it’s so that iTunes could serve as a “control group” against which to compare its sale of DRM-free downloads elsewhere.

A plausible explanation, but improbable. More than likely, this is an effort to temper Apple’s growing influence in the music industry. A month ago, Universal scrapped its long-term contract with iTunes, opting instead to continue the arrangement on an at-will basis that will give it an easy exit should disagreements over pricing become a problem.

And make no mistake, pricing is a problem. Apple is the No. 3 music retailer overall, according to NPD Group, and its ubiquity in the download space has given the company serious leverage in negotiating pricing with the major record labels. It’s fairly clear then that UMG’s DRM-free effort is a “test” not just of unrestricted digital formats, but of Apple’s growing influence in the music industry.

Said Mike McGuire, vice president of research at Gartner, “It seems like a boldfaced move to blunt Apple’s influence.”

These devices are just repositories for stolen music, and they all know it. So it’s time to get paid for it.”

–Universal Music Group Chairman Doug Morris, November 2006

Though Apple would have had it otherwise, Universal Music Group, the world’s largest music company, has indeed scrapped its long-term contract with Apple’s iTunes service, opting instead to continue the arrangement on an at-will basis that will give it an easy exit should disagreements over pricing or other terms become a problem.

“Universal Music Group decided not to renew its long-term agreement for Apple’s iTunes service,” the company said in a statement. “Universal Music Group will now market its music to iTunes in an ‘at will’ capacity, as it does with its other retail partners.” The move follows a bit of a Mexican standoff in negotiations, with Universal Music Group packing a catalog that accounts for one in three releases sold in the United States, Apple a 70%-plus market share of the music download business and a recalcitrant CEO who would probably rather eat a Zune than be pressured into bringing variable pricing to iTunes, opening the iPod to rival music services or handing over a percentage of iPod sales to record labels, as Microsoft has done with Zune.

“When your customers are iPod addicts, who are you striking back against?” entertainment lawyer Ken Hertz told the New York Times earlier this week. “The record companies now have to figure out how to stimulate competition without alienating Steve Jobs, and they need to do that while Steve Jobs still has an incentive to keep them at the table.”