We know he has a number of fans as well as haters in the industry though. So, for the latter – and anyone interested in keeping up with Leonhard’s views – he’s just released his official iPhone and Android apps, which are both free.

“As promised, and in-line with my new “Mobile First” mantra, I have been busy (re)-creating and formating exclusive content that you can only get via the iPhone or Android apps, such as various new podcasts and audio-only versions of my presentations, audio/mp3 versions of select chapters of my books, previously unpublished pictures etc,” he explains.

The $1.99 app is called ‘Top 100 Sensual Love Making Sex Songs’, offering “naughty and sexy songs to set the mood for those special moments”. Although our vigorous research (i.e. looking at the sample screenshots on the App Store) tells us that the app may not be quite as sensual as it promises.

Well, unless ‘Sex On The Beach’ by the Vengaboys and ‘(I Wanna Be) Your Underwear’ by Bryan Adams gets you in a sensual mood, of course. Yikes.

The company says it’s given up trying to release its iPhone app on the official App Store, due to Apple “ritually rejecting” the app for “primary selfish reasons”.

Months after submitting the app for approval, Grooveshark has now launched it instead through unofficial app store Cydia, which can only be accessed by people who’ve ‘jailbroken’ their iPhones.

TechCrunch reports that the app itself is slick, letting users stream music and save playlists offline. There’s a big base of jailbroken iPhones out there, but even so, the vast majority of the 75 million iPhones and iPod touches remain locked to the App Store – meaning it’s a big opportunity lost for Grooveshark.

“It’s a brilliant app and a game-changing way of consuming music,” CEO Steve Purdham tells Music Ally. “It’s outstanding to be able to create a playlist on your PC and instantly refresh your iPhone display to see it appear, then press the Off-line button to take all your favourite songs with you on the train, plane, car or just your mate’s house.”

iPhone won’t be the only smartphone supported by the service though. Purdham adds that apps for Android and BlackBerry handsets are on their way.

“To date we haven’t been motivated to move to another platform, but in 2010 we’re definitely looking to port,” he said, while appearing at the MidemNet Mobile Apps and Music panel session.

The Tap Tap Revenge games have now generated more than 25 million downloads on the App Store, and it was recently reported that Tapulous is making $1 million a month from them, through a mixture of game sales and in-app payments.

This, despite heavy piracy when Tap Tap Revenge 3 was first released as a paid game last year. O’Brien said that in its first two months on sale, the game was downloaded 2.5 million times, of which one million were illegal downloads.

However, the developer is able to target the pirates with advertising within the game, while some have ended up as paying customers, buying in-game tracks, said O’Brien.

Tapulous is currently working with Interscope Geffen A&M on a game called Riddim Ribbon featuring the Black Eyed Peas – Interscope’s Ted Mico was also on the panel – while working with other labels to include their tracks in Tap Tap Revenge 3’s in-game store.

O’Brien alluded to conversations with some labels who wanted to sell those tracks for a dollar a pop, and said he dissuaded them “at a time when there are apps that cost half a million dollars to make that are selling for 99 cents!”

For Music Ally’s full liveblog of the session, head to the Midem(Net) Blog.

It presents the print mag in a swipable, zoomable interface, with the ability to download it for offline reading on the tube or plane. The app costs £9.99, which includes a 30-day subscription – but after that, users have to pay to keep getting the content via in-app subscription.

Music Week has worked with Exact Editions on the project. It’s the latest magazine to get the app treatment, following in the footsteps of consumer publications like GQ.

In the first 24 hours after going free, the game was downloaded 300,000 times. A week later, and it had racked up two million new downloads. On Christmas Day alone, 700,000 people downloaded it.

The question now is how many of those people will buy songs, and whether Tapulous can capitalise on its 20-million-strong userbase with ads – it signed an exclusive deal with mobile advertising firm AdMob earlier last year.

We rounded up the key trends from the year for our final Music Ally Report of 2009, and the article is republished below in full. If you’re interested in our service in 2010, with its daily bulletin and fortnightly analytical report, click here for a free trial.

The ups and downs of streaming music

There’s no doubt that consumers like streaming music when it’s done well, as illustrated by the success of Spotify and Pandora this year. And it seems equally certain that streaming has a significant role to play in the future of the music industry. That role, however, will be alongside other revenue streams, rather than being the downloads killer it’s sometimes painted as being by the media.

However, as 2009 draws to a close, there is still huge debate around the economics of streaming music, with ad revenues nowhere close to paying for the licensing costs, and artists and labels still grousing about their royalty cheques while fearful about cannibalisation of music sales. ‘Freemium’ has replaced ‘ad-supported’ as the business model of choice; but even that has yet to prove itself as a truly sustainable option.

Bright spots were provided by SoundExchange’s webcaster settlement in the US, and PRS for Music’s JOL replacement in the UK, with both drawing warm words from streaming firms. But as we move into 2010, this area still provokes more questions than answers. Will a tweaked Spotify make it big in the US? What will Apple’s acquisition of Lala mean for iTunes? Can MySpace Music make the numbers work despite the continuing slide of its parent social network? It’s all to play for.

iPhone applications for everyone

The vast majority of the 100,000+ iPhone apps released so far have sunk without trace. Yet that bald fact hasn’t stopped the music industry from jumping onto the App Store bandwagon. In fact, the flow of new music apps increased in pace as the year went on.
On the services side, the iPhone at least proved that there is strong demand for mobile music – albeit of the streaming kind.

By late November, Pandora had more than 13m iPhone, Android, BlackBerry and Palm users, with half of all new signups coming from these mobile apps. Meanwhile Spotify drove a sharp increase in its Premium subscribers by launching its iPhone, Android and Symbian apps – complete with its offline cacheing.

However, 2009 also saw an explosion in artist-focused iPhone apps – and it was primarily on the iPhone, rather than rival smartphones. Many were creative, playful and innovative, although few managed to rack up the tens of thousands of daily downloads that Auto-Tuned app I Am T-Pain did. By the end of the year, iPhone users had been invited to remix Underworld, David Bowie and Soulja Boy; sing karaoke with Mariah Carey and Lady GaGa; and tap falling blobs to the strains of Metallica, Coldplay and the Dave Matthews Band.

This year saw hype and experimentation, but we sense 2010 will see labels and artists focusing more on ensuring their apps provide a return on investment – and even perhaps looking beyond the iPhone to Android, Symbian, BlackBerry and beyond.

Pirates on trial (and up for sale)

February this year was all about The Pirate Bay trial in Sweden, which saw three of the P2P site’s co-founders (plus its main financial backer) face the music (well, the music industry’s lawyers) in court. Predictably, the guilty verdict wasn’t the end of the story,
with a pending appeal and accusations of bias against the judge in the original trial.

The defendants were characteristically bullish despite having prison sentences hanging over them. The months since have seen pressure being applied by other means – for example through The Pirate Bay’s web hosting firm, and then in a separate civil case in the Netherlands. Give or take the odd outage, the site has remained online, though.

Hopes that the site might go legit via a sale to Swedish games firm Global Gaming Factory X were dashed during a surreal July when every day seemed to bring new revelations or pratfalls about the company and its loquacious boss Hans Pandeya. The sale wasn’t to be, although The Pirate Bay is continuing to attract interest from potential suitors.

Its troubles, as well as the recent court ruling forcing Mininova to scrub its site of links to copyrighted content, showed that while stamping out online piracy is a hiding to nothing, 2009 was more uncomfortable for the poster boys of the pirate world than they would have anticipated.

Governments strike back against piracy

While the BPI and IFPI chased The Pirate Bay, governments around the world were mulling legislation to tackle online piracy at a consumer level. The process tended to be tortuous, to say the least.

The French government saw its Creation & Internet bill slapped down several times before it eventually became law, New Zealand axed its planned legislation following furious protests from consumer groups and ISPs, and stakeholders in the UK spent the year facing off over the government’s Digital Britain report – and the subsequent consultation period leading to the Digital Economy bill.

What the year showed was that the music industry and ISPs remain sharply divided when it comes to the finer details of tackling piracy, especially when it involves actions that may cause a stink among consumers. The UK government vacillated between the two, with ministers initially ruling out a three-strikes tactic, then veering towards ‘technical measures’ such as slowing down or capping broadband connections, before finally settling on temporary internet suspensions.

It remains unclear whether the bill will even become law before the next UK general election, with its potential change of government. Expect more sniping at January’s MidemNet between the two sides than was seen earlier this year.

Comes With Customer Confusion

At the start of 2009, there was still plenty of optimism around Nokia’s Comes With Music (CMW) service, as the handset firm prepared for new territory launches and sexier handsets than the pay-as-you-go model it launched with in the UK.

It’s a different story now, with widespread and public acknowledgement even within Nokia that its bundled music service has failed to catch fire with consumers. Music Ally’s revelation in October that only 107,000 people globally had signed up merely confirmed the industry’s expectations.

Problems with CWM included confusing marketing – consumers didn’t understand or didn’t trust Nokia’s promotional campaigns – as well as lukewarm operator support in key markets. On top of this is a mismatch between the length of a CWM subscription (12 months) and the 18-24 month contracts being pushed by the operators.

By the end of the year, Spotify was emerging as a significant rival, especially as it started to strike deals with operators to bundle its mobile app and a Premium subscription with Android and Symbian handsets. Even so, Nokia is nothing if not resilient: we sense there is at least one more big push in store for CWM in early 2010 before the company changes tack or gives up the ghost (or before Apple nails something similar for its iPhone).

The seamier side of digital music

Less-than-transparent contracts and deals? In the music industry? Surely not! But yes, one of the periodically recurring trends this year were accusations that somebody, somewhere was getting screwed in the digital arena. Usually artists.

So, the Featured Artists’ Coalition launched in a blaze of publicity, and before its attention was diverted by the file-sharing debate, it was making noise about how exactly artists would be fairly remunerated from upfront access deals struck by labels for services like Comes With Music.

Meanwhile, some artists were equally unimpressed with the economics of streaming music, complaining about tiny royalty cheques from the likes of Spotify – while Bob Dylan removed his back catalogue from ALL streaming services. Most recently, a former member of WMG act Too Much Joy embarrassed the label by revealing a pitiful digital royalties statement – and the convoluted process required to even get it.

Eminem’s former production company sued Universal Music Group (UMG) for a larger slice of digital royalties and lost, while his publisher sued Apple over unauthorised distribution of tracks, and settled out of court. Meanwhile, the long-mooted Allman Brothers lawsuit against Sony Music over digital royalties rumbles on.

Music games hit mixed notes

The industry excitement around music games in 2008 waned slightly in 2009, as sales fell from the genre’s peak. Even so, September provided plenty of fun with the launch of The Beatles: Rock Band and Guitar Hero 5, with the Fab Four winning the sales battle – at least initially. DJ Hero, however, delivered underwhelming early sales.

The successes of the blockbuster games led to a host of other vintage acts talking optimistically about the prospects for their own branded games in 2010. Meanwhile, iPhone developer Tapulous continued to strike deals for artist-branded games on that platform, while franchises like Rock Band made the jump to iPhone and handheld – offering downloadable content in both cases.

However, the row rumbled on between Warner Music Group and game publishers like Activision, though. Last month, WMG boss Edgar Bronfman Jr said that the label’s stance remains the same: “Where we’re not being recompensed anything close to what would be fair for artists and services, we see no reasons to license,” he said.

Google versus the music industry

For a company whose corporate motto is ‘Do No Evil’, Google managed to rub plenty of music industry people up the wrong way in 2009. YouTube was the prime offender, with premium music videos removed from the site’s UK and German versions due to licensing disputes with PRS for Music and GEMA.

PRS in particular painted Google as a 600lb gorilla prepared to steamroller rightsholders and use music to fuel its multi-billion dollar business. The real issue, of course, was the fact that music videos weren’t making money for Google. Estimates varied about how much money YouTube was losing, but nobody thought it was profitable.

Google and PRS eventually settled their differences, just in time for the company to join battle with another industry: newspaper and magazine publishers. And in fact, as the year wore on, Google was involved with several positive partnerships with the music biz. It launched an ad-supported download service in China, helped UMG get its Vevo video portal up and running, and unveiled music features for its main search engine to drive traffic to legal download stores.

ISPs try their hands at music services

It’s already a truism that legislation-led crackdowns on piracy must be complemented by the rollout of more appealing legal music services. While ISPs were kicking back against the stick element when they thought it would be expensive, unworkable and/or intrusive, several were keen to grasp the carrots side of the equation. Even if they found it was trickier than they expected.

So, the big non-launch of the year (so far) has been Virgin Media in the UK, which partnered with UMG in June for the announcement of an “unlimited music download subscription service”, which would allow the ISP’s customers to stream and download as many tracks as they wanted from UMG’s catalogue, with the downloads being DRM-free MP3s.

It was genuinely groundbreaking – so groundbreaking, in fact, that months later Virgin was still trying to nail deals with the other major labels amid reports that they had been spooked by the potential cannibalisation of existing sales. At the time of writing, the service has yet to launch, even if Virgin recently confirmed a deal with tech firm Detica to keep to its promise of measuring piracy on its network.

And another 10 things…

Ad downloads doom: As streaming rocketed, so ad-supported downloads died a death. Well, SpiralFrog croaked and Qtrax made more empty promises. Can new player Guvera do better in 2010 and make the model work?

Beatles (not) for sale: The Beatles didn’t go digital in 2009, other than on limited-edition USB apples. However, BlueBeat provided mirth with its attempt to sell “psycho-acoustic” versions of the Fab Four back catalogue.

Out of the Euro-pan… At the start of 2009, pan-European licensing was a mess. At the end of the year it’s… a mess! But the year did see plenty of talk from politicians and industry stakeholders about cleaning it up.

Monetising viral videos: ITV made nothing from millions of plays of Susan Boyle clips this summer, but a viral wedding video gave R&B star Chris Brown a huge chart boost, thanks to his label claiming it on YouTube.

MySpace on the slide: Facebook reigned supreme in the social networking space this year, with MySpace losing traffic and executives at a rapid pace. New CEO Owen Van Natta promised a music-led comeback in 2010.

Webcasts get interactive: Music webcasts got a whole lot more interesting this year thanks to companies like Ustream, which wrapped social interactivity around live streams of gigs. Even YouTube went gig-crazy with U2.

Just the (pricey) ticket: Consumer distaste with secondary ticketing scams peaked this year, especially after Ticketmaster was caught sending Springsteen fans to its secondary site before normal-priced tickets had sold out.

All of a Twitter: Everyone had a Twitter account this year, with some artists using it better than others. Security scares were a problem, though, with Britney Spears and Kanye West suffering high-profile hacks.

Jobs’ worth: What would the music biz look like without Apple CEO Steve Jobs? We almost found out this year, but a liver transplant saw him back at work by Autumn. Next stop: an iTablet launch?

Good luck, square eyes: Despite YouTube’s monetisation issues, there were plenty of music video portals launching. Vevo, sure, but MySpace Music also got in on the act, as well as the VidZone service for the PS3 console.

If you’ve got this far, cheers! And a free trial of our research service can be had by clicking here.

The most successful, like Smule’s I Am T-Pain (pictured right) sold tens of thousands of copies a day. It’s only fair to point out that the vast majority sank down the app charts fairly quickly though – proving that iPhone apps provide a return on investment for the music industry wasn’t a huge priority this year.

Even so, there was plenty of creativity being put to work. To highlight it, we’ve chosen a selection of 40 branded music apps that we thought were innovative this year – which were all covered in the Music Ally Daily Bulletin.

They’re all based on artists, labels and other music brands – the list doesn’t include apps for music services like Spotify or Pandora, nor does it include pure music games like Rock Band or Tap Tap Revenge (although one of the latter’s artist-branded spin-offs is included).

Read on for a snapshot of what was released this year, and let us know your thoughts on the best and worst of what the App Store had to offer. Oh, and yes, we’ve put them in a rough order reflecting how much we liked them, starting with the best.

1. I Am T-Pain might be an obvious choice for top spot, but it combined technical innovation with stellar sales. Eschewing pure promotion, it let fans sing along with a selection of T-Pain songs while having their vocals Auto-Tuned on the fly. It also had good sharing features, used in-app payments to buy and download new tracks for use in the game, and recently added the ability to sing over any song in your iPhone music library. (App Store link)

2. Little Boots Reactive Remixer was a branded version of existing iPhone app RjDj. Yes, it involved remixing three of Boots’ tracks, but in two cases that was done based on the user’s movement and external sounds – a properly interactive ambient experience. Or something. (App Store link)

3. Hi, How Are You was a beautiful iPhone game based on the artwork of singer-songwriter Daniel Johnston. Described by the New York Times as “a kind of psycho-religious version of Frogger”, it was a great game backed up with Daniel’s visuals and music. (App Store link)

4. Sonifi was one of the most fully featured ‘remix an artist’ apps, being designed by and for trance artist BT. It let fans mess with the beats, bass, melodies and harmonies of his latest tracks. The killer feature, though, was a two-player ‘Jam Link’ mode to collaborate over Bluetooth. (App Store link)

5. Live Metallica (right) was an official app from the metal band that constantly offered a free stream of their latest gig, while also letting fans buy (no, NOT from iTunes) previous sets. Photos and notes from each show made it a must-have for fans. (App Store link)

6. iDrum Underworld Edition was another of the best examples of the popular ‘remix your favourite artist’ app genre this year. It offered 13 tracks to mess around with in an intuitive square-tapping interface, with artwork from the band’s design chums at Tomato. (App Store link)

7. Johnny Cash: I See A Darkness was a graphic novel based on The Man In Black’s life. It didn’t include his songs, but had a clever ‘search and insert’ feature to find his tracks on a user’s iPhone to play at the relevant points of the story. (App Store link)

8. nin: access was the official iPhone app for Nine Inch Nails – one of the more tech-savvy artists in the industry right now. It gives fans access to the community and multimedia sections of the band’s website, as well as letting them chat and upload photos from their iPhone. (App Store link)

9. The Presidents of the United States of America was an app by the band of the same name, offering four albums from their back catalogue as streams, as well as lost recordings, live tracks and other extras. (App Store link)

10. Baby By Me Sound Lab was a remixing app created for 50 Cent by Romplr. It involved mixing and matching stems from his Baby By Me single, then posting the resulting remix to Facebook. It tied in with a contest, and sparked 250,000 downloads in a matter of weeks. (App Store link)

11. Lady Gaga iOKi (right) was a karaoke app based on La Gaga, with instrumental and vocal remixes from four of her hits enabling people to sing along with her, then go it alone. In-app payments allowed new songs to be purchased and downloaded too, from Gaga and other artists. (App Store link)

12. Deadmau5 Mix was one of the first ‘remix an artist’ apps for iPhone, from an artist who would release several more apps later in the year. It let fans remix ten tracks by applying delays, effects, rewinds and cuts, complete with a virtual scratch pad. (App Store link)

13. Metallica Revenge was one of Tapulous’ artist-focused spin-offs from its Tap Tap Revenge games – although in fairness we could have picked its titles for Coldplay, Lady Gaga or the Dave Matthews Band in this slot. What these games nailed was the combination of gameplay and experiencing the actual music. (App Store Link)

14. Kelly Clarkson Open Mic was a singing game based on the American Idol winner, which scored fans on their ability to sing five of her tracks. It tied into a competition that put winners on-stage singing with Kelly herself during her tour soundchecks. (App Store link)

15. Haus of Gaga was one of the first fruits of Universal Music Group’s deal with Kyte, turning its artists’ video blogs into iPhone apps. It offered new and archive episodes of the Transmission Gagavision vlog, as well as news, tourdates and live chat. (App Store link)

16. Robbie Williams Racing was, would you believe it, a racing game based on Robbie Williams. No pure cash-in, though – besides his tracks featuring in the game, Robbie himself provided the commentary, with unlockable videos and photos for skilled players. (App Store link)

17. Delicious Vinyl DJ was a music game based on the famous hip-hop label, getting players to match notes to the sounds of Young MC, Tone Loc, The Pharcyde and Masta Ace. A nifty way of getting value out of some venerable hits. (App Store link)

18. Get Physical Mix was a compilation app based on the back catalogue of the Get Physical dance label, which allowed fans to DJ and mix the songs themselves, complete with a virtual scratch pad. (App Store link)

19. Grateful Dead (right) was an interactive mosaic e-book – an iPhone version of one of those big pictures which lets you zoom in to see lots of little pictures. Those little pictures being 450 photos of the legendary jam-band, with fans able to comment on each, or share with friends. (App Store link)

20. Gedda-Headz was a mini-game collection for iPhone that offered multiplayer and community features, while tying in with collectible real-world toys. We still haven’t heard any music from the band it’s supposedly based on, but it was nevertheless a neat idea. (App Store link)

21. HWD was an app created for UK artist Heads We Dance, which allowed fans to stream the band’s new album Love Technology two weeks before its official release, with news, photos and community features thrown in. (App Store link)

22. It’s Britney was Britney Spears’ entry into the App Store, offering the usual news, Twitter feed, photo galleries and even a virtual lighter. There was also a UGC feature to paste your head onto the body of one of Britney’s dancers, and most importantly, if you shake your iPhone, the app shouts “It’s Britney Bitch!”. (App Store link)

23. Mariah Carey-oke was the best-named artist app of 2009, hands-down. The pun partly made up for the fact that her current label UMG doesn’t have the rights to her classic hits – so four new tracks were included to dog-whistle along to. (App Store link)

24. Twentyten was an iPhone ‘calendar’ app revolving around the key 2010 dates of Belle & Sebastian, with a built-in news feed and bonus digital content. An elegant spin on the promo iPhone app idea. (App Store link)

25. Snoop Dogg’s iFizzle (right) was a fairly simple app, but with plenty of charm. It was a collection of audioclips of Snoop’s “most popular and iconic” phrases and quotes. Yep, including “Fo Shizzle My Nizzle”. (App Store link)

26. Phanatic was an app built for hardcore fans of jam-band Phish, offering a comprehensive database of setlists from the band’s history. That included links to YouTube videos of performances, and the ability to generate stats in mid-show – e.g. ‘when was the last time they played this?’. (App Store link)

27. Ziggy Marley’s Music Mixer was another remixing app, but with the neat twist of a slot-machine interface – users could shake their iPhone to randomly mix up Ziggy’s songs. Or they could put the time in to mess about with the tracks themselves, of course. (App Store link)

28. Remix David Bowie – Space Oddity was… well, the title gives it away. It let iPhone users mess around with Bowie’s classic hit by tweaking individual tracks, then save the mix as a ringtone. (App Store link)

29. Riff King was a branded app for UK metallers Saxon, with streaming samples of the band’s latest album and their new video. However, it also tied in with their YouTube UGC contest – also called Riff King – letting users of the app watch the latest entries. (App Store link)

30. Usher’s Top 100 didn’t actually focus on R&B star Usher’s music – instead, it saw him turn curator, picking 100 of his favourite tracks which users could stream through the same tech used for the PUSA application. (App Store link)

31. The Heavy was the official app from Ninja Tune artist The Heavy, and it offered their entire back catalogue on a streaming basis, plus three videos, news and tourdates, and live footage. But it’s the streaming element that intrigued us most. (App Store link)

32. Coldplay Strawberry Swing (right) was an app created for Coldplay by online TV firm Babelgum. It showcased the video for the band’s Strawberry Swing single as well as their previous videos, bundling in a game for good measure. (App Store link)

33. Deadmau5 Live was yet another iPhone app based on the innovative dance artist. It let fans vote on what songs he should play as his encore at his London Roundhouse gig in October, before serving up a 20-minute live recording once the show was done. (Not still available)

34. New Boyz – iJerkin’ was a music game created for WMG act The New Boyz, based on their apparently-popular You’re A Jerk dance moves. We stress ‘apparently’. Players could tap, slide and shake to make the band pop their moves, and then buy more tracks. (App Store link)

35. What The Funkytown! was unusual, in that it was based on a song rather than an artist or label. It was a virtual scratching app to monkey about with Funkytown, speeding it up and slowing it down, or even playing it in reverse. (App Store link)

36. Snow Patrol: Snowflake was the band’s second iPhone app, providing a news feed, forum and the ability to upload photos at gigs to the band’s website. The snowflake theme was carried through to a section where fans could create their own unique flakes. (App Store link)

37. Kiss Virtual Concert Lighter (right) was, well, a virtual concert lighter. With 24 branded virtual lighter cases to choose from, a scrolling text marquee, and a “realistic flame”. Novelty personalisation, yes, but fun with it. (App Store link)

38. Delphic was a soundtoy app released to promote the band of the same name’s new single. A simple drum loop was complemented by the fan tapping on-screen pads to trigger samples. (App Store link)

39. Kiss Me Thru The Phone was an app based around the Soulja Boy song of the same name. It was a photo customisation tool to help fans ‘add swag’ to their pics, or plant virtual kisses on friends and family before sharing the results. (App Store link)

40. Pepsi Rock Band was an app created to promote the Rock Band console games. It let people put their own faces on the shoulders of characters from the games, then share them via email, Facebook, Flickr and Twitter. It also provided buy links for songs from Pepsi’s ad campaign. (not still available)

That’s our selection, now tell us your views! And if you’d like to stay on top of the mobile music space in 2010, sign up for our Daily Bulletin service – a two-week free trial can be grabbed here.

The same company is behind Swedish label Hybris’ official iPhone app, which is interesting because it offers the label’s entire catalogue for free on a streaming basis.

Finally, UK artist Belle & Sebastian have launched an app called twentyten, described as a calendar. It offers a news feed and “all the dates that matter to Belle & Sebastian in 2010′, while also bundling in music for fans to listen to.