The Complete iTunes History

Watching Steve take the stage and roll out a new version of iTunes got us all nostalgic for the old days, when iTunes logos changed color and our jukebox looked like it could withstand a bomb blast.

Below is the history of the application that is running more than any other on our Macs. It spawned the iPod, iPhone, Apple TV and gave us an excuse to throw out those ugly CD towers that resided in the corners of our houses in the 90s. The ever present, iTunes.

THE START

SoundJam MP

Somewhere around the time Metallica began suing Napster over the leak of its "Mission: Impossible II" track, "I Disappear," in 2000, a light bulb appeared over Steve Jobs' head. Ever the innovator, Apple's iCEO saw the peer-to-peer network as more than an illegal nuisance and began to develop a way to leverage the Napster revolution into the next killer Mac app. Audio players such as Audion and SoundApp had already exposed the inadequacies of QuickTime, and Apple knew it needed to build its solution from the ground up.

After being rebuffed by Panic, which was already in negotiations with AOL over use of its Audion code, Steve Jobs approached Robin Casady and Michael Greene to discuss their SoundJam MP app, a powerful digital encoding program that looked a lot like Apple's QuickTime player. After a series of short negotiations, Casady & Greene sold the rights for SoundJam to Apple for an undisclosed sum, and Apple immediately set to work on the app that would forever change the digital landscape.

While the terms of the contract were top secret (Casady and Greene discontinued their app on June 1, 2001, but were barred from discussing the Apple deal for two years), Apple certainly wasn't shy about ransacking SoundJam as it incorporated many of its signature features into iTunes, including visualizers, plug-ins, online retrieval of album data and drag-and-drop playlist creation. Much to the dismay of Jelly fans, however, Apple opted to leave SoundJam's skins on the cutting-room floor.

iTunes 1 (Jan. 9, 2001-Oct. 23, 2001)

About 10 months later, at Macworld San Francisco in 2001, Apple debuted iTunes alongside iDVD and the CD-RW-enabled Power Macs. While it wasn't exactly a show-stopper (though 275,000 copies were downloaded in the first week), the "world's best and easiest to use ‘jukebox' software" definitely raised the bar for music players on the Mac, which were relatively sparse and rather pricey (SoundJam cost $40). By offering iTunes as a free download and installing it on every new Mac, Apple essentially cut down the competition at the pass--or at least put a good scare into them. "Apple has done what Apple does best--make complex applications easy, and make them even more powerful in the process," said Steve Jobs at the time. "iTunes is miles ahead of every other jukebox application, and we hope its dramatically simpler user interface will bring even more people into the digital music revolution."

For many Mac users, iTunes was an introduction to digital music, and Apple strived to create a straightforward jukebox that needed little or no instruction to get started. Popping a music CD into your Mac automatically launched iTunes, which loaded the disc, collected track data from Gracenote and added them to your library. A clean interface split into boxes kept everything neat and always within reach of a mouse click.

Conspicuously missing from iTunes 1 was the ability to burn a CD on an external drive, a deficiency compounded by Apple's mostly CD-RW-less line of Macs. Apple answered the cries a month later at Macworld Tokyo with the introduction of new iMacs and Cubes with write-able drives, a 1.1 update that added third-party support, and the launch of the controversial "Rip, Mix, Burn" campaign.

iTunes 2 (Oct. 23, 2001-July 17, 2002)

After racking up more than a million downloads in just a few short months, it quickly became clear that iTunes was every bit as revolutionary as Apple hoped. What all those users didn't know, however, was that the music player was merely the first part of a strategy that would redefine the company as more than a Mac maker. in October 2001, Steve Jobs showed us the next piece of Apple's digital hub in the form of an oddly named, undeniably sexy hand-held device. Built exclusively to leverage the popularity of Apple's music app, iPod came bundled with a brand-new version of iTunes that allowed it to seamlessly integrate with the songs and playlists stored on our Macs.

Along with a considerable ratcheting of burn time, Apple also added "the three most requested features" into iTunes 2: MP3 CD burning, a 10-band equalizer and cross fading. A holdover from SoundJam, iTunes' overdue equalizer came preloaded with more than 20 presets and brought robust, receiver-style tweaking to the desktop. The new crossfader eliminated the annoying gaps between songs and paved the way for a new generation of laptop DJs, and a sound enhancer appealed to audiophiles by adding depth and richness to tracks.

But the real reason for iTunes 2 was iPod support, offering an unparalleled experience that transferred a few days' worth of music from your Mac to your pocket in just about 10 minutes.

iTunes 3 (July 17, 2002-April 28, 2003) 

Introduced at the final Macworld New York keynote as a companion to the first "solid-state touch wheel" iPod, iTunes 3 was a mostly incremental update with few dramatic changes. In the 18 months since its inception, some 14 million copies had been downloaded, so Apple had little reason to change the formula; rather it added just enough new features and enhancements to keep the iPod + iTunes revolution rolling.

With iTunes 3, however, Apple threw down another gauntlet. Reduced prices, greater capacities and slimmer enclosures made the second-generation iPod even more desirable, but the addition of Windows support was the big change, opening up the popular player to millions of new music lovers. But Apple wisely kept iTunes tied to the Mac, forcing Windows users to sync their iPods with MUSICMATCH, a sub-par jukebox that basically served as an advertisement for iTunes' sleek interface and finer points.

As if to drive the point home, iTunes 3 added a few dozen new features, including track ratings, Sound Check for consistent volume playback, support for Audible audiobooks and Smart Playlists, which streamlined and automated the creation of digital mixes based on a series of predetermined rules. A few other enhancements--new track tags, library consolidation, playlist importing/exporting and track joining--added to the experience and widened the gap between iTunes and every other jukebox on the market.

THE STORE

iTunes 4 (April 28, 2003-Sept. 7, 2005)

If iTunes 1 was a revolution, iTunes 4 was a bloody coup. What otherwise would have been a point update with a few minor playback improvements, AAC encoding and network sharing, iTunes 4 would have barely been noticeable without the addition of a new member to the "Source" sidebar: Music Store. A first-of-its-kind shopping experience that blew the roof off the industry and turned a thorn into a rose, the iTunes Music Store brought 200,000 high-quality songs from BMG, EMI, Sony Music Entertainment, Universal and Warner under one fully searchable, completely legal roof.

Album artwork, one-click purchasing, in-apps video and a mostly unrestrictive DRM all for less than $1 a track. A million tracks were sold in the first week; four months later it surpassed 10 million. Along the road to the milestone 100 millionth download, however, Apple took iTunes 4 in a decidedly different direction when it rolled out the second generation of its store. Determined not to duplicate its prior proprietary mistakes, Apple didn't renege on its promise to deliver the iTunes Music Store to Windows users by year's end--and certainly didn't skimp on the goods. A near-identical port of its award-winning iApp made its way onto PCs in October 2003 with a streamlined, expanded store (Mac users called it iTunes 4.1).

With a 28-month upgrade path, version 4 stayed on desktops longer than any other iTunes release, gaining a slew of new features before retiring to digital graveyard: iMix, Party Shuffle, Apple Lossless, Podcasting, AirTunes, iPod photo and shuffle, and the European and Asian Music Stores all made their debuts under the iTunes 4 umbrella. Half a billion songs and 10 updates later, Apple had established itself as the undisputed king of the digital music domain.

iTunes 5 (Sept. 7, 2005-Oct. 12, 2005)

Where iTunes 4 was a lengthy, meandering release, the next version came and went in just five weeks. Introduced in tandem with the iPod nano at what would become an annual September digital music event, iTunes 5 packed an overall peppiness and a refined, cleaner mini player, but was surprisingly light on new features--and fittingly was the first numbered upgrade that didn't come with a new color for the music note in its icon.

Sadly, the highlight of the pack was a new Search Bar that made quick work of rummaging through the store's two million songs, rounded out by Smart Shuffle, playlist folders, parental controls, AAC VBR importing and Outlook syncing. Ultimately, though, it was the bug-ridden app's dark platinum makeover that got the most attention. iTunes 5 ditched the outdated brushed-metal skin of its predecessors, and the thinner, sexier look filled many a forum with praise and criticism.

Better known as iTunes 4.10, the fifth version of iTunes was mostly a disappointment. Rumors about TV show purchases and movie rentals that had swirled in the days leading up to the event failed to materialize, and even Steve struggled to come up with something nice to say: "We are constantly improving iTunes with new features like... better searching because we love music ourselves and want to surprise and delight music fans around the world."

iTunes 6 (Oct. 12, 2005-Sept. 12, 2006)

What a difference 35 days make. At an unexpected "One More Thing" event in early October, Steve kicked iTunes 5 to the curb and rolled out the red carpet for the next generation of the digital jukebox. Arriving in tow with new iMacs and video iPods, iTunes 6 brought serious changes to the store, adding online gift options, customer reviews, "Just For You" recommendations and some 2,000 music videos and Pixar shorts, all priced at $1.99 and formatted for new iPod's 2.5-inch color screen.

But that wasn't all. Never content to rest on his laurels, Steve rolled out TV show downloads with iTunes 6, priced at the same $1.99 as the far-shorter music videos. Just five Disney shows were available at launch--"Lost," "Desperate Housewives," "Night Stalker," "That's So Raven" and "The Suite Life" --but when more than a million videos were purchased inside of three weeks, it didn't take long before other networks came knocking. Before the end of the year, NBC Universal had signed up, followed shortly by MTV, Showtime, Fox and CBS, and soon iTunes 6 had done for TV what iTunes 4 did for music, cramming more than 220 shows onto its shelves within 12 months.

iTunes 6's TV Store didn't make quite as much noise as the Music Store, but its 11-month tenure marked the start of an exciting time for Apple, as momentum began to build toward something huge on the horizon.

THE SYNERGY

THE SYNERGY

iTunes 7 (Sept. 12, 2006-Sept. 9, 2008)

Billed as the "most significant enhancement to the world's most popular music jukebox and online music and video store since it debuted," iTunes 7 was indeed a dramatic reinvention of the five-and-a-half-year-old iApp, with sweeping interface changes, speed boosts and a renewed focus on the jukebox.

Packing two new navigation views--a list mode dotted with album artwork and an officially sanctioned version of Steel Skies' Cover Flow--iTunes 7 put the emphasis back on iTunes as a music player, starting with the debut of the MiniStore, which strengthened the marriage between the two segments. Everything from the Source list to iPod integration received an overdue makeover, and Apple even fixed the age-old microsecond of silence that iTunes stubbornly inserted between joined tracks.

Of course, it wouldn't be an iTunes update without a new addition to the store, and Apple didn't disappoint here, either. With users already downloading more than a million videos and TV episodes each week, iTunes 7 made the logical leap to movies, adding some 75 near-DVD quality titles from Walt Disney Pictures, Pixar, Touchstone Pictures and Miramax Films at launch and growing to more than 2,500 films from nearly every studio over the course of its two-year upgrade cycle.

What made the seventh version so significant, however, was its versatility. By the time it had run its course, iTunes 7 had well grown into its role as the center of the digital hub, with iPhone, iPod touch Apple TV, movie rentals, the App Store, and a slew of nanos and shuffles all landing on its watch. Through it all, iTunes 7 never felt stale, bloated or sluggish, smoothly adapting to the new demands with little more than a software patch.

iTunes 8 (Sept. 9, 2008-Sept. 9, 2009)

After 19 software updates to iTunes 7, it was time for the next whole number, and Apple finally delivered iTunes 8 at its annual music event in 2008. Following such a tremendous update was no easy task, and Apple could easily have packaged the new stuff into iTunes 7.8, if not for the super-smart technology hiding within.

The centerpiece of iTunes 8 was the Genius feature, an underrated playlist tool that combined the controlled randomness of Smart Shuffle with the queue capabilities of Party Shuffle (iTunes DJ after 8.1) to transform your Library into a personalized radio station. Adding to the fun was the optional Genius Sidebar, a mildly intrusive strip of song recommendations culled from a mix of your favorite songs (and in later versions, TV shows and movies) and "anonymously-gathered knowledge from millions of other iTunes users," all crunched by a series of Apple algorithms, neatly packaged and beamed back to your computer.

Minor tweaks elsewhere improved upon the broad refinements introduced in the prior release, and Apple dumped the Search Bar in favor of a return to field-specific exploring. An enhanced grid mode replaced album view with an iPhoto Events-like scheme that grouped albums and artists into interactive mini widgets. Taking a break from its relentless tide of upgrades, the store was mostly left out this round of enhancements, but iTunes 8 did usher in high-definition content (despite Steve's previous declaration of 2005 as the year of HD).

iTunes 9 ( Sept. 9, 2009)

Exactly a year after iTunes 8 meekly landed on desktops, Apple welcomed Steve Jobs back to the main stage by dropping a bombshell of a release that overhauled the store, made iPhone syncing effortless and updated the classic vinyl jacket for the 21st century.

Open iTunes 9 and you're immediately smacked by a new white background, giving the grid a clean, bright look that makes your album art pop and beckons you inside. Speed improvements are noticeable throughout, particularly when using Cover Flow, which can now handle speedy scrolling with only the slightest bit of lag. Delving further into the latest version of Apple's nearly nine-year-old jukebox reveals hipper icons, a few extra curves and whistles, and a new Home Sharing feature that finally lets your trade music with friends and family members.

Flip to the store and you'll find a host of newness, beginning with a personalized welcome note, sensible layout, enhanced album pages with quick view windows and previews that borrow cues from the mobile iTunes Store. Dig a little deeper and you'll find iTunes Extras (think DVD bonus features for digital movies) and iTunes LPs, the greatest thing to happen to music since, well, iTunes. A far greater thing than the digital PDF booklets bundled with album purchases, iTunes LP--while currently limited to just 12 albums and saddled with nonuniform pricing (Jay-Z's pre-order costs $16.99 while Pearl Jam's costs $9.99)--is poised to rekindle the creativity and connection that's all but been stripped away by MP3s.

With iTunes X most likely slated for a September 2010 release, we can only wonder what new features are being realized in a secret bunker in Cupertino. Only time, and Steve Jobs, will tell.