One critic’s wish list for 2015:  No New Year’s resolutions here, but a little bit of hope for what could make life in the months ahead better for grownups who are into music.

There ought to be a Hippocratic Oath for rock and pop critics:  “First, do no harm.”  The Critics’ Oath would be a pledge to honor always the trust inherent in the act of reviewing music.  One way to do so would be for critics to acknowledge deliberate bias, whether it is the result of a business strategy or as a personal point of view.

Many grownups are confused about to how to find new music that’s worthy of their time, passion and money.  They are seeking the counsel of those critics – or a critic – they can trust.  What they need is honesty, transparency and the respect they’ve earned.   Thus, I wish that critics who lead with bias against certain types of music and would make it clear to their readers, listeners and viewers they are doing so.

I wish that contemporary musicians will be appreciated today for what they are doing without having to suffer comparisons to legacies of musicians of the past.  I say “legacies” because when we compare new musicians and their music to their counterparts of many decades ago, we often overvalue that which we’re most familiar with.  My wish has a two-fold purpose:  that we’re fair to today’s musicians; and that we as listeners can free ourselves from the burden of faulty memory and enjoy the wonderful new music that’s available to us in a seemingly never-ending stream.

Speaking of streams, I’ve tried to stay on top of the rift between some musicians and streaming services.  The data that have been made public can be confusing, but as best as I can make out, Spotify says it pays 70 cents on the dollar to record labels for each stream – the equivalent of a single play of a track.  This works out to an average rate of about $0.007 per stream.  If my math is correct, one million streams equals about $7.000 in compensation for the label, which in turn decides how much to pass on to its artist.

Rosanne Cash told the New Yorker that she received $104 for 600,000 streams – a rate of $0.00017 per stream.   One of my favorite tracks of 2014 was “Enemy” by Merchandise.  Thus far, it’s been streamed on Spotify about 247,000 times, which, if the rate Cash received is applied, I’m estimating would generate $42 for the band.

To my mind, it’s unconscionable that musicians would be treated so.  My wish:  Musicians and composers will paid at least a living wage for their streams of their music.  And that their right to profit financially from their creativity and hard, hard work becomes the focus of the streaming services.

Another streaming-related wish:  that every time we hear a song or an album on Spotify, Beats, Rdio or Google Play that they enjoy, we buy that song or album – and explore others by the musicians.

It’s been reported, on her Facebook page, that 2015 will see the arrival of a new album by Björk.  It’s been more than three years since the release of “Biophilia,” her eighth studio album, which seems too long a wait for new music from one of our greatest musicians.  My wish is that Björk 2015, or whatever its title may be, arrives sooner than later – because there’s little doubt it will be of a superior quality and will advance rock and pop music much as her earlier recordings have done.

It’s been even longer between Radiohead albums:  “King of Limbs” was released in February 2011.  The band is said to be at work on a new recording, at least according to comments by guitarist-composer Jonny Greenwood.   It’s not that the members haven’t been working:  Thom Yorke released two full albums in the interim, “Amok” with his band Atoms for Peace and this year’s “Tomorrow’s Modern Boxes”; in 2014, Phil Selway issued his second solo album, “Weatherhouse”; and Jonny Greenwood composed the scores for the films “The Master,“ “We Need to Talk About Kevin” and “Inherent Vice,” and released, with Krzysztof Penderecki, an album that included his classical compositions.  (“Spooks,” a previously unreleased Radiohead composition, is performed by Greenwood in “Inherent Vice.”)  But, much as it is with Björk, life is always a bit better when there’s new music by Radiohead to savor.  Thus, I wish that they get to it and once again deliver a superb album.

There’s no way to say this other than directly:  Rock and pop stars we followed in our youth are going to continue to die, as did Jack Bruce, Joe Cocker, Phil Everly, Johnny Winter, Bobby Womack and many, many others in 2014.   Unless we knew personally the deceased, our relationship with them exists exclusively in our memories.  When we hear the bad news, our instinct is to recall the favorite songs from the good old days.  But consider another form of tribute:  By searching through their vast musical catalogues and finding unfamiliar tracks, we can keep these artists alive, if only in our minds, by having new experiences with them.   When confronted by the musicians’ deaths in 2015 and beyond, I wish music fans inch away from old memories and try to create new ones – something that will enrich our lives while giving us a deeper appreciation for the greats we’ve lost.

I wish to see more people my age at rock festivals.  There is no better way to experience live music and find out who are the best new bands.  Arrive early, meander, soak in the sun and listen.  Never heard of the band?  No worries.  There are several others at work on stages a walk away.  The food is good, and some festival offer craft beers and fine wine.  The facilities are better than serviceable.  And the crowd is great.  As I’ve said before, I’ve never felt out of place or unwelcomed at a rock festival, and I always go home thinking the experience has added years to my life.  I wish the same for you and your loved ones.

Here’s to a fabulous 2015 filled with new music and the beginning of new memories.