I suspect that this same effect is close to the reason so many services removed the dislike button: humans are emotional and were, in some cases, disliking songs which they were not in the mood for, but would like at another time.
As a result, the signal coming from the dislike button was not very useful, and just added unnecessary complexity. Instead, the algorithm can present the user a fixed song in different settings to see if they continue to skip it. A nice result is that the user doesn’t have the negative reaction “hey I disliked this song why are you presenting it to me again”
I frequently will find one of their auto-mixes I like, and listen to it for a while throughout the day skipping songs I don't like or I'm not in the mood for. Then when I go back the next day, even if I didn't restart the mix, it has updated, and what plays isn't the stuff I liked and repeated. It was the stuff they have financial incentive to get plays on that I skipped the day before and "might be in the mood for now".
This alone drove me back to my local music library.
I would rather dislike a song and have it recommended in a "How about now" playlist to determine if I actually hate it or if it was a mood in the moment.
I used to track “skip counts” in iTunes and would review the most skipped songs every month or so and determine if they needed to be reduced in star count.
It would be nice if when you skipped a song it would do a soft pop up or something to ask why you skipped it. You could ignore it most of the time but if you felt strongly about the recommendation then you could at least vent your frustration on the "I don't like this song" button.
I think the main issue here is, is that users feel a bit powerless to influence the algorithm with thier dislikes as much as thier likes. Even though a song skip may be functionally similar to the dislike button, the user has no "haptic feedback", for lack of better term, when they really feel the need to have their negative opinion on the song heard by the algorithm.
I think most people's gripes with the nature of these recommendation algorithms deciding things, centre around the feeling that the algorithm doesn't listen to them and their opinion as much as it obeys other overriding trends. Giving them tangible and tactile options to deliver their opinions in hard and fast way gives them some more peace of mind that the algorithm is working for them, and not for some other entity.
Some songs have extremely long shelf life and others are extremely short. For instance, an "adult contemporary" station could probably get away with playing Elton John's "Tiny Dancer", a 49-year old song, without anyone thinking anything is weird.
More popular songs of that year such as those by Roberta Flack or Gilbert O'Sullivan would not get the same non-reaction
Some songs have even longer shelf life that are associated with real world things like birthdays, holidays, seasons, etc. It's pretty common to hear a set of Christmas music that was literally recorded during WW2 with everyone's approval.
Some songs grow on people, others grow tired quickly. The classic example is novelty songs that specify a dance such as the cover of The Birdie Song by The Tweets or Black Lace's Agadoo, which reached impressive popularity and then were promptly forgotten forever. Ones that you may be familiar with such as Rick Martin's Macarena, probably gave you a headache just thinking about it.
But not all. Chubby Checker's "The Twist", a song in this category of instructional dance pop music, has escaped the ban hammer of time.
But overall the pattern of memory holing proscribed dance songs is robust, even for songs that developed a dance without actually calling it out, such as "Achy Beaky Heart".
Also there's no asymptotic drop after release date. Some songs that are popular now and symbolic of an era weren't as popular when they were new and some have second lives when featured in say a television show, video game, or covered by a more contemporary artist. Every few years a new version of Gershwin's "Summertime" seems to come out followed by renewed interest in previous versions by people like Billie Holiday, Janis Joplin and Ella Fitzgerald. Should Ella Fitzgerald albums be recommended to people for the next 18 months now? Probably not the right way to interpret those results.
There's an exogenous contextual reason for such things and those have to be accommodated for
It's completely non-trivial and a simple model of skips and likes without sophistication behind it will dramatically fail to be anything other than an irritation
