Spotify CEO Daniel Ek states: “You can’t record music once every three to four years and think that’s going to be enough”

The Swedish music streaming and media services provider, Spotify, has been highly criticized by a growing number of artists for their royalty rates, including Radiohead frontman Thom Yorke, who once likened Spotify to “the last desperate fart of a dying corpse.” According to a recent report, a mid-sized indie label earned just $0.00348 per stream.

In a new Music Ally interview, Daniel Ek, the Spotify CEO addressed the controversy, stating that: “Even today on our marketplace, there’s literally millions and millions of artists. What tends to be reported are the people that are unhappy, but we very rarely see anyone who’s talking about… In the entire existence [of Spotify] I don’t think I’ve ever seen a single artist saying, “I’m happy with all the money I’m getting from streaming.” In private they have done that many times, but in public they have no incentive to do it. But unequivocally, from the data, there are more and more artists that are able to live off streaming income in itself.

He continued: “You can’t record music once every three to four years and think that’s going to be enough,” Daniel Ek said. “The artists today that are making it realise that it’s about creating a continuous engagement with their fans. It is about putting the work in, about the storytelling around the album, and about keeping a continuous dialogue with your fans.”

Read the full interview here.

The post Spotify CEO Daniel Ek states: “You can’t record music once every three to four years and think that’s going to be enough” appeared first on Orb Mag.

This content was originally published here.

‘Left of Sinner’ Finds Jimmy Yeary Delivering Music with Meaning « American Songwriter

It’s a well proven proverb that creativity and commercialism aren’t always the best bedfellows. Going out on a limb and sharing some inner truth isn’t necessarily appealing to the masses. So when Jimmy Yeary opted to record his upcoming debut album Left of Sinner and include songs written from a personal perspective, he was in fact detouring away from his earlier career as an ongoing Nashville presence, lead singer of the popular band Shenandoah and a singer/songwriter signed to various major labels. Most significantly, he had scored several country hits, including “I Drive Your Truck,” a Country Music Association and Academy of Country Music “Song of the Year,” and, more recently, the number one Kenny Chesney/David Lee Murphy collaboration “Everything’s Gonna Be Alright.” 

Nevertheless, Yeary wasn’t satisfied. He wanted to tell his own story, warts and all, one that would share his downturns and disappointments, as well as the hopes, faith and aspirations that keep him moving forward. 

That’s what attracted veteran producer/songwriter/record executive Marshall Altman to him when they first met as part of a three way co-writing collaboration with Tim Nichols in 2015. The record was never released, but regardless, Altman —whose past production projects include work with Amy Grant. Marc Broussard, Natasha Bedington, Gabe Dixon, and Tom Morello, among others — claims he was immediately impressed, not only by Yeary’s skill as both an artist and composer, but also by his unbridled optimism and insightful observations. Aside from the fact that the two became good friends, he also made it his mission to do an album with him at some point.

“Every time I saw the dude, it was like ‘Hey man, let’s make a record,’” Altman recalls. 

“Marshall was so refreshing for me,” Yeary suggests. “I was writing things that I didn’t want to write, and after checking out his history, straight away it was obvious that Marshall wasn’t just about chasing down a hit. He wanted to feel something. And I was also starving to death to feel something again myself. So we just jumped into something that was real. I don’t care if anyone hears it. I just wanted to write it. I love his passion, his intelligence and he just seemed to get me immediately. It became really, really fun and I just wanted to do it as much as I could.”

It was another four years before that desire came to fruition, but in 2019, the new album was completed. Lacking major label assistance and the usual network of promoters, publicists and an extensive distribution network, the prospects for getting it out into the marketplace might seem gloomy at best. Nevertheless, their enthusiasm won out and both men are only too eager to tout their mutual accomplishment.

The first single was released last month with two others expected over the span of the summer.  That initial offering is “Same Water, Different Boat,” a song that eschews the need for perseverance even in the face of overwhelming odds. The chorus rings with determined resilience: 

“Yeah, we’re all just riding on this rock together
We’re all just kinda learning as we go
Trying to find a little break in stormy weather
Just out here trying to keep this thing afloat
Same water, different boat.”

Yeary notes that he had achieved earlier success, but he dismisses most of it as the product of someone who was really young and without a lot to say. “I just wanted to be famous,” he insists. “And that’s not a great combination. So where I am today, I do have something to say and I have a few wrinkles. I was just cutting what people wanted me to cut, saying what they wanted me to say, and I wasn’t enjoying it.”

As a result, Yeary considers Left of Sinner not only a reboot of his career, but also his first real solo set. He also credits Altman’s oversight with bringing it to fruition. 

“Selfishly speaking, I really wanted to hear a record that was made for him as an artist and not tailored individually for each pitch for what his publisher was going after, “ Altman responds. “Our goal was to make a record that both of us loved and could proudly play to our wives. The clarity that Jimmy has now…it’s very rare, especially in Nashville where a lot of careers are built on doing what you’re told.”

“I knew these were songs that would never get cut, but they were songs I just had to write,” Yeary maintains. “This record has given me a chance to have freedom. I found such joy in it. I wrote the way I wanted to write. And I feel that people want to hear those kinds of songs again.”

Altman has his own words of acknowledgement. “There are plenty of good writers, and I’m not taking anything away from them,” he adds. “But the first time I met Jimmy, I felt like there was a great artist in there. To have him say, ‘Nobody’s going to cut these songs, but these are the things I’d like to say’ — that was inspiring to me as a record producer. I’m not a fool enough to think everything I do is going to make money, but I want to be inspired, because if it doesn’t inspire me, it’s not going to inspire anyone else.”

Altman explains that several of the songs were written before the album was conceived and the early intention was to send them to other artists. However Yeary maintains that he didn’t think that most, if not all of them would never get covered. They were, he declares, simply sentiments  he wanted to express. 

“I’ve been a drunk, I’ve been married three times, I’ve been an idiot, and I’ve done every conceivable drug you can think of,” he relates. “I’ve just come to a place of gratitude today. I just want to feel as much as I can so that other people can feel it too. I’ve seen the power that comes from that connection, and I just want to meet that internal need so we don’t all feel alone.”

“At the end of the day, my hope for this is that Jimmy gets to make another record,” Altman explains. “My belief is that this is a special record that could change the way people think about country music, which, in my humble opinion, has been suffering from its own hunger for the spotlight. It’s a rich and beautiful genre that has had a lot to say has been marginalized in a lot of ways, at least on the mainstream side. You can quote me on that. This is a record from a guy that’s received all these accolades and had number one hits, who should just be writing the most blatantly simple, commercial cuttable songs…only writing songs that people can run up the charts and have number ones.”

In that regard, Altman says that any commercial consideration takes second place to the conviction the two men imbued in its creation. “The thing that I love about this record is that it feels like what country music should be without the thirst for another number one or any kind of approval. That to me is the crux of this record. I believe that there’s a deeper calling, and this record represents that stance. I know that people that hear it, however many there are, will believe it. They’ll be moved by it. They’ll find hope and comfort and solace and joy in it.”

“I hope the whole world hears it but we did not make this record with that intention at all,” Yeary muses. 

“We’re confident that the people that hear will actually hear it, will listen and that won’t be just another set of songs,” Altman suggests. “Sometimes you want to believe in what you’re making and hope that it sells. But you also want to fully believe in the music you’re making. Sometimes people want it to sell more than they want to believe in it. I’ve fallen prey to that myself. These songs truly move me. I don’t hear that that often, so that’s the defining thing about this album for me.”

Yeary has his own reason for wanting the songs to be successful. “I enjoy writing songs that really move me,” he says. “I hope they make me millions and millions of dollars, but if they don’t, that’s still a better choice for me than trying to cut the cookie the same way every time.”

This content was originally published here.

Snoop Dogg confirms Jay-Z wrote Dr Dre’s ‘Still D.R.E.’ in full

Snoop Dogg has revealed that Jay-Z wrote Dr. Dre‘s classic single ‘Still D.R.E.’ in full.

The track, which also features Snoop, was a standout song on Dre’s ‘2001’ album. Jay-Z is credited with writing the track under his real name Shawn Carter along with Scott Storch.

But Snoop now claims that Jay was flown into Dre’s LA studio, and that the ’99 Problems’ rapper wrote the song in its entirety in 30 minutes.

“He wrote Dre’s shit and my shit and it was flawless,” he told The Breakfast Club. “It was ‘Still D.R.E.’ and it was Jay-Z and he wrote the whole fucking song.”

During his Breakfast Club interview, Snoop talked about how Dre flew Jay-Z out and he wrote ALL of “Still Dre” in under a hour pic.twitter.com/9TKJHXlbq1

— GlockTopickz (@Glock_Topickz) July 29, 2020

Snoop added: “Jay-Z is a great writer to begin with for himself, so imagine him striking it for someone he truly loves and appreciates. He loves Dr. Dre and that’s what his pen showed you, that I can’t write for you if I don’t love you.”

He also revealed in the same interview that Eminem didn’t make the cut in his list of the top 10 rappers of all time.

“Eminem! ‘The Great White Hope’. White rappers had zero respect in rap. Let’s keep that one thou-wow,” Snoop said. “[Dre] has probably put Eminem in the position where he would be considered one of the top 10 rappers ever.

“I don’t think so, but the game feels like that he’s top 10 lyricists and all that that comes with it. That’s just because he’s with Dr. Dre. and Dr. Dre helped him find the best Eminem that he could find.”

Asked why Eminem doesn’t make his top 10 list, Snoop went on to list a number of rappers who he rates higher than the Detroit artist.

“There’s some n****s in the 80s that [Eminem] can’t fuck with,” Snoop continued. “Like Rakim, like Big Daddy Kane, like KRS-One, like LL Cool J … Like Ice Cube.”

He said “it is what it is”, but maintained that Eminem “did that to the fullest” and is still “one of my teammates, one of my brothers”.

“But when you’re talking about this hip-hop shit that I can’t live without, I can live without that.”

The post Snoop Dogg confirms Jay-Z wrote Dr Dre’s ‘Still D.R.E.’ in full appeared first on NME Music News, Reviews, Videos, Galleries, Tickets and Blogs | NME.COM.

This content was originally published here.

Beyonce dances leg work, Gbese, other Nigerian and African steps in new video

Beyonce’s new song ‘Already’, featuring Major Lazer and Ghana’s Shatta Wale is buzzing online following its recent release and a music video which contains amazing indigenous dance steps.

The talented songstress shared the clip via Instagram as she revealed that the shooting started in her backyard.

She also said that some scenes were shot in Shatta Wale’s hometown, Ghana.

The singer performed a number of Nigerian and African dances in the video, including the popular Leg work and Gbese dance moves.

In the music video, Beyoncé moves through number of locations, from one where she appears with body paint in a tree, to a warehouse where she’s flanked by dancers.

It also features scenes of dancers from around the world interwoven throughout the clip, highlighting the upcoming film’s inspiring celebration of being Black, from its elegant choreography and fashion to the global locations.

Watch the video below;

This content was originally published here.

Rihanna Teases Long-Awaited Ninth Album, Promises Fans ‘Will Not Be Disappointed’

“I’m not just gonna put it out just because people are waiting,” the singer says.

Fans have been waiting four years now since Rihanna dropped her eighth album, “Anti.” In that time, she’s built and expanded her Savage X Fenty fashion empire and with every announcement, they ask her where “R9” is.

Now, as she prepares to expand the Fenty brand into skin care, Rihanna assured her fans that she hasn’t abandoned what first brought her to fame, despite what some of them might be thinking or saying about her recent brand moves.

“I am always working on music,” she told ET. “And when I am ready to put it out in the way that I feel fit, it’s gonna come out. And you’re not going to be disappointed when it happens. It’s going to be worth it.”

The 32-year-old icon also reminisced on her long career in the spotlight, beginning with “Pon de Replay” when she was just 17 years ago. It’s amazing to think that it’s been 15 years since she first hit the spotlight.

“I thought that was just a few years ago, now it’s like a decade plus,” she said of the early smash hits of her career. “But I’m also really grateful to still be here and being able to expand into other ventures. I’m grateful. It’s been fun and I can’t even complain.”

Her monumental success as a music artist has given her the flexibility to express her creativity in these other arenas, even if those self-same music fans are equally excited about all of her products, but impatiently anxious for new music.

But, Rihanna explains, “I’m not just gonna put it out just because people are waiting. It’s taken this long, I’m gonna make it worth it.”

She certainly can’t build the anticipation any higher. She also can’t tease her upcoming ninth album any harder. At this point, her fans are combing through every social media post to see if its a clue about a new single or about when the album might drop.

For now, though, they might just have to settle for great skin at an affordable price. “I want these things to be different from anything that is on the market,” she said of her newest product line, Fenty Skin.

“I want it to be simple. I want it to be accessible, but still with the high level of ingredients that some of these other brands do but they’re so expensive.”

So does this mean she’s working on a new single about a three-step skin care regimen? … What? Too big of a stretch?

Got a story or tip for us? Email TooFab editors at tips@toofab.com.

This content was originally published here.

Paul Anka Turns 79: Revisiting The Life and Legacy of the Famed Canadian Crooner – Everything Zoomer

“[Women] show up while you’re singing, running up to you as if you’re not,” he laughs when I ask him about his devoted female fans. “They’ve got old pictures in your face of when they were 18. They’ve got memorabilia that you’ve signed, all over the world.”

A few days after the show, Anka and I walked the hallways of a downtown Toronto photography studio. When I told him how much I enjoyed his concert, it struck me that he genuinely appeared to appreciate the sentiment — never mind that it was coming from someone too young to have heard his chart-topping singles when radio disc jockeys had them on heavy rotation. It mattered what this audience member thought. And that, I realized, is the key.

By the end of the show, Anka stands on stage, legs apart, fists firmly planted on his hips, soaking the adulation in. He evokes an image of Peter Pan: ageless and brimming with the joy of performing, having honed the tricks he learned from hanging with the pirates and lost boys of Las Vegas — the Never-Never Land where adults flee to feel like kids again.

At 15, he worked part-time at the local IGA when Campbell Soup Company promoted a contest awarding the person who collected the most soup can labels a recording session in New York City. Familiar with the customers who bought the brand, Anka cleverly arranged to collect all of their labels in addition to his own. He won.

The song he recorded wasn’t a hit, but it gave him that taste of showbiz he’d been salivating for. A year later, in 1957, he made his way back to the Big Apple to pitch another tune — one he wrote about a 19-year-old girl from church named Diana.

Paired with ABC-Paramount Records producer Don Costa — whose understanding of Anka’s brand of teenage ballad Dalton calls “a perfect match” — “Diana” shot to No. 1 in Canada, the U.S. and overseas, landing the 16-year-old on both Dick Clark’s American Bandstand and The Ed Sullivan Show that same year. He also went on the road, touring the U.S. with the likes of Chuck Berry, Fats Domino, the Everly Brothers and Buddy Holly.

He embarked on his first European tour in 1958 and, in June 1960, at the age of 18, he became the youngest performer to ever headline New York’s iconic Copacabana nightclub — made famous by his idols Frank Sinatra and the Rat Pack — lending him a measure of respect  that proved crucial when he started playing Vegas shortly after.

After a string of chart-toppers in the late 1950s, his only top 10 hits on U.S. radio in the 1960s were “Puppy Love” (No. 2 in 1960) and “Dance On Little Girl” (No. 10 in 1961). By 1962, he’d switched record companies and, in a move that Dalton deems “absolutely revolutionary,” bought his entire catalogue back from ABC-Paramount.

“If you own the masters, you own those songs lock, stock and barrel. He made money every time somebody bought a record [or] played it … and I’m sure that sustained him through the shallow parts of his career.”

Whether headlining sold-out shows or partying with his Rat Pack pals and their high-rolling friends, Anka — one of the first pop stars to play Vegas — became a fixture in the town through until the 1980s. Yet, as popular as he was as a performer on the strip and abroad, he achieved a new level of fame by writing for others.

Anka’s resumé of more than 900 songs includes the theme to the 1962 film The Longest Day and an adapted version of his song “Toot Sweet,” now known as the iconic opening theme for The Tonight Show with Johnny Carson.

Buddy Holly’s final hit was an Anka tune — “It Doesn’t Matter Anymore” (1959) — though he never lived to see it, perishing in a plane crash before its release. Anka also wrote one of Tom Jones’ biggest singles, “She’s a Lady,” in 1971. While he composed music for Sonny & Cher, Connie Francis, the Doobie Brothers and others, the song Feldman calls “the pinnacle of [Anka’s] songwriting talent” remains “My Way.”

Of all the celebrities, royalty and heads of state that Paul Anka has rubbed shoulders with, it’s Frank Sinatra — the Chairman of the Board — people want to hear about. His antics, alone or alongside his Rat Pack buddies, are the stuff of show business lore.“There wasn’t enough room in the book,” he admits of his autobiography, “to tell them all.”

“When you write ‘My Way’ and you’re attached to Sinatra … [it’s] perception,” Anka explains, when discussing his success as a songwriter. “You pass a line where you become somebody who has substance. And [your audience] supports that.

“I subscribed to the fact that what I did back then [could] come back and haunt me,” Anka explains. “So I eat a certain way, I exercise, I don’t drink heavy liquor, I’m not a smoker. I rest my voice. Little things that enable me to over-punch my weight.”

Anka’s will to stay in tiptop shape serves him well both on stage and at home, where he’s got a little boy to chase after. While the singer’s first marriage produced five daughters and, ultimately, eight grandchildren, he and his girlfriend, Lisa, currently raise his only son, seven-year-old Ethan Paul, from his second marriage.

“The love and the focus is the same, the time consumption is probably different,” Anka says about the difference between raising his girls and his son. “Time, today, is very important to me. [It’s] my biggest asset.”

In his prime, Anka was on the road an estimated 230 dates a year. “He probably played as many nights a year as Bob Dylan — only on key,” Dalton quips. These days, the touring is pared back considerably, allowing Anka to bring Ethan to and from school and spend time together playing basketball or riding his motorcycle.

Sure, hearing Anka sing Kurt Cobain’s “A mulatto, an albino, a mosquito, my libido” lyrics to a jazzed-up horn section takes some getting used to, but this is no humiliating William Shatner recites “Rocket Man” redux. The album went gold in a number of countries, followed by a star on Canada’s Walk of Fame, proving Anka’s musical instincts as sharp as ever.

Remarkably, there are still artists Anka hasn’t collaborated with but would like to, including Elton John, Beyoncé and John Mayer. In the last 12 months, he’s “written more than I have in years,” and his latest album, Duets, features artists as varied as Willie Nelson, Leon Russell and Michael Jackson.

“I harken back to Sinatra. He said, ‘Kid, I always get excited about putting a record out and having a hit.’ And I absolutely subscribe to that,” Anka says. “In my mind, I haven’t put my flag in the mountain. I do it to stay healthy and to stay aware and I don’t want to ever just sit back. It’s a great life. It’s a great occupation. I just want to stay on this journey.”

This content was originally published here.

Announcing “Flight of the Conchords Sing Flight of the Conchords” Summer Tour

Jemaine and Bret have new material, which they’ll be showcasing on the road this summer. The “Flight of the Conchords Sing Flight of the Conchords” tour begins on June 11th in the great city of Cleveland, OH and ends July 27th in Los Angeles, CA. The tour will visit Philadelphia, San Francisco, Minneapolis, Seattle, Atlanta and many more. Highlight stops include, Red Rocks Amphitheater, Newport Folk Fest, and Central Park Summer Stage. This is the band’s first tour since going out on the first-ever “Oddball Comedy & Curiosity Tour” in 2014. Tickets go on sale this Friday March 4th at 10am here.

Tour Dates
Jun. 11 – Cleveland, OH – State Theatre
Jun. 12 – Philadelphia, PA – Mann Center for Performing Arts
Jun. 13 – Washington, DC – Wolf Trap Filene Center
Jun. 14 – Columbus, OH – Palace Theatre
Jun. 16 – Detroit, MI – Fox Theatre
Jun. 17 – Minneapolis, MN – Orpheum
Jun. 18 – Milwaukee, WI – Riverside Theatre
Jun. 19 – Chicago, IL – Pritzker Pavilion
Jun. 22 – Redmond, WA – Marymoor Park
Jun. 23 – Vancouver, BC – Orpheum
Jun. 24 – Portland, OR – Keller Auditorium
Jun. 27 – San Francisco, CA – The Masonic
Jul. 01 – Santa Barbara, CA – Santa Barbara Bowl
Jul. 02 – San Diego, CA – Cal Coast Credit Union Open Air Theatre at SDSU
Jul. 03 – Phoenix, AZ Comerica Theatre
Jul. 05 – Morrison, CO – Red Rocks Amphitheatre
Jul. 07 – Kansas City, MO – Starlight Theatre
Jul. 09 – Austin, TX – Bass Hall
Jul. 11 – New Orleans, LA – Saenger Theatre
Jul. 12 – Atlanta, GA – Chastain Park Amphitheatre
Jul. 14 – Nashville, TN – Ascend Amphitheater
Jul. 16 – Boca Raton, FL – Mizner Park Amphitheatre
Jul. 17 – St. Augustine, FL – St. Augustine Amphitheatre
Jul. 18 – Cary, NC – Koka Booth Amphitheatre
Jul. 22 – Newport, RI – Newport Folk Festival 2016 (Fort Adams State Park)
Jul. 23 – Boston, MA – Blue Hills Bank Pavilion
Jul. 24 – New York, NY – Central Park SummerStage
Jul. 27 – Los Angeles, CA – Greek Theatre

The post Announcing “Flight of the Conchords Sing Flight of the Conchords” Summer Tour appeared first on Flight of the Conchords.

This content was originally published here.

LEGACY OF THE BEAST TOURING UPDATE 2020/21

I hope you and your loved ones are staying safe and well, wherever you may be, and my continued thanks to you all for bearing with us so patiently.

Due to the continuing health issues Worldwide around Covid-19 we regretfully inform you that Iron Maiden will now not be playing any concerts until June 2021.

However, we are now in a position to give you details of our touring plans in respect to those shows we had hoped to play this year.

Firstly, we are very pleased to tell you that we’ve managed to reschedule all our European own-shows on the Legacy Of The Beast tour for June/July 2021 with the exception of Moscow, St Petersburg, Weert and Zurich which unfortunately we have been unable to re-arrange in this period.

To consolidate the tour routing, as you can see, we have added 2 further shows in Arnhem and Antwerp.

We are in the process of inviting back all the Special Guests and supports who were due to play with us this year. Where any band is unable to commit to this due to their own rescheduling situations, we will look at finding other suitable acts of equivalent stature. The majority are already confirmed and can be found here.

Re-arranging the headline Festival dates has unfortunately not been possible. This is mainly because we already had an extremely busy year lined up for 2021 and, as I’m sure you can imagine, a great deal of forward planning has already gone on and there’s only so much we can do within the timeline and logistics already in place. The band enjoy playing at Festivals so please be assured we will get back to as many of these as we can at another time.

 In respect of what should have been the opening leg of the 2020 tour starting on May 1 in Perth, Australia and visiting New Zealand, the Philippines, Japan, Dubai and Israel, we are currently working on a possible return to as many of these countries as we can, in some guise, in the first half of 2022, more news on that will follow at the appropriate time.

The band are all fine and send you guys their best wishes, they are very much looking forward to getting back on stage next year and seeing you all so, please, continue to take care of yourselves and stay SMART. 

– Rod
 

2021_photo750.jpgThe 2021 schedule is:

JUNE 2021
Fri 11 – POL, Warsaw PGE Narodowy
Sun 13 – GER, Bremen Bürgerweide
Tue 15 – CZE, Prague Sinobo Stadium
Wed 16 – AUT, Wiener Neustadt Stadium Open Air
Sat 19 – SPA, Barcelona Olympic Stadium
Mon 21 – POR, Lisbon Estadio Nacional
Thu 24 – ITA, Bologna Sonic Park
Sat 26 – GER, Stuttgart Mercedes-Benz Arena (Stadium)
Sun 27 – BEL, Antwerps Sportpaleis
Wed 30 – GER, Berlin Waldbühne

JULY 2021
Sat 3 – SWE, Gothenburg Ullevi Stadium
Thu 8 – GER, Cologne Rhein-Energie-Stadium
Sat 10 – HOL, Arnhem GelreDome
Sun 11- FRA, Paris La Defense Arena

This content was originally published here.

K.O Expresses Concern On The Lack Of Impact From SA Hip-Hop | Slikouronlife

When would you say South African Hip-Hop was in it’s prime? Would you say the culture still has the voice and influence it had at that time right now? Alarmed, rapper and hip hop pioneer, K.O, does not think so. Taking to twitter this morning, K.O has expressed his thoughts and feelings towards where the culture is right now, and the direction he sees it heading towards, with the constant decline of our impact as a fraternity being the major concern.

SA hiphop I hope we’re all cognizant and taking notes from the constant decline of our impact as a fraternity – coz I am ????????‍♂️. Amapiano still moving things, Gqom and House are reserging. We’re not a threat to no one cos our sound/attitude doesn’t resonate anymore…

— K.O (@MrCashtime)

Couple of INDIVIDUALS from hiphop are obviously still doing their thing but it’s the contrary for hiphop as a fraternity/culture. The overall Top 100 iTunes chart says it all. It’s our job to fix this! Let’s make music with our people & their stories in mind again. REPRESENT! ????????

— K.O (@MrCashtime)

I don’t condone beef but it exists in other genres as well. I swear I’ve seen some type of smoke between Phori & kaybee. My view is solely based on how SA hiphop sounds nothing else https://t.co/UsXLF2moLH

— K.O (@MrCashtime)

Passing the torch in my view is the numerous artists I’ve signed and introduced to the scene. I hope you don’t mean established artists must stop making music so new guys can be noticed https://t.co/0Hh1xFWNqO

— K.O (@MrCashtime)

My sentiments exactly! And we’re all to blame https://t.co/u57JGugSwm

— K.O (@MrCashtime)

What is that new SA hiphop sound? Please teach me fam. If we’re talking about opening up the industry I’m signing artists, even at a time when majors aren’t looking at taking the risk https://t.co/xOvxmiGe67

— K.O (@MrCashtime)

This content was originally published here.

Taylor Swift’s New Track ‘betty’ Has Fans Thinking She May Have Just Come Out | GO Magazine

Is Taylor Swift queer? The singer’s new album — and particularly one song titled “betty” — are making fans think that she may have just come out as bisexual.

The song follows a relationship that lasted through a summer — though not much longer. “I thought of you all summer long,” croons the track, which describes the regret over infidelity and how their relationship came to an end. While there’s no official break down of the song from Swift’s team, it seems pretty obvious that the song is from the point of view of a guy, named James (who is named in the song). Some are suggesting it’s part of a larger arc, with “cardigan” being from Betty’s point of view, “illicit affairs” being about the cheating and subsequent relationship breakdown, and “betty” being from the man’s perspective.

However, for LGBTQ+ fans of the singer, that explanation doesn’t fly. Instead, the queer girls are going crazy on social media over a theory that Swift isn’t singing as a man on ‘betty’ but as herself, meaning this is her (subtle) way of coming out.

 

Credit: @desoulniers

 

 

Credit: @folklorefilms

 

 

Credit: @thestorycfus

 

Swift put out the album as a surprise drop, announcing its release only hours before in an Instagram post. “folklore” is the artist’s eighth studio album, and Swift says she never thought it would be released during the pandemic.

“Most of the things I had planned this summer didn’t end up happening, but there is something I hadn’t planned on that DID happen. And that thing is my 8th studio album, folklore,” wrote Swift in the caption of a recent Instagram post. “Surprise Tonight at midnight I’ll be releasing my entire brand new album of songs I’ve poured all of my whims, dreams, fears, and musings into. I wrote and recorded this music in isolation but got to collaborate with some musical heroes of mine. … The times we’re living in keep reminding me that nothing is guaranteed. My gut is telling me that if you make something you love, you should just put it out into the world.”

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Taylor Swift new album: ‘Folklore,’ will drop at midnight

Surprise! Taylor Swift announces new album, ‘Folklore,’ will release at midnight

Hannah Yasharoff USA TODAY
Published 8:56 AM EDT Jul 23, 2020

Less than a year after the release of her album “Lover,” Taylor Swift surprised fans Thursday with an announcement that her eighth studio album, “Folklore,” will be released at midnight EDT. 

“Most of the things I had planned this summer didn’t end up happening, but there is something I hadn’t planned on that DID happen,” Swift, 30, wrote in a series of Instagram posts Thursday morning. “And that thing is my 8th studio album, folklore. Surprise”

Swift fans are used to the singer dropping clues up to months in advance about her next musical endeavor, but she did away with the long buildup this time. Instead, the hints took place over the course of less than 10 minutes Thursday morning, while Swift posted nine separate Instagram photos to create a mosaic image of herself isolated in the woods before the album reveal came.

The entire 16-song album was written “in isolation,” she said, describing it as a project she “poured all of my whims, dreams, fears, and musings into.”

More Taylor Swift: A definitive ranking of her 30 best lyrics

A music video for the song “Cardigan” will release at the same time. Amid coronavirus shutdowns in the United States, Swift noted that the “entire shoot was overseen by a medical inspector, everyone wore masks, stayed away from each other, and I even did my own hair, makeup, and styling.” 

Swift’s self-titled debut album was released nearly 14 years ago. Since then, fans have followed the singer from a country music newbie to a world-famous pop star, averaging about one album every two years. 

Her latest album, 2019’s “Lover,” ushered in a new era of calm for Swift, who had dealt with a tumultuous past few years with tabloid headlines, record label dramas and other personal challenges that played out on the public stage. Her teases for “Folklore” hint at a similarly quiet, zen vibe. 

Taylor Swift’s ‘Lover’ Easter eggs: Which fan theories were right and which were way off?

“Before this year I probably would’ve overthought when to release this music at the ‘perfect’ time, but the times we’re living in keep reminding me that nothing is guaranteed,” Swift wrote. “My gut is telling me that if you make something you love, you should just put it out into the world. That’s the side of uncertainty I can get on board with.” 

The entire set list: 

Contributing: Maeve McDermott

This content was originally published here.

Canadian punk legend Mr. Chi Pig dead at 57 – BC News – Castanet.net

Photo: Facebook
Chi Pig on stage.

Canada’s punk scene is mourning one of its legends with the death of legendary SNFU lead singer Mr. Chi Pig aged 57 June 16.

Kendall Stephen Chinn was an enigmatic musician and artist known for higher-than- high-octane performances with the hardcore punk band formed in 1981 in Edmonton, relocating to Vancouver in 1992.

Social media reaction to news of Chi Pig’s passing was fast.

“He was a true f**king East Van Bohemian & Punk Rock Queen in the very best sense of those words,” wrote Anna Stewart on Facebook. “I’ll never forget his live performances at the Smilin’ Buddha and other Vancouver spots, his blistering energy and dope style.”

Chinn was born on Oct. 19, 1962 to a German mother and Chinese father, both now dead. He was the second-youngest of 12 children.

He met brothers Marc and Brent Belke through skateboarding in Edmonton in 1981 and formed the band Live Sex Show. The short-lived group soon transformed into Society’s No F**king Use or SNFU. Chinn was a lyricist and a charismatic frontman, frequently incorporating masks, puppets and other props into shows. A prolific artist, he also created much cover art.

The hardcore punk band became a burgeoning skatepunk subculture mainstay.

Between 1985 and 2013, the band released eight albums as well as one live and one compilation release. Almost 30 members have come and gone through the band through the years but Chinn remained the centrepiece.

While the band’s success began to mount, Chinn began a long battle with hard drugs.

He also began open identification as a homosexual. His early life was marked with trauma and later received a diagnosis of schizophrenia.

He’d been given a month to live in late 2019, a diagnosis that shook him somewhat, but did not preclude fleeing hospital earlier this year for a run to his East Vancouver haunts.

Long-time friend Chris Walter has documented much of Canada’s punk scene in his books, including ‘SNFU . . . What No One Else Wanted to Say.’

“SNFU did not seem like obvious candidates for punk rock stardom—yet by combining the flamboyant stage antics and political lyricism of singer Chi Pig with the infectious guitar attack of Marc and Brent Belke, SNFU rose up to take not just Edmonton but the entire world by storm,” reads the back cover of a re-release memorial edition due out in several weeks.

Chi Pig was not a stage presence, Walter said. Chi Pig and Chinn were one and the same.

“He was 100% Chi Pig and zero percent anyone else,” Walter said. “He just absolutely had a desire to create and an urge to create.”

But, he was happiest on stage, Walter said.

“That’s where he belonged.”

“He was a total pro.”

Walter said his friend was frequently a mystery to him and many others.

Sometimes, Walter would be observing the singer creating art. “I’d be watching him and wondering ‘where did he come up with that?’ It was hard to fathom. He had an active imagination.”

And that fertile mind translated to the lyric process as well. Walter said Chinn would take fragments of ideas, concepts he’d noted in his scrapbook and create from there.

“He assembled his songs like Frankenstein’s monster,” Walter said.

It was this enigmatic presence that attracted people to the singer, Walter said.

“He’s generally just different from everyone else,” Walter said. “He’s just kind of a mystery. He was so weird, they just wanted to get to know him.”

But, woe to the fan who pushed him or invaded his personal space.

“If you pushed him too far, he’d lose it,” Walter said. “His bandmates kept overzealous fans away.”

No specific cause of death has been released. “He had a lot of medical issues,” Walter said. “It wasn’t COVID.”

He often held court at Vancouver’s Pub 340 or perhaps The Cambie Pub, liked steak tartare, loved to travel, and had read chef Anthony Bourdain’s Kitchen Confidential repeatedly.

Chinn was the subject of a 2010 documentary entitled Open Your Mouth and Say…Mr. Chi Pig produced by Prairie Coast Films and directed by Sean Patrick Shaul. It featured such punk luminaries as Jello Biafra of the Dead Kennedys, Brendan Canning of Broken Social Scene and now Burnaby city councillor Joey Keithley of D.O.A.

This content was originally published here.

Rod Bernard, Swamp Pop musician and broadcaster, dies at 79

Rod Bernard, Swamp Pop musician and broadcaster, dies at 79

Victoria Dodge Lafayette Daily Advertiser
Published 6:36 PM EDT Jul 13, 2020
Swamp pop musician and broadcaster Rod Bernard died Sunday at 79 years old. Born on August 12, 1940, to French-speaking Cajuns parents, Bernard learned to play guitar, sing, and yodel from a young age. At 10 years old, Opelousas-born Bernard joined the Cajun country-western group The Blue Room Gang.
Shane Bernard

Swamp pop musician and broadcaster Rod Bernard died Sunday. He was 79 years old.

Born to French-speaking Cajun parents, Bernard learned to play guitar, sing and yodel from a young age. By age 10, Opelousas-born Bernard joined the Cajun country-western group The Blue Room Gang. 

With the band, he toured outside of Louisiana, visiting the Grand Ole Opry in Nashville, and it was during this tour he recorded his first song — Hank Williams Sr.’s “Jambalaya.”

In high school, Bernard switched to the new rock ’n’ roll sound. He created a band called Rod Bernard and the Twisters. In 1958, the ground covered King Karl & Guitar Gable’s song “This Should Go On Forever” with a swamp pop twist, quickly becoming popular along the Gulf Coast. 

The record soon propelled Bernard to national recognition. The Louisiana teen was featured on Alan Freed’s rock ‘n’ roll show and Dick Clark’s “American Bandstand.” Bernard also had concerts and tours with Chuck Berry, Jerry Lee Lewis, B. B. King, Duane Eddy, Roy Orbison and Frankie Avalon, among others. 

Shane Bernard, Rod’s son, said it was interesting to see his father play because his whole demeanor would change on stage.

Swamp pop musician and broadcaster Rod Bernard died Sunday at 79 years old. Born on August 12, 1940, to French-speaking Cajuns parents, Bernard learned to play guitar, sing, and yodel from a young age. At 10 years old, Opelousas-born Bernard joined the Cajun country-western group The Blue Room Gang.
Shane Bernard

“At home he was quiet, didn’t talk much, very introverted, didn’t want to be center of attention,” Shane said. “But he became a different person on stage.”

Bernard’s grandchildren were able to see him perform “in his natural habitat,” both deriving musical talent from their grandfather. As little as two weeks ago, Bernard and his grandson would lock themselves in a room and jam out to swamp pop and old blues. He taught his grandson Bill Doggett’s “Honky Tonk Part One and Two.” 

In the 60s, Bernard released many regional hits that today remain swamp pop classics, including “Congratulations to you Darling,” “Fais Do-Do,” and his own bilingual version of the Cajun classic “Colinda.” 

From 1962 to 1968, he served in the U.S. Marine Corps Reserve, attaining the rank of sergeant. 

In 1976, he teamed up with fellow Opelousas native, zydeco legend Clifton Chenier, to record the album “Boogie In Black & White” — a groundbreaking collaboration between Black and white musicians. He performed at various times with other swamp pop musicians, including Warren Storm and Skip Stewart. 

Shane Bernard remembers watching Storm, Stewart and his dad practice in the living room of their home. Growing up, Shane quickly got used to his dad being recognized in the grocery store or at his Cub Scout meetings. 

In addition to his music career, Bernard worked in radio and television. He landed his first radio program on KSLO around age 10, and for many years in the 1960s he deejayed, sold airtime, and served as a program director at KVOL radio in Lafayette.

Swamp pop musician and broadcaster Rod Bernard died Sunday at 79 years old. In the early 2000s, Shane, his son, joined his father in the studio for the first time. Bernard was recording his last LP and this is when Shane realized his father is a perfectionist when recording, insisting on redoing songs until they met his standard.
Shane Bernard

Bernard was instrumental in hiring Lafayette’s first Black deejay, Paul Thibeaux, who joined KVOL in 1965. Around 1970, Bernard switched to a career in television and for nearly 30 years worked as an advertising executive and on-air talent for Lafayette’s KLFY-TV 10, where he previously hosted his Saturday Hop live dance program. 

In the early 2000s, Shane joined his father in the studio for the first time. Bernard was recording his last LP and this is when Shane realized his father is a perfectionist when recording, insisting on redoing songs until they met his standard. 

Although 2016 was Bernard’s last performance, he would frequent local nursing homes to play live music but he “didn’t make a big deal of it” Shane said. 

The Bernard family asks that donations be made to the U.S. Marines’ Toys for Tots campaign at www.toysfortots.org. At Bernard’s request, no funeral will be observed.

Contact Victoria Dodge at vdodge@theadvertiser.com or on Twitter @Victoria_Dodge

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Joan Jett Drops Cover of T. Rex’s ‘Jeepster’ (Listen) – Variety

Joan Jett has released her cover of T. Rex’s 1971 classic “Jeepster,” the latest track from the forthcoming tribute album “Angelheaded Hipster: The Songs of Marc Bolan and T. Rex,” which arrives on Sept. 4 on BMG and was helmed by legendary producer Hal Willner, who died of coronavirus complications in April.

Check it out here:

T. Rex and the music of the glam-rock era was a huge influence on Jett, and the pairing of artist and song is perfect. She’s joined by a backing band that includes Tom Waits vet Marc Ribot on guitar, Thomas “Doveman” Bartlett on piano and arranging, Jim White on drums (PJ Harvey, Cat Power), and of course was produced by Willner.

The 26-track album, also features a tag team between U2 and Elton John on T. Rex’s biggest hit, “Bang a Gong (Get It On),” as well as contributions from Nick Cave, Father John Misty, Todd Rundgen, Perry Farrell, Soft Cell singer Marc Almond, Kesha and many others. The full track list appears below, head here for full details.

Both the album and documentary are from BMG, in collaboration with Who/Robert Plant manager Bill Curbishley’s Trinifold company.

Disc 1

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Moody Blues Bassist John Lodge Provides Personal Perspective on Isolation on “In These Crazy Times”

LOS ANGELES, CA – NOVEMBER 01: Musician John Lodge of the Moody Blues performs at the Nokia Theatre on November 1, 2013 in Los Angeles, California. (Photo by Kevin Winter/Getty Images)

John Lodge is used to the surreal. As bass guitarist, vocalist, and songwriter for Rock & Roll Hall Of Famers The Moody Blues, stranger scenarios have always been part of his stock and trade. That’s reflected in his musical contributions from early on and songs such as “Ride My See Saw,” “Isn’t Life Strange?,” “Steppin’ in a Slide Zone,” “Gemini Dream,” and any number of other tracks he wrote over the course of the band’s more than 50 years of existence. That’s one of many reasons why the band’s tallied sales of more than 70 million albums over the course of their career and why Lodge himself has frequently been named one of the most influential bassist of all times, Indeed, he has been the recipient of any number of honors awards, including an Ivor Novello Award and recognition from the American Society of Composers and Publishers.

With the Moodies’ uncertain status at present — both Lodge and vocalist/guitarist Justin Hayward are apparently intent on pursuing individual efforts — Lodge has revived a solo career that began in 1977 with his initial album Natural Avenue and then reactivated nearly 40 years later with 10,000 Light Years Ago, a project that featured his namesake outfit, the 10,000 Light Years band. A live album, Live from Birmingham: The 10,000 Light Years Tour followed two years later in 2017 along with a compilation of his best Moodies songs that he rerecorded titled B Yond — The Very Best Of.

Lodge’s new single “In These Crazy Times (Isolation Mix)” continues that trajectory. Lush, ethereal and insightful, it harkens back to classic Moodys circa the late ‘60s and early ‘70s. Recorded in his home studios by Lodge in his home studio, it features him performing practically single-handedly on vocals, guitars, bass, keys and drums.

“In These Crazy Times” can be downloaded and streamed by visiting this link. In addition, Lodge recorded a video explaining the origins of the song. 

Despite the uncertain circumstances, “In These Crazy Times” shares a sense of unbounded optimism and determination. In a note announcing the release of the CD, Lodge stated, “In 1967, The Moody Blues recorded Days of Future Passed, and we were in the studio in lockdown 24 hours a day creating an album that changed my life. Being in lockdown now reminds me of the creativity and solitude that took place during that period of my life. So I have taken the opportunity, given by this lockdown period, to write and record a new song about these difficult days, days that stretched into weeks and months.”

When the pandemic struck, Lodge had just finished performing on the Rock and Romance Cruise, which ended up being his last public outing to date. “Within three days, my wife and I were ‘stranded’,” he recalled.  “Music is my life, and without a studio (or my band), I decided to perfect my use of Garageband to create all the instruments, and record my guitars and vocals in my home studio.

In fact, he decided to make the project more or less a family affair. “As I believe we are all in this together, I thought what a great idea to involve all of my family,” Lodge explains.  “My wife Kirsten is singing backing vocals (for the first time!), my son Kristian is playing lead guitar, his wife Inga took the photo for the cover (with social distancing!), Jon Davison from the band Yes has joined me on vocals, and Emily, my daughter, is managing the whole thing.” Davidson and his Kristian added their parts in their homes, and it was then sent to Lodge’s sound engineer Ray Nesbit to mix at his own home studio. “It truly is an ‘Isolation Mix’,” Lodge insists. “My wish is that we can all be together again soon, and then I hope that my 10,000 Light Years Band and I can get together and make a ‘Freedom Mix’.” 

This content was originally published here.

Katy Perry To Headline Tomorrowland Around The World Digital Festival – Deadline

The Tomorrowland Around The World has revealed that pop star and American Idol judge Katy Perry will headline the digital music festival which takes place July 25-26.

The two-day fest is a popular electronic dance music fest that began in 2005. With festivals and events pivoting to virtual during the COVID-19 pandemic, this year’s iteration of Tomorrowland will be a fully interactive 3D festival combining the world’s best technologies in gaming, 3D design, video production, and special effects for an unparalleled digital experience — and Perry’s performance will be exactly that.

“I’ve always wanted to be a part of the fun of Tomorrowland, and have been following the amazing innovation, technology, and invention that this festival has always been about for a long time,” said Perry. “I’m so glad to be a part of this version, and I hope my set makes you smile.” Set to a spectacular visual backdrop, Perry is set to perform some of her greatest hits as well as new music from her upcoming album Smile. 

Tomorrowland Around the World will bring together more than 60 of the planet’s most prominent artists in electronic dance music on 8 different stages. In addition to Perry, this year’s lineup includes Steve Aoki, Armin van Buuren, Afrojack, among others. For full details and tickets to the virtual fest visit tomorrowland.com.

This content was originally published here.

Pop Smoke Hits No. 1 With Posthumous Debut Album Shoot For The Stars, Aim For The Moon – MTV

Brooklyn rapper Pop Smoke was shot and killed in Los Angeles in February, but by May, talk of a posthumously released debut album was all but confirmed. And on July 3, that album indeed arrived as Shoot for the Stars, Aim for the Moon, executive-produced by Smoke’s idol 50 Cent and featuring guest appearances by 50 himself along with Lil Baby, Quavo, DaBaby, Roddy Ricch, Lil Tjay, and more.

The sheer force of the album, as well as Smoke’s legacy, is strong — on Monday (July 13), it hit No. 1 on the Billboard Hot 100, making it the rapper’s first time at the top of the charts. His earlier mixtapes, Meet the Woo and Meet the Woo 2, had reached 105 and 7, respectively.

His label head, Steven Victor, commemorated the album’s release by sharing behind-the-scenes clips of the rapper in the studio, including a few with Quavo.

Shoot for the Stars moved 251,000 units in its first week, according to Billboard, which makes it the sixth-biggest week for an album in 2020 — behind similar juggernaut releases from The Weeknd, BTS, Lil Uzi Vert, Eminem, and Lady Gaga. It’s also the first posthumous No. 1 since December 2018, when the late XXXTentacion‘s album Skins debuted.

Pop Smoke’s album achievement comes just days after Los Angeles police arrested five people in connection with his murder. Its release also came after backlash to its initial Virgil Abloh-designed cover artwork, which was widely derided by fans. The final version, designed by Ryder Ripps, was reportedly chosen by Pop Smoke’s mother.

50 Cent, meanwhile, weighed in on helping to bring the album to the finish line to Billboard. “As soon as I know that the record positioned itself for No. 1, I feel like I did enough,” he said. Read that entire conversation here.

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Live Aid was 35 years ago today – A Journal of Musical Things

After achieving some success with the release of Band Aid’s “Do They Know It’s Christmas,” the organizer of the project, Boomtown Rats’ frontman Bob Geldof, decided that the music industry needed to do more when it came to the famine in Ethiopia. His idea was Live Aid, a one-day, two-country stadium fundraiser event televised to the planet.

Logistically, this was an insanely ambitious plan. Booking all those acts in London and Philadelphia. All the band requirements. The politics of the lineup. The infrastructure for the satellite broadcast. Installing the phone lines for donations and the accounting of all the money. Convincing TV networks around the world to carry the day-long program.

If you were around back then, you’ll remember how big a deal Live Aid was, not just for the cause but because we got to see a parade of musical heroes on TV, something that was still brand new to most of us. I remember watching it at work while on the air at Q94 FM in Winnipeg. None of the conventional channels would carry it, so it was up to the local public access channel to take the feed!

Yes, MTV was broadcasting by then, but it had only been around for four years. MuchMusic was less than a year old and was still unavailable to large swaths of Canada. And yes, individual acts showed up on late-night TV, but in a very sanitized sort of way. Outside of a very few other TV events (the US Festival comes to mind), we’d never, ever seen anything like Live Aid. Nor will any future music event have the same kind of impact.

Here are some highlights.

This content was originally published here.

Eminem has harsh words for Drew Brees in new song with Kid Cudi | Sporting News

Eminem has started yet another rap beef with, uh, Drew Brees?

The Detroit emcee threw in a harsh line about Brees as part of his appearance on Kid Cudi’s new song, “The Adventures of Moon Man and Slim Shady,” which was released late Thursday. Eminem gives a shoutout to New Orleans rapper Lil’ Wayne, who also goes by the name Lil’ Tunechi, before lashing out at the Saints quarterback.

From Eminem’s verse:

I had hoop dreams, now I shoot threes
Got a little green, but I don’t do weed
Purp nor lean, that’s Tunechi
That’s New Orleans, f— Drew Brees

It’s unclear exactly why Eminem decided to attack Brees, but his words are likely a reaction to Brees’ feelings about NFL players kneeling in protest of racial injustice and police brutality during the national anthem.

“I will never agree with anybody disrespecting the flag of the United States of America or our country,” Brees said in June.

Several athletes criticized Brees for not understanding the purpose of the protests, and he later apologized multiple times, saying his initial comments were “insensitive and completely missed the mark on the issues we are facing right now as a country.”

After President Donald Trump said Brees shouldn’t have apologized, Brees shared a response to Trump on Instagram.

“Through my ongoing conversations with friends, teammates, and leaders in the black community, I realize this is not an issue about the American flag. It has never been,” Brees wrote. “We can no longer use the flag to turn people away or distract them from the real issues that face our black communities.” 

You can listen to the full Eminem and Kid Cudi collaboration below. (Note: Strong language, so don’t play this if you’re on a Zoom call with your boss.)

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Led Zeppelin Singer Robert Plant Shows ‘One Direction’ That The Rock Community Have To Go – Metalhead Zone

The legendary co-founding member of Led Zeppelin and one of the most famous activists of our industry, Robert Plant, has shared a new tweet on his official Twitter account and showed his support to ‘Let The Music Play’ movement once again.

As you might already remember, lots of stars in the music industry have joined a new movement called ‘Let The Music Play’ to call on United Kingdom government to stop damaging live music after the coronavirus times and let the musicians organize new stuff after the outbreak.

Paul McCartney, The Cure, Radiohead, Cold, and many other bands/artists released a public letter this week to wake the music industry up after the lockdown, and Robert Plant is among these legendary stars.

Today, Robert Plant has shared a new tweet to declare his support to that movement once again and tried to make a difference for the community once again.

Here is what Robert wrote on Twitter:

“Round and round we go, year after year and show after show interactive and interdependent. Crew, bands, techs, all of our game heading in one direction… #LetTheMusicPlay”

You can check out the tweet of Robert right below.

Round and round we go, year after year and show after show interactive and interdependent..crew, bands, techs, all of our game heading in one direction… #LetTheMusicPlay pic.twitter.com/DJoTTuWaaa

— Robert Plant (@RobertPlant) July 3, 2020

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Prince’s sound engineer details how she created his infamous vault and saved his masters from the Universal Music Fires | NME

Prince sound engineer Susan Rogers has revealed how she created the artist’s infamous vault and saved his masters from the 2008 Universal Music Fires.

Rogers worked with Prince as an audio technician from 1983 to 1988. In an interview for Double J’s Take 5 podcast, Rogers revealed that she began to collate Prince’s vault as a “practical matter” when the artist would demand old reference tapes.

“When I first started working for him, he would sometimes say to me at 2 or 3 o’clock in the morning ‘bring me this tape or that tape’. I realised I have to know where all these things are, ’cause how would I know this obscure stuff that had never been released,” she explained.

“I started working with the women who worked in his office, and I asked for their help. Let’s collect all these tapes and start a database…With [a] personal computer we were able to start forming a database of all the tapes – the two inch, the quarter inch, the half inch – and then I got really ambitious. I started calling faraway places that might have some of his tapes.”

Rogers goes on to explain that her tape-amassing project expanded beyond the Minneapolis studio where she worked with Prince, contacting Sunset Studios, and Warner Brothers to retrieve his masters.

“Now, I did not know that you’re not supposed to do that,” Rogers laughed.

“Technically, if you’re under contract the label owns those masters. I would talk to the person in the tape closet and say – ‘Hey, Prince has asked me for this, he wants this for some thing or another, and I’ll send it right back’. We never sent it back.”

Rogers explained that it was this decision to keep copies of the tapes that prevented Prince’s masters from being lost in the 2008 Universal Music Group Fire, which wiped out tens of thousands of tapes from artists including Elton John, Nirvana, Queen Latifah, R.E.M, Beck, Tupac, and many more.

“It would have been a lot safer if people had their own vaults.”

The interview comes ahead of the archival release of Prince’s ‘Sign ‘O’ the Times’ Movie 4-Disc Deluxe Edition, set to feature 63 unreleased tracks when it arrives on September 25. Listen to the full chat with Rogers here.

This content was originally published here.

Home Sierra: A Tribute To The High Sierra Music Festival – KVMR Community Radio

Home Sierra,” a virtual music festival featuring over 100 artist performances from the past 29 High Sierra festivals, including shows from John Prine, Dr. John, Booker T, Ani DiFranco, The Radiators, Robert Earl Keen, Hugh Masakela, Achilles Wheel, Grace Potter, Ruthie Foster, Toots & The Maytalls, ALO and dozens of others.   86 Continuous Hours […]

This content was originally published here.

Teddy Thompson Combines Broken Hearts and Classic Pop on ‘Heartbreaker Please’

Teddy Thompson | Heartbreaker Please | (Thirty Tigers)

4 out of 5 stars

“Where are the songs that I love?/Where is the music that I care for?/Is it only in my head”/Or on my record player?” asks Teddy Thompson on his first solo release in nearly a decade. That frustration has resulted in these short but sweet 10 tracks that try, mostly successfully, to recreate the vibe of those tunes he no longer hears other than on his own stereo. 

Thompson released his love of countrypolitan in 2016’s album shared with singer Kelly Jones. He returns to composing tightly crafted three minute gems like the ones once on the radio, as the lyrics to “Record Player” above allude to.  He even goes so far as to say the music he is now exposed to when he goes dancing is “like fingernails on a blackboard.” 

There’s none of that here. 

On his sixth solo outing, Thompson—son of Richard—creates near perfect slices of soulful, emotional pop, only one of which breaks the four minute threshold. In that sense, he picks up where he left off on 2011’s Bella. As this disc’s name implies, he’s since gotten his heart broken… again, a topic that has provided fodder for some of the finest music recorded. The same applied to 2011’s Bella, another set dedicated to an ex-girlfriend. Just to hammer the point, he released the title track of this one on Valentine’s Day 2020.

Even though Thompson dismisses vocal comparisons to Roy Orbison (“I couldn’t even shine his shoes” he once said), there is a clear line drawn to the rock and roll hall of famer’s drama laden approach. And if not Roy, than perhaps Chris Isaak or Raul Malo would be apt links, especially on the bittersweet waltz time “Take Me Away” with its dream-like backing strings and melodramatic atmosphere. Thompson gets off to a peppy Motown inspired start with the opening “Why Wait” (the words “for you to break my heart” follow) featuring crispy horns, thumping drums and a hook that screams hit single. 

He reminds his onetime lover that “You’re gonna miss me,” on the retro “At a Light” that has the upbeat vibe and feel of an overlooked early 60s nugget. About half the selections are ballads, yet only one, the melancholy and stripped down “No Idea,” breaks the four minute barrier. Thompson clearly has a knack for writing sweeping yet compact melodies, not far from those of Crowded House, especially on the lovely, instantly hummable mid-tempo “What Now.”

For those who, like Thomson, also yearn for the charmingly constructed sounds of classic singles which remain timeless slices of memorable music, and others wanting a taste of those songs in a contemporary setting, Heartbreaker Please finds Teddy Thompson nailing that elusive style with deceptive, impressive ease.

This content was originally published here.

Nicki Minaj Calls Out Rappers With ‘Sketchy Pasts’ Who Still Hang Out With Snitches – UNILAD

Nicki Minaj Calls Out Rappers With ‘Sketchy Pasts’ Who Still Hang Out With Snitches

by : Niamh Shackleton on : 13 Jun 2020 17:37
TrollzTrollznickiminaj/Instagram

Nicki Minaj has called out rappers with ‘sketchy pasts’ who still hang out with snitches following her collaboration with Tekashi 6ix9ine. 

The rapper released the song Trollz with Tekashi yesterday, June 12, following his stint in prison; something fpr which she’s received plenty of backlash.

Tekashi famously sang like a canary on his former fellow Nine Trey members in a bid to shorten his prison time. He’s since been dubbed a snitch for doing so, though Minaj has defended him.

Nicki Nicki PA Images

Speaking on an Instagram live video on Thursday, June 11, the 37-year-old Starships singer explained the difference between a rapper and ‘street n****s’.

In her chat with Tekashi, Minaj said:

I feel street n****s have every right to feel how they want to feel about snitching because they live that life. I feel rappers need to play it easy because everybody mingles and integrates with everybody, and if a top executive rat calls one of y’all unsigned rappers right now to sign y’all, y’all signing.

I’m not on the block with 6ix9ine. Me and 6ix9ine is not on the block. We in the music business. You rappers is in rooms all the time with people with sketchy pasts and I’m not judging anybody ’cause I’m not doing that. I have nothing but respect for so many of these people and I would never fix my face to talk crazy about them.

She added, ‘Rappers gotta just play it easy because y’all know that y’all bend the rules for certain people.’ Tekashi also called out Snoop Dogg – again.

Minaj added, however, she ‘respects’ her husband Kenneth Petty, who ‘doesn’t f*ck with the snitch culture’ and has ‘lived a different life’.

Trollz is the second single to be released by Tekashi since leaving prison, and has generated almost 60 million views since the video was dropped on YouTube just two days ago.

This track follows the record breaking song Gooba, which landed just over a month after Tekashi’s release. Gooba became YouTube’s most-viewed hip-hop video within a 24-hour time span, beating a record previously held by Eminem for his savage 2018 diss track Killshot.

A portion of the proceeds from sales of Trollz and related merchandise will go towards supporting The Bail Project, a US organisation working to combat mass incarceration while tackling racial and economic disparities within the US bail system.

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Niamh Shackleton

Niamh Shackleton is a pint sized person and journalist at UNILAD. After studying Multimedia Journalism at the University of Salford, she did a year at Caters News Agency as a features writer in Birmingham before deciding that Manchester is (arguably) one of the best places in the world, and therefore moved back up north. She’s also UNILAD’s unofficial crazy animal lady.

This content was originally published here.

Zlatan ‘attacks’ fellow singers Burna Boy, Kizz Daniels and Joeboy

Nigerian singer and performer, Zlatan Ibile, has today in Instagram called out fellow singers, Burna Boy, Kizz Daniel and Joeboy for different reasons.

Zlatan claimed on his Instagram story that Burna Boy refused to congratulate him on the birth of his child, claimed that Oberz taught Kizz Daniel how to make music and implied that Joe Boy is ignorant of the music business in the now-deleted posts.

“Joeboy fit sabi sing, e fit sabi fit get numbers pass me. Does he know about music business or is he just famous?” the 25-year-old singer posted.

“I told @burnaboygram that my girl had a child, instead of congrats he told if I knew what I was doing.”

“iamkizzdaniel Can’t even blow his brother’s clothing line, how he wan blow @IK_Kuddy na user you! Just because of that word was why I must see him blow more than Kizz.”

This content was originally published here.