The co-owner of Tidal has pulled the majority of his discography from the platform, leaving only a handful of early albums and collaborations
Jay Z has taken the drastic step of removing the majority of his back catalogue from Spotify. The Brooklyn rapper, who co-owns the rival streaming platform Tidal, has taken what is being seen as “a nuclear option” in regards to his Spotify policy by pulling a large number of his best-selling albums and singles from the service. The only remaining Jay Z albums on Spotify are 1997’s ‘In My Lifetime Vol. 1’ and ‘Reasonable Doubt’, as well as 1998’s ‘Vol. 2 Hard Knock Life’. Also still available is ‘Collision Course’, the collaborative album he recorded with Linkin Park in 2004, as well as a handful of singles, which include his ‘Watch The Throne’ collaboration with Kanye West ‘N***as in Paris’, a remix of Fat Joe and Remy Ma’s song ‘All The Way Up’ and the Kanye-led ‘Clique’. Spotify confirmed to Billboard that “some” of Jay Z’s music had been removed from their platform “at the request of the artist.” Meanwhile, Jay Z made a return to music on Friday (April 7) with a guest verse on Frank Ocean‘s latest surprise single. ‘Biking’, which also features Tyler, the Creator, debuted on Ocean’s ‘Blonded’ show on Apple Music, and follows last month’s one-off single ‘Chanel’. By Sam Moore
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Something is happening on June 24
Tool look like they are beginning to tease their long-awaited new album. The band’s first album in over ten years – since 2006’s ’10,000 Days’ – is widely expected to come out in 2017 after much delay. The band have now shared a mysterious image to their social media accounts, which features the date 06-24 (June 24). See that post beneath. Tool frontman Maynard James Keenan recently suggested that the band’s album could be delayed yet again. Speaking on CBC Radio in a rare interview, Keenan cited difficulties in releasing material from some of his projects. “For some things yes, I see a plan,” he said, “and others I just see roadblocks.” He added that he wouldn’t specify which project was experiencing delays, out of “respect” to those he works with – Keenan also writes for A Perfect Circle and Puscifier. Keenan also recently clarified his previous comments he made stating that his own fans are “insufferable retards”. He defended himself by saying that his insults were aimed only at the “fanatics” who follow his band. “Our core fanbase aren’t fanatics,” he told Billboard. “They’re music lovers, artists and good people. It’s the fanatics that are insufferable.” Keenan has said his comments were “taken out of context by a few news outlets so they could drive up their own readership,” and that he doesn’t think all of his supporters are “insufferable retards.” Tool’s new album seemed imminent when bassist Justin Chancellor last year revealed the band were “deep into the writing process.” He told Bass Player: “We’ve narrowed things down to big groups of ideas. For the past few months we’ve been working on one of the newer songs fairly exclusively. We get the gist of it and find the main themes that make up the skeleton between verses and choruses. Then we explore different ways we can depart from that and come back to it and flip it upside down, and take the time to see what else is there. Everyone knows we take our time. We’re really trying to be responsible with ourselves in trying to discover ideas that haven’t been discovered before. It’s kind of an alchemy, how we experiment.” By Luke Morgan Britton
“Raging” remains one of our favorite tracks from Kygo’s debut album, Cloud Nine. And like most of the tracks from the album, “Raging” is pretty mellow and lowkey, never really going above a 4 or so on the “raging” scale.
That being said, LZRD has taken the track and turned it up to a 12. And don’t try to plug it into any specific genre, either, because it’s useless. This is just purely good music with no pigeon hole in mind, and all eyes set toward raging with friends and a glass in your hand. While in the original, Kodaline croons into a drop of the same relative intensity, LZRD embraces the lead and goes above and beyond. This is pure fun and we never want it to end. Listen below. MATTHEW MEADOW
About a bajillion of my favorite things came together to form this collaboration… Bassnectar + Dirtyphonics + Ragga Twins + drum n bass + Monstercat equals “Watch Out.”
Bassnectar announced earlier this year that he had loads of new music coming out, including some first time releases on labels like Spinnin’, OWSLA, and Monstercat. Obvious hype vocals from Ragga Twins bring in the track while pounding percussion and wild synths carry you to the drop which is just… hnngg. But it doesn’t even stop there! While the first drop is sort of a blend of dubstep and trap, the final drop is straight drum & bass and it’s absolutely glorious. There’s still more to expect from Bassnectar in 2017, so we hope you haven’t gotten tired yet! MATTHEW MEADOW MARCH 31, 2017 I ran away from home at 16. My younger sister and I were very spirited and caused my parents a lot of grief. I was active in the civil rights movement and had joined the Black Panthers. I was skipping school, the FBI came to our house and I’d been arrested a couple of times. Mum was tired of it.
I wanted to be an anthropologist as a kid, and only discovered I had a voice when I literally had to sing for my supper in clubs in downtown Chicago. Everything comes too easy for people in the music business now – even the untalented. It’s a sad state when a large behind gets you a record deal. It’s as addictive as doing drugs when you see people singing your song back at you. It’s a kind of love I only get on stage. I’m proud I gave Whitney Houston her break when she was 15. Her mum Cissy – a friend – told me her daughter had a great voice so I asked her to come sing backing vocals on my first solo album. I saw my younger self in her, but could tell she was destined for greatness. My struggles with addiction [to alcohol, prescription drugs and heroin] have made me the amazing human being I am now. I have no regrets and wouldn’t change a thing. I’m genuinely surprised I’m still here, though. I don’t know what I’ve done to deserve this. Prince and I were great friends. He was a wonderful human being. He told me not to worry about the politics of who should go on first – you or your support act. He said: “If you can’t go on as an equal, don’t bother.” There’s a lot of things I missed as a young mum, because I was too busy growing up myself. I’m better at it now. I adopted my granddaughter – my son’s daughter – when she was nine. She’s just turned 16. Becoming a mother again later in life was meant to be. It wrecked me emotionally when I first started singing I’m Every Woman. It was ironic that I was battling deep insecurities yet singing this huge anthem of empowerment. I thought I didn’t have the right to sing it. Only Joni Mitchell’s music could bring me out of very deep depression on the road. I’d be the only girl on the tour and feeling so depressed and lonely. I’d put on Hejira and that made it more bearable. I’ve been married twice. Both times I was constantly wondering which person they loved: Chaka Khan or the real me – Yvette Stevens. It would take a man of biblical proportions for me to marry again. I don’t have time for a man unless he can bring something big to the table, like a huge amount of money. Age isn’t meaningful to me. I’m the happiest I’ve ever been in my own skin, and more accepting of myself. The older I get the more I realise I don’t have to take any crap. I’d like my epitaph to say: “She was a good old girl… and a good person.” Chaka Khan will headline the Henley Festival on Friday 7 July. Tickets from £45 |
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