Music

Released in 2005, the ‘Stan’ hitmaker’s greatest hits compilation has just notched up its 520th consecutive week on the countdown, making it the only rap release to achieve such feat.

Mar 25, 2021

AceShowbiz –
Eminem has made U.S. chart history as his album “Curtain Call: The Hits” has become the only rap release to spend a full decade in the Billboard 200.

The greatest hits compilation, which featured the classic singles “Stan”, “Without Me”, “My Name Is”, and “Lose Yourself”, was released in 2005 and has just notched up its 520th consecutive week on the countdown.

The impressive feat makes “Curtain Call: The Hits” the sixth longest-running album on the chart, behind Pink Floyd’s “The Dark Side of the Moon” (958 weeks), Bob Marley and the Wailers’ “Legend” (669 weeks), Journey’s “Greatest Hits” (659 weeks), the “Black Album” by Metallica (598 weeks), and Guns N’ Roses’ “Greatest Hits” (520 weeks).

Meanwhile, producer Benny Blanco has revealed Rihanna’s “Diamonds” single could have been another big smash for Eminem, as he had recorded a track to the beat before losing the 2012 song to his “Love the Way You Lie” collaborator.

Blanco explains he, Stargate, and Sia Furler had originally created the tune for either Kanye West or Lana Del Rey.

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“Stargate’s like, ‘Yo, we’re giving this song to Rihanna. It’s going to go,'” Blanco recalled during an interview with Zane Lowe on Apple Music. “And I was like, ‘I don’t know, man. Should we keep the beat for Kanye? I don’t know about it.'”

He continued, “I remember, at the same time, I had given a beat CD like, a month earlier to [music manager] Paul Rosenberg to give to Eminem. And apparently, Eminem had done a song to it, too. And I didn’t even know… So when it happened [was sold to Rihanna], Paul was like, ‘Man, Em had that beat on hold.’ I was like, ‘What? I didn’t even know.'”

However, Blanco was pleased with the way the song turned out with Rihanna, “I’m sitting there, and then I finally am like, ‘You know what, Stargate?’ I let go. I said, ‘You guys know better. Let’s do it.’ She cut the song. First of all, the second she cut the song, they were completely right. I was like, ‘This is the best song I’ve ever done.'”

And Kanye even got the chance to rap on the single as he was recruited for the “Diamonds” remix, “This is how life works, full circle. Kanye West does a remix to the song.”

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‘Rhythm Nation 1814’ and ‘Illmatic’ are just two of the 25 recordings being deemed to be ‘worthy of preservation for all time’ in the country’s Library of Congress.

Mar 25, 2021

AceShowbiz –
Classic albums by Janet Jackson and Nas have been chosen for preservation for generations to come in America’s Library of Congress.

National Recording Registry officials have revealed Jackson’s “Rhythm Nation 1814” release from 1989, 1994’s “Illmatic” by Nas, “LaBelle”‘s 1974 version of Lady Marmalade, and Kool & the Gang’s 1980 hit “Celebration are all” “worthy of preservation for all time based on their cultural, historical or aesthetic importance in the nation’s recorded sound heritage.”

Also making the cut are Jimmy Cliff’s album “The Harder They Come”, Jackson Browne’s “Late for the Sky”, “Born Under a Bad Sign” by Albert King, Pat Metheny’s “Bright Size Life”, and “Free to Be…You & Me” from Marlo Thomas and Friends.

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Louis Armstrong & His Orchestra’s 1938 recording of “When the Saints Go Marching In”, and Connie Smith’s “Once a Day” single have also been selected for entry, alongside Kermit the Frog’s “The Rainbow Connection” as one of the 25 new inductees, billed as the selection for 2020.

Library of Congress representative Carla Hayden says, “The National Recording Registry will preserve our history through these vibrant recordings of music and voices that have reflected our humanity and shaped our culture from the past 143 years.”

“We received about 900 public nominations this year for recordings to add to the registry, and we welcome the public’s input as the Library of Congress and its partners preserve the diverse sounds of history and culture.”

Last year’s list of inductees included Dr. Dre’s “The Chronic”, Tina Turner’s “Private Dancer”, Whitney Houston’s famous 1992 version of Dolly Parton’s “I Will Always Love You”, Village People’s “Y.M.C.A.”, and Glen Campbell’s “Wichita Lineman”.

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Just days after it was announced that the pop group will be changed into a solo project, the ‘Desire’ hitmaker shares his excitement to unleash new song, ‘Starstruck’.

Mar 25, 2021

AceShowbiz –
Olly Alexander will drop his first solo Years & Years song, “Starstruck”, on 8 April.

The pop trio – which originally formed as a five-piece in 2010 – revealed last week, end March 21, that the 30-year-old singer will continue to front Years & Years, but as a solo project, without Mikey Goldsworthy and Emre Turkmen.

And now the “Desire” hitmaker has confirmed his first solo Years & Years single will be released next month.

Olly captioned the artwork for the song on Twitter: “S T A R S T R U C K april 8th i’m really really excited. (sic)”

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The group – whose debut album “Communion” was released in 2015 – said of their future in their statement last week, “Dear Y&Y fans… There’s been some changes that we want to fill you in on.”

“This upcoming new album has been an Olly endeavour and we’ve decided that Years & Years will continue as an Olly solo project. The three of us are still good friends. Mikey will be part of the Y&Y family and play with us live and Emre will focus on being a writer/producer.”

“These past 12 months have been crazy for us all and we want to thank you for the love and support you’ve given us over the years (& years). New Y&Y music will be coming this spring.”

Originally, the band – whose second record “Palo Santo” dropped three years ago – also featured Noel Leeman and Olivier Subria, who both left in 2013.

The group’s Twitter account reflects the changes as the bio reads, “hi i’m @alexander_olly and this is my music. (sic).”

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When a fan pleads with him to not let what happened between him and brother Noel be repeated by his sons Lennon and Gene, the former member of Oasis stresses that he is staying out of it.

Mar 25, 2021

AceShowbiz –
Liam Gallagher has warned his son Lennon Gallagher and his Automotion bandmates to “beware of” troublemakers in the music industry.

The 48-year-old rocker and his ex-wife Patsy Kensit’s 21-year-old son is set to release music with the acoustic band after being inspired by his father’s exploits with Oasis.

And the “Stand by Me” hitmaker has offered up some wise words to his offspring but admitted he’s letting Lennon and his 19-year-old sibling Gene – whose mother is Liam’s second wife Nicole Appleton – do things their way.

What’s more, Liam insisted he won’t be getting involved if the pair end up growing apart like he and his estranged brother and former Oasis bandmate Noel Gallagher did.

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When asked by one Twitter follower if he has any advice for Lennon, he replied, “Have fun keep it surreal beware of massive c***s.”

And when another user said “don’t let Lennon stay away from Gene we don’t want the same story,” the “Wall of Glass” hitmaker responded, “I’m staying out of it there both doing there own thing which is fair enough (sic)”

Liam Gallagher responded to inquiries about his advice to son Lennon.

Oasis split in 2009 after a backstage bust-up between the arch-nemesis siblings at their final show in Paris, and Liam and Noel continue to be at loggerheads with each other.

Liam is said to be very supportive of Lennon’s venture into the music industry. A so-called friend told The Sun newspaper, “Liam is super proud and has listened to his songs – he’s always around to offer advice.” On Lennon’s skills itself, the source added, “Lennon has that rock god stage presence and has learned the art of performance from his dad.”

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Victor Willis, the cop in the legendary disco group, reveals it is passing on the invitation because the Hall of Fame is ‘lacking’ and is ‘not taken seriously by the Recording Academy.’

Mar 25, 2021

AceShowbiz –
Village People was supposed to be one of the inductees for the 2021 Grammy Hall of Fame. The founder of the legendary disco group, Victor Willis, revealed that the band declined the recent induction of its biggest hit, “Y.M.C.A.”.

In an interview with TMZ, the 69-year-old singer divulged that his group passed on the invitation because the Hall of Fame is “lacking” and is “not taken seriously by the Recording Academy.” He then claimed that inductees into the Grammy Hall of Fame are not mentioned during the annual awards show and even there is no induction ceremony.

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Victor made it clear that he and other members of Village People have no interest in the Hall of Fame until the Grammys “get their act together.” He also pointed out that the band, who will release a new album later this year, is not planning to submit the album for Grammy consideration. He additionally urged the Recording Academy officials to “show respect for classic artists who built the recording business.”

This was not the first time Victor called out the Grammys. Back in 2017, he accused the award show of having a secret committee to override votes for black artists. In an open letter he sent to former chairman and CEO of the Recording Academy, Neil Portnow, he alleged that “the Grammys instituted a special select committee to override the decision of Grammy voters in the event the select committee does not like who the Grammy voter has chosen.”

“If certain people at the Grammys don’t like who the voters have chosen, a Grammy committee will simply override the voters and subsequently select who they think should win. Like Adele, maybe?” he went on. “Why won’t you reveal this secret committee to the public and exactly who’s on it? The question is how many African Americans are on that committee? You ought to come clean.”

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Freshly winning Grammy Award weeks ago, the ‘Blank Space’ hitmaker is ready to release a new song ‘From the Vault’ which features the ‘My Church’ singer singing background vocals.

Mar 25, 2021

AceShowbiz –
Taylor Swift has recruited Maren Morris to revamp an old song only her most dedicated fans have heard.

“You All Over Me” will lead Taylor’s first “From the Vault” release from the star’s reimagined “Fearless” sessions. The track was recorded for the 2008 project, but it didn’t make the cut.

Aaron Dessner, who collaborated with Swift on her Grammy winning 2020 “Folklore” album and the follow-up “Evermore”, produced the reworked song, which Swift co-wrote when she was 18.

Making use of Twitter, the “Love Story” hitmaker shared snaps of herself and Morris on Wednesday, March 24. Along with the photos, she wrote, “HI. I wanted to let you know that the first ‘From the Vault’ song I’m releasing from Fearless (Taylor’s Version) comes out tomorrow at midnight eastern. It’s called ‘You All Over Me’ (‘From The Vault’).”

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“One thing I’ve been loving about these ‘From the Vault’ songs is that they’ve never been heard, so I can experiment, play, and even include some of my favorite artists,” Taylor tweets. “I’m really excited to have @MarenMorris singing background vocals on this song!!” She then ended with, “Can’t wait for you to hear it [love]”

The new release, which will drop on Thursday, March 25, features six previously unreleased songs.

Taylor’s new version of “Love Story”, the stand-out track from “Fearless”, dropped last month.

The singer has opted to re-record a number of tracks from her back catalogue to thwart sales of the originals following music mogul Scooter Braun’s takeover of her former record label.

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The soul-jazz organist and the punk frontman worked together on a pair of covers and discovered a musical kinship.In 2018, Iggy Pop was recording a pair of covers for an upcoming album by the soul-jazz pioneer Dr. Lonnie Smith. At first, the punk icon couldn’t quite find the groove, said the guitarist Jonathan Kreisberg, who was in the studio that day. Then something clicked.“Suddenly, in the middle of the take, it just started sounding really in the pocket, and had all this energy,” Kreisberg recalled. “I turned my head over and looked through the control room glass, to the room he was in, and he had taken off his shirt. He had become Iggy Pop.”Pop’s covers of Donovan’s “Sunshine Superman” and Timmy Thomas’s “Why Can’t We Live Together” will appear on Smith’s joyous, intimate “Breathe,” due Friday on Blue Note Records. The rest of the album, which includes a four-piece horn section, guest vocals from Alicia Olatuja and a reconfigured Thelonious Monk tune, comes from a week of 2017 gigs at New York’s now-shuttered Jazz Standard, a run that doubled as a 75th birthday party for “Doc.”As he nears 80, Smith is merely doing what he’s always done: collaborating, arranging and playing organ with an understated virtuosity that prizes feeling over flash. Not a lot has changed since he released his first album, “Finger-Lickin’ Good Soul Organ,” in 1967. But new listeners — including one very high-profile rock star — are still finding Smith. And his organ hasn’t lost an ounce of soul.Originally from Buffalo, N.Y., Smith started on organ when a local instrument shop owner gave him a Hammond B3. The music of Jimmy Smith and Bill Doggett found him at the same time.“I just loved the sound” of the instrument, said Smith, who currently resides in Fort Lauderdale, Fla., in a phone interview. “It’s an orchestra. It’s a bass. And it’s a soloist. I mean, you got everything right there.”“I like the way he sounded,” Smith said of Pop’s performances on his album. Frank DeBlaseSmith moved to New York City in the mid-60s and began recording on albums by the guitarist George Benson and the saxophonist Lou Donaldson. His LP with Donaldson — most notably “Alligator Bogaloo” from 1967 and “Everything I Play Is Funky” three years later — became part of the foundation of soul-jazz, an ecstatic, organ-heavy subgenre that fused jazz with funk and R&B. Even with an abundance of fine organists on the scene in the ’60s — Smith’s contemporaries included Shirley Scott, Richard “Groove” Holmes, Reuben Wilson and Jimmy McGriff — Benson and Donaldson chose Smith. They still keep in touch; Donaldson visits and Benson had called two days before this interview.“I liked the feel, and they must have liked the feel also,” Smith said. “I’m guessing. We had a ball when we played. You feel at home when you play with certain people. And that’s a great thing. Because everybody sound good, but they don’t feel good. Or they don’t play well together. That’s the thing about music.”Around this time, Smith began recording his own albums, too, including a quartet of classic releases for Blue Note between 1969 and 1970: “Turning Point,” “Think!,” “Drives” and “Move Your Hand.” (Smith left the label in 1970 and returned in 2016.) His take on Blood, Sweat & Tears’ “Spinning Wheel” was sampled by A Tribe Called Quest in 1990, and more recently, the title track from “Move Your Hand” became a favorite of Pop’s.“I was listening to ‘Move Your Hand’ over and over at my family home in Florida, and the neighbor across the canal has cockatoos,” Pop said. “I was playing Barry White that day,” and the birds were quiet. “But when I played ‘Move Your Hand,’ they started screaming.” He laughed.The collaboration between Smith and Pop arose naturally — Pop went to a Smith gig and they started talking. Later, Pop suggested the covers. He had been a fan of “Why Can’t We Live Together,” famously sampled by Drake on “Hotline Bling,” since its 1972 release. And Smith had previously covered “Sunshine Superman” on “Move Your Hand”“I like the way he sounded,” Smith said of Pop’s performances on his album. “Natural. You know when people try to overdo it? Again? You don’t have to do that. He just did what he did.”Pop, who turns 74 next month, had collaborated with artists on the fringes of jazz before, like the bassist and producer Bill Laswell, but never with an artist so rooted in the tradition. And true to jazz form, there was essentially no rehearsal.“I’d never done a proper jazz session before, so I was, you might say, on my best behavior,” Pop said with a laugh. “And, you know, we do that, and then I’d watch him, and that was about it. With each one. We didn’t really talk out the arrangement as much as just watch him for cues.”“Breathe” is technically the second time that Smith and Pop have worked together. At the show where they first met, Smith at one point picked up his DLS Electric Walking Stick, a cane and percussion instrument made by the Slaperoo company. Pop played it that night, too, and a bond was formed over the unlikeliest of instruments.“I was playing it through the audience, and he was over there, and I let him play it,” Smith said. “And we decided to do it. Do it together. And it worked. It worked.” More

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The ‘Cool for the Summer’ hitmaker reveals two more names of her collaborators for upcoming studio installment ‘Dancing With the Devil… The Art of Starting Over’.

Mar 24, 2021

AceShowbiz –
Demi Lovato’s upcoming album features collaborations with Saweetie and Noah Cyrus.

The 28-year-old singer recently told The New York Times that “Dancing With the Devil… The Art of Starting Over” features a tune with Ariana Grande. And now, Demi has told PAPER magazine that the record also includes duets with Saweetie – on “My GFs Are My BFs” – and Noah.

Ariana provided backing vocals on “Met Him Last Night” while Demi’s previously released Sam Fischer duet, “What Other People Say”, will also be on the LP.

Over the past couple of days, Demi has been sharing brief preview clips of the instrumentals to the songs on her social media pages.

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It’s already known that there is a track called “Melon Cake”, which is about taking back control and is named after the watermelon and fat-free cream she would be given instead of a birthday cake.

And “California Sober”, which is described as “strummy mid-tempo,” reflects where she is in her sobriety.

She admitted in a recent interview, “I haven’t been by-the-book sober since the summer of 2019. I realised if I don’t allow myself some wiggle room, I go to the hard (expletive). And that will be the death of me.”

The follow-up to 2017’s “Tell Me You Love Me” – which is released on 2 April (21) – is set to act as a companion to her upcoming Michael D. Ratner-helmed documentary series, “Demi Lovato: Dancing with the Devil”, which explores aspects that led to the singer’s nearly fatal overdose in 2018, and her “awakenings in the aftermath.”

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