Monday 23 April 2018, 11:31 | By Andy Malt

Avicii 1989-2018

Artist News Obituaries

Avicii

Producer and DJ Avicii – real name Tim Bergling – signed his first record deal in 2007, aged seventeen, and went on to become one of the biggest and most influential stars of the EDM boom.

The son of Swedish actor Anki Lidén, he was discovered after posting remixes on the forum section of DJ Laidback Luke’s website. The name he chose for himself was based on the Sanskrit word Avīci, the lowest level of Buddhist hell – somewhat incongruous with the big, optimistic sound for which he would become known.

“I worked a lot on getting a signature sound”, he told CMU of his production style in 2013. “That big-room melodic sound, which I think sets me apart from other producers and what they’re doing. I don’t really know when it became recognisable but eventually everything started clicking”.

He signed deals with artist manager Ash Pournouri and the Dejfitts Plays label. Pournourni then laid out a business plan which plotted a rapid rise to the top of the EDM scene, something Bergling very much delivered on.

Although already successful by then, his breakthrough single arguably came in the form of ‘Levels’ in 2011. First aired a year earlier, the combination of big synths and a vocal sample from Etta James’ 1962 song ‘Something’s Got A Hold On Me’ brought Bergling his first worldwide hit. His biggest track, however, was 2013’s ‘Wake Me Up’, which saw him make the unlikely move of bringing folk influences into his sound.

When he first played the song out at the Ultra festival in Miami in 2013, it was booed. Avicii later said that he had expected the track to be controversial, but was confident that audiences would eventually be won over by it. And they were, the track went to number one in more than 40 countries.

As his chart success grew, so did demand for live performances, particularly at festivals around the world. His fee for a single performance reportedly came in at more than a quarter of a million dollars, and he was regularly named one of the world’s wealthiest DJs by Forbes – particularly as at one time he was playing around 250 shows a year.

However, the constant travel and partying that came with this success led to a dependency on alcohol and a number of health issues. In 2012 he was hospitalised due to acute pancreatitis, and in 2014 he had his gallbladder and appendix removed.

In 2016, he announced his retirement from performing live. In a statement at the time, he said: “My choices and career have never been driven by material things, although I’m grateful for all the opportunities and comforts my success has availed me. I know I am blessed to be able to travel all around the world and perform, but I have too little left for the life of a real person behind the artist”.

Last year he released an EP, titled ‘Avīci (01)’, which he said was the first of three releases that would make up his third album. He was also the subject of a documentary, ‘Avicii: True Stories’, which chronicled his retirement from touring and featured interviews with collaborators such as Chris Martin, David Guetta, Nile Rodgers, and others.

At the time of his death, while on holiday in Oman, he was still working on music for that album. Speaking to Variety, Geffen President Neil Jacobson said that he had “no idea” what would now happen to that music.

One Liners: UTA, Satellite 414, Liam Payne, more

Artist News Business News Industry People Live Business Marketing & PR One Liners Releases

Liam Payne

Other notable announcements and developments today…

• You can now get a daily CMU news summary via our Messenger bot. Click here to get started.

• Booking agency UTA has hired Sarah Casey to join its London office. She joins from the Leighton-Pope Organisation.

• Publicity firm Satellite 414 (formally Purple Entertainment) has announced the promotion of Tom Mehrtens to Senior Publicist.

• Liam Payne and Colombian musician J Balvin have released a new single together, ‘Familiar’.

• Kylie Minogue has released the video for new single ‘Stop Me From Falling’.

• Anne-Marie has released new single ‘2002’. The track is taken from her debut album, ‘Speak Your Mind’, which is out this week.

• Jorja Smith has announced that she will release her debut album, ‘Lost & Found’, on 8 Jun.

• Sahbabii has released new single ‘Outstanding’, featuring 21 Savage.

• Le1f has released a new EP, ‘Blue Dream’. “The past few years, since my last record, have been full of thorns and seeds, leaving me with much learning and relearning to do”, he says. As a result, “it’s taking … sweet time” for him to finish his new material. “Until then”, he says of the new EP, “here’s some unreleased things for you all, because I do spit hot fyah”.

• Check out our weekly Spotify playlist of new music featured in the CMU Daily – updated every Friday.

Shania Twain apologises for saying she would have voted for Donald Trump

And Finally Artist News Media

Shania Twain

Shania Twain has apologised for saying that she would have voted for Donald Trump in the 2016 US presidential election. She made the comment in an interview published by The Observer yesterday.

In a statement on Twitter, she insisted that what she meant was that, had she been eligible to vote in the 2016 election – which, as a Canadian, she was not – she feels that she would have been taken in by Trump’s campaign rhetoric. However, she said that she does not “hold any common moral beliefs” with the American President.

In the interview, Twain says: “I would have voted for [Trump] because, even though he was offensive, he seemed honest. Do you want straight or polite? Not that you shouldn’t be able to have both. If I were voting, I just don’t want bullshit. I would have voted for a feeling that it was transparent. And politics has a reputation of not being that, right?”

After a backlash from a portion of her fans on social media, she tweeted last night: “I would like to apologise to anybody I have offended in a recent interview … relating to the American President. The question caught me off guard. As a Canadian, I regret answering this unexpected question without giving my response more context”.

“I am passionately against discrimination of any kind and hope it’s clear from the choices I have made, and the people I stand with, that I do not hold any common moral beliefs with the current president”, she continued. “I was trying to explain, in response to a question about the election, that my limited understanding was that the president talked to a portion of America like an accessible person they could relate to, as he was NOT a politician”.

She concluded: “My answer was awkward, but certainly should not be taken as representative of my values nor does it mean I endorse him. I make music to bring people together. My path will always be one of inclusivity, as my history shows”.

The interview was published to promote Twain’s upcoming world tour, which hits the UK in September.

Approved: Seraphina

CMU Approved

Seraphina

Following on from the release of her debut EP, ‘Altar’, last year, Seraphina returns with new single ‘Mistress Mayhem’. Further developing her subtle and sophisticated, heavily gospel influenced sound, it finds a power in simplicity.

“I have a mish-mash of influences”, she says of her music. “I’m drawn to old gospel and the history of spiritual music and blues in the deep south, but I grew up in London listening to guitar music and Motown. I love music that is visceral and evocative whatever the genre, [and artists who] have this amazing ability to create worlds within their music you can’t help but get lost in”.

‘Mistress Mayhem’ is built largely on a piano line and Seraphina’s voice, with other lightly applied elements adding extra texture as it progresses. She’s an artist who has found a sound and still has an exciting amount of exploring to do within it.

Watch the video for ‘Mistress Mayhem’ here:

Stay up to date with all of the artists featured in the CMU Approved column by subscribing to our Spotify playlist.

Setlist: Festival plastic, Hits Radio, Mariah Carey

Artist News Business News Industry People Legal Live Business Management & Funding Media Setlist

Straws

CMU’s Andy Malt and Chris Cooke review key events in music and the music business from the last seven days, including over 60 independent festivals’ commitment to ban single-use plastic, Bauer’s brand new national/local radio station Hits Radio, and Mariah Carey’s ex-manager’s threat to launch a “blockbuster expose lawsuit”. Setlist is sponsored by 7digital.

Subscribe to Setlist

Listen to Setlist and sign up to receive new episodes for free automatically each week through any of these services…

Stories discussed this week:

• Independent festivals commit to ban single-use plastics by 2021
• Bauer launches new national pop station Hits Radio
• Mariah Carey’s ex-manager plotting “blockbuster exposé lawsuit”

In brief:

• PRS confirms over-payment email to members is genuine
• New campaign launched by “responsible secondary ticket operators”
• Kendrick Lamar wins Pulitzer Prize For Music

Also mentioned:

• CMU Insights at The Great Escape 2018
• Buy Chris’s new book on how streaming music services are licensed and where the money goes right here on Amazon

Kendrick Lamar won a Pulitzer and classical music fans are freaking out

CMU Opinion

Kendrick Lamar - Damn

The Pulitzer Prize is known as the gold standard of journalism awards. It turns out that there are loads of Pulitzer prizes given out for all kinds of things, though. This is something many learned for the first time this week when it was announced that Kendrick Lamar had been chosen as the winner of this year’s Pulitzer Prize For Music, for his 2017 album ‘Damn’.

One reason the Pulitzer music award had flown under the radar of the popular consciousness for so long is that in its 75 year history the prize has only ever been given to classical and jazz composers. Except in 1965 when they gave it to no one because all music that year was rubbish. But now it’s been blown right open.

Explaining how Lamar came to be in the running, award administrator Dana Canedy told Billboard: “[The jury] were considering a piece of music they felt had hip hop influences and said, ‘Well if we’re considering a piece of music that has hip hop influences, why aren’t we considering hip hop?’ And someone said, ‘That’s exactly what we should do’. And then someone said, ‘We should be considering Kendrick Lamar’ and the group said ‘absolutely’. So then, right then, they decided to listen to the entire album and decided ‘This is it'”.

Whether you were aware of the award before or not, its prestige is clear, and so this decision feels like a big moment for hip hop, as well as for Lamar himself. Already recognised as a phenomenal talent by his peers, acknowledgement from an awards body so apparently removed from his world surely affirms that talent even more strongly.

Not everyone agreed with the decision, however. In the usually placid and undivided world of social media, some classical music fans, as Mozart would have said, lost their shit.

Some felt that pop music already gets enough prizes, and that the Pulitzer should have given its award to someone who had studied their craft to a highly educated level. Someone who had mastered an instrument. Someone who crafted beautiful melodies. Someone who did more than just talking over a drum machine.

Basically, the consensus was that Lamar had got to where he is today pretty easily and without any clear talent for ‘proper’ music, so didn’t deserve a big prestigious award. They ignored the skill with which he raps because, obviously, they don’t recognise rapping as a skill. Some even went to far as to say that the musical Pulitzer was now rendered redundant forever more.

There was a benchmark to compare him to, as well. The other two finalists this year were classical composers: Michael Gilbertson and Ted Hearne. After years of work to reach the pinnacle of their industry, were they angry to have been beaten by a mere rapper? In a word, no.

“I wouldn’t say I’m an expert, but I am a fan of his music”, Gilbertson told Slate. “I remember when I was at Yale, I heard some other grad students give a talk on some of the theological and conceptual narrative depth in his work, and I was really struck by that. It changed the way I listen to his music. I’m really a fan of his work”.

Hearne, who is currently working with poet and rapper Saul Williams, was even more emphatic. “I don’t put too much stock in prizes, but this is a really important year because Kendrick Lamar’s music is super important to me and to a lot of people”, he said. “Hip hop as a genre has been important to me as a composer, but Kendrick’s work in particular. He is such a bold and experimental and authentic artist. He’s one of the people that is creating truly new music”.

In many ways, had Lamar taken the prize for his 2015 album, ‘To Pimp A Butterfly’, it may have softened the blow for the detractors, given its departure into jazz. But that actually makes him receiving the prize for an album with a more pure hip hop sound all the more delightful.

The jury described ‘Damn’ as “a virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life”.

Lamar may not have been to a conservatoire, but he has certainly studied. You don’t get to be a rapper as diverse and dynamic as him without work. And not everyone can capture and describe life around them with the talent he displays.

As for arguments that allowing ‘pop’ into the Pulitzer camp weakens the prize, Gilbertson disagrees entirely. “I never thought my string quartet and an album by Kendrick Lamar would be in the same category”, he says. “This is no longer a narrow honour. It used to be classical composers competing against each other in relatively small numbers, but now we’re all competing against these major voices in music”.

Indeed, maybe that new competition will push classical musicians to innovate in new ways. There are already a growing number of emerging composers doing new things with what is often seen as an old fashioned and stuffy genre. Perhaps Lamar’s latest accolade shows less that there are fewer opportunities for classical artists, and more that the door is open for someone working in the more traditional medium to now take a more conventionally pop prize.

There are parallels to be drawn here with Bob Dylan winning the Nobel Prize for Literature in 2016, of course. People thought that was a fucking travesty as well. Although Lamar’s prize is still within music, naysayers argue that this is someone from a low artform winning something meant for creators of a high artform.

But who gets to decide what is high and low? Not me. And not you. And anyway, novels were once seen as the scourge of society, designed for lazy young people to avoid doing something constructive. So, basically, all modern literature should probably be viewed as the dregs of culture.

Time will tell if Lamar and Dylan are thought of as high art by future snobs. I suspect they will be. So the snobs of today should probably start familiarising themselves with the greatest artists working in this era. Doing so might steel them for the inevitable moment when videogames start winning awards like this. And women.

No charges over Prince death, as investigation closed

Artist News Legal Top Stories

Prince

No criminal charges will be pursued in relation to the death of Prince in 2016, it was announced yesterday. Investigators said that there was not enough evidence to confirm where the musician obtained the drugs that led to his accidental overdose.

At a press conference yesterday, Carver County Attorney Mark Metz said that the cause of the Prince’s death was “a counterfeit Vicodin pill that contained fentanyl, a dangerously powerful opioid”.

However, he added: “There is no reliable evidence showing how Prince obtained the counterfeit Vicodin containing fentanyl. The bottom line is that we simply do not have sufficient evidence to charge anyone with a crime related to Prince’s death”.

It was ruled that the pop star had died from an overdose of fentanyl two months after his death. Last month, information in a newly unsealed toxicology report showed that he’d had “exceedingly high” levels of the drug in his system. He had seemingly been unaware that he was taking the dangerous drug, the pills being an “exact imitation” of legitimate Vicodin, said Metz yesterday.

In the aftermath of the musician’s death the debate was re-opened around the willingness of some doctors in the US to prescribe highly addictive painkillers to celebrities and other wealthy clients. Searches of Prince’s Paisley Park home found further controlled substances, but no prescriptions that connected anyone to the drug that killed him.

The musician’s computer was searched for evidence of his attempts to obtain pain medication, but nothing was found. Metz said that the fact that Prince didn’t own a mobile phone meant that an often key source of evidence in a case like this one – providing data such as saved phone numbers and text messages – was not available.

Investigators also believe that the counterfeit Vicodin pills were what caused Prince to pass out on his private jet just days before his death. Though it was not possible to say for certain, as the musician had refused hospital treatment after being revived by paramedics following an emergency landing.

Prince’s personal doctor Michael Schulenberg and his bodyguard Kirk Johnson both admitted to helping him obtain pain medication shortly before his death. Although Metz noted at yesterday’s press conference that “Prince did not die from taking a prescribed Percocet” and there is no suspicion that Schulenberg supplied the fentanyl that caused his demise.

However, Schulenberg did allegedly admit to prescribing medication to Johnson, knowing that it would actually be used by the musician. It was also announced yesterday that Schulenberg had reached a settlement with the US Attorney’s Office, which will see him pay a $30,000 fine and undergo monitoring by the Drug Enforcement Administration for two years.

Tomorrow marks the second anniversary of Prince’s death on 21 Apr 2016. He was found unresponsive in a lift in his Paisley Park home and attempts to revive him were unsuccessful. Having left no will, two years on the details of his estate are still being unravelled, hampered somewhat by a split between his court ruled heirs over the management of his legacy. A cancelled posthumous record deal with Universal also leaves some of his recordings in limbo.

The estate is, however, marking the anniversary this weekend, with a number of tributes and events. Yesterday, the original 1984 recording of his song, ‘Nothing Compares 2 U’ – best known for its 1990 cover by Sinead O’Connor – was released.

The recording was recently unearthed by official Prince vault archivist Michael Howe, who says in a statement: “After retrieving my jaw from the floor, we took the reel upstairs, analysed it, put it up on the Studer 24 track machine, and digitized it to 24/192. Even our ‘faders up’ rough mix was compelling enough to indicate that this was something very special indeed”.

Watch the newly created video for the track here:

Young Thug signs publishing deal with Reservoir

Artist News Business News Deals Labels & Publishers

Young Thug

Reservoir has announced a new worldwide music publishing contract with rapper Young Thug. The deal includes his entire catalogue, including collaborations with artist such as Camila Cabello and Nicki Minaj.

“Young Thug is an envelope pusher, both musically and stylistically”, says Reservoir SVP of A&R Faith Newman. “I’ve been a fan of his for years. He’s a truly unique artist in every way and we’re excited to partner with him as his career continues to evolve”.

Young Thug adds: “Thanks to Reservoir for welcoming me to the family. I appreciate their support of my career and their drive to succeed. I’m looking forward to everything we will accomplish in the future”.

Last week, the rapper released new EP ‘Hear No Evil’, featuring collaborations with Nicki Minaj, Lil Uzi Vert and 21 Savage. Here’s the video for ‘Anybody’ with Minaj:

Vivendi considering Universal IPO

Business News Labels & Publishers

Universal Music

A potential Universal Music IPO is back on the cards, after parent company Vivendi revealed that it is considering listing the major label on the stock market.

According to Reuters, Vivendi CEO Arnaud de Puyfontaine said at the company’s AGM this week: “We have started work that will allow us to present the benefits of a potential listing of UMG to the supervisory board”.

Speculation about a Universal IPO has appeared at various points in the past, but has been particularly circulating for the last year, since Vivendi execs started talking up a $23.5 billion valuation for the major music firm. At the time, de Puyfontaine said that there were no plans to go down the IPO route, but he wouldn’t rule out such a move in the future.

The topic came up again at a conference in November, where de Puyfontaine said the he’d seen one estimate that valued the label at more than $40 billion.

Although this latest announcement seems very tentative, it may be that we see a slice of Universal actually go up for sale at some point.

Vivendi management and the firm’s investors may be buoyed by the success of Spotify’s recent stock market listing. They may also be concerned at the future growth of Universal – and the record business in general – being tied so closely to streaming services that are yet to prove that they are a viable business in themselves.

Help Musicians UK hires Indy Vidyalankara

Business News Industry People Marketing & PR

Indy Vidyalankara

Music charity Help Musicians UK has appointed Indy Vidyalankara as Head of Strategic Communications. She has already worked with the organisation through her own PR firm Indypendent.

HMUK CEO Richard Robinson says: “We are delighted to appoint Indy, a seasoned and accomplished strategic communications expert, who joins the charity at a pivotal time in its evolution and growth”.

“Having worked with the charity as a consultant over the past year, which saw the hugely successful launch of our Music Minds Matter service, Indy has shown herself to be an essential member of the team”, he continues. “She will be a huge asset to the charity and a key part of the leadership team, as we roll out our plans for the Music Minds Matter mental health service, plus our other vital programmes approaching the charity’s centenary in 2021 and beyond”.

Vidyalankara adds: “In my career, it has become increasingly important to me to be a real contribution to the music industry in which I serve, so working with music charities that really make a difference, like Help Musicians UK, has been hugely fulfilling. I couldn’t be more THRILLED to be joining HMUK at this time”.

She goes on: “The sheer breadth, scale and ambition of the charity’s work is inspirational and the passion, dedication and commitment of the team reflects this. I am really looking forward to leading the charity’s strategic communications vision and being part of its vital work in the lead up to HMUK’s 100 year anniversary”.

Prior to launching Indypendent in 2015, Vidyalankara worked in house for Sony Music and the BBC. Indypendent PR will continue to work with its existing clients concurrent to her new role.

CMU@TGE Top Questions: Should music education include more business and career skills?

Business News Education & Events Insights Blog The Great Escape 2018

Book stack with headphones

With The Great Escape now just a month away, we are currently considering ten questions that will be answered during the three CMU Insights conferences that are set to take place there this year: The Education Conference (16 May), The AI Conference (17 May) and The China Conference (18 May). Today: Should music education include more business and career skills?

The Education Conference at The Great Escape next month will also see CMU Insights fully launch ‘Redefining Music Education’, a new research project we are undertaking with Urban Development and BIMM. We’ll present the findings of phase one of that research – a mapping exercise – and then kickstart phase two based on the debates that take place during the day.

A key theme of that research is assessing whether industry and entrepreneurial skills, and practical careers advice, should be more proactively incorporated into the music and wider arts curriculum.

We believe there is a strong argument to do just that. Creativity isn’t just about creating stuff, it’s about performing, sharing and distributing that stuff, and responding to the audience’s response. How can that element of the creative process become more central to creative art subjects in schools?

More proactively incorporated industry and entrepreneurial skills would also better prepare young people to pursue careers in the music and creative industries; provide said young people with increasingly important transferable media, communication and IP skills; and ensure music education is providing the next generation of creatives and business leaders for the music industry.

There’s also the argument that more closely allying music education and the music industry will make a stronger case for funding the former, as an investment in education will become an investment in the business. Given there has been much talk of late about music education being in crisis – with creative arts subjects being under-funded and under-valued by the powers that be – making an economic argument for music and creative education might reframe the entire political debate.

Though if we do think that industry and entrepreneurial skills should become part of music education, what specific skills and knowledge are we talking about? What do young people need to know – what skills do they need – to pursue a creative career, whether on stage or behind the scenes? What skills is the music industry looking for? What creative skills are other sectors looking for? And what knowledge would help young people perform, share and distribute their work?

Questions, questions. These are all topics we are looking to debate during The Education Conference next month. Maybe we’ll come up with some answers during those debates. Or maybe we’ll just end up asking more questions. Probably the latter, but that’s what phase two of ‘Redefining Music Education’ is all about. The conversation will begin on 16 May in Brighton. We’ll take the conversation nationwide over the next year. And we’ll regroup in 2019 with a plan.

The Education Conference takes place on Wednesday 16 May – more info here. See more questions we’ll answer at The Great Escape here.

Bands give away pieces of tracks for remixes to promote organ donation

Artist News

Wild Beasts

Bands including Wild Beasts, Everything Everything and British Sea Power, plus actor Maxine Peake, have contributed to a new awareness building project. Called Speed Donating, it aims to encourage people to sign up to the UK organ donation register.

Each act involved will contribute a stem – such asa drumbeat, bassline, guitar riff, or synth line – to a central database. Free to download, fans and other musicians can chose the pieces of tracks they want and use them to build something new. Some stems have been created bespoke for the project, while others are taken from existing songs.

It is being co-ordinated by Dutch Uncles’ Robin Richards, who says: “The stems database represents the organ donor register. The ease with which is it to upload a stem to help somebody make a track is representative of how simple it is to sign up to the organ donation register and potentially save a life”.

Find out more, and see the full list of available stems, at the Speed Donating website here.

Kanye West announces two new albums

Artist News Releases

Kanye West

Kanye West has announced that he will release two new albums in June. The first is a solo album, while the second is a collaboration with Kid Cudi under the name Kids See Ghost.

The rapper gave details of the records as he returned to stream of consciousness tweeting this week. “My album is seven songs”, he wrote. “June 1st”.

He then added: “Me and Cudi album June 8th. It’s called Kids See Ghost. That’s the name of our group”.

As well as this, he announced release dates for new GOOD Music releases from Pusha T and Teyana Taylor.

Elsewhere, his tweets have been less factual and more philosophical. “Some people have to work within the existing consciousness while some people can shift the consciousness”, for example. And, “Just stop lying about shit. Just stop lying”.

One Liners: Ariana Grande, Courtney Barnett, Lykke Li, more

Artist News One Liners Releases

Ariana Grande

Other notable announcements and developments today…

• You can now get a daily CMU news summary via our Messenger bot. Click here to get started.

• Ariana Grande is back. This morning she released new single, ‘No Tears Left To Cry’.*

• Courtney Barnett has released new single, ‘City Looks Pretty’. Taken from her upcoming new album ‘Tell Me How You Really Feel’, it will also be available on fashionable twelve-inch for Record Store Day tomorrow.

• Lykke Li has announced that she will release her new album, ‘So Sad, So Sexy’, on 8 Jun. She’s already put out two tracks, ‘Deep End’ and ‘Hard Rain’. Neither is being made available for Record Store Day.

• Daughter have released a live version of ‘All I Want’. That’s another Record Store Day thing. Record Store Day is tomorrow.

• Jeff Ament off of Pearl Jam has released the video for non-Record Store Day affiliated new solo single ‘Safe In The Car’. For efficiency, he’s just calling himself Ament for this. The song has Angel Olsen on it too. Or maybe just Olsen.

• Andrew WK has released a video for ‘Music Is Worth Living For’. No Record Store Day connection.

• Yizzy has released the video for latest single ‘Bap’. It’s not being made available for Record Store Day, although you will be able to watch the video tomorrow (which is when Record Store Day is).

• Teleman have released new single ‘Submarine Life’. I thought it might be a Record Store Day thing, but I just checked again and it’s not.

• Flasher are not releasing anything for Record Store Day. They have announced that they will release a new album, ‘Constant Image’, on 8 Jun. But not on Record Store Day. To be absolutely clear, there will not be a Flasher release for tomorrow’s Record Store Day. Please do not go to your local record store expecting to find one. Here’s their new single ‘Pressure’ as a consolation.

• Check out our weekly Spotify playlist of new music featured in the CMU Daily – updated every Friday. Why not crank it up on your phone in your favourite record store tomorrow to celebrate Record Store Day?

*Nothing to do with Record Store Day

Beef Of The Week #400: Classical music fans v Kendrick Lamar

And Finally Artist News Beef Of The Week