VideoBar

This content is not yet available over encrypted connections.

Monday, July 17, 2017

HOW DOES STREAMING FIT INTO THE MUSIC MARKETING MANIFESTO MODEL?

 July 17th, 2017  


If you’ve watched the Music Marketing Blueprint then you know that the MMM model is focused on driving traffic, building a fanbase, and selling music, tickets, and merchandise DIRECTLY to those fans.

ONE OF THE COMMON QUESTIONS I GET ASKED IS: HOW DOES STREAMING FIT INTO THIS WHOLE THING?

There is this assumption that even though I am making the argument that you can generate a substantial income by selling music directly to your fans, obviously streaming must fit into this somehow because everyone knows that physical sales are on the decline and for the most part “nobody buys music anymore, right?
well, errr, not exactly…
While streaming may have its place for some artists, it is not really a part of the MMM strategy because I don’t believe that it serves independent artists well to release their entire catalogues to the streaming platforms. While there is a benefit to having a presence on these platforms, (for purposes of engagement and music discovery), if your goal is to SELL albums then making that album available to your fans for free will certainly hurt your chances.

BECAUSE HERE’S THE REALITY… NO ONE IS GOING TO BUY YOUR MUSIC IF IT’S ALREADY IN THEIR POCKET.

I realize that this flies in the face of so much of what you hear out there, but I think this is yet another example of independent artists copying what major label artists are doing because they simply don’t know what else to do. Streaming has its place, but it’s minimal in the “Direct to Fan” model.
But why is selling albums important? Isn’t the whole point that we no longer need to worry about selling music because streaming has replaced it?
In short, no. As independent recording artists, we absolutely need to stay focused on selling albums (and other items) directly to our fans if we are going to succeed.
Because here’s the thing that a lot of people miss . . .  There is an “all or nothing” dichotomy in the traditional music business.
Record labels are not in the business of developing thousands of artists and making a small amount of money from a large number of sustainable careers. They have shareholders to appease and as such, they are in it for the big wins. In order for that to happen, they need to go where the market is and attempt to dominate that market. That means that they cannot ignore streaming.
But in order for something like streaming to be lucrative, you need to have tens, even hundreds of millions of streams. Multiple articles (like this one and that one) have recently broken down examples of artists getting incredible numbers of streams only to make (give or take) about $5,000 per ONE MILLION streams (this number will vary). So to make even the equivalent of the average American salary, you would need to receive approximately 10,000,000 streams per year.
Insert tumbleweeds here…
10,000,000 streams only happens as a result of a heck of a lot of interest and awareness. There are only two ways that is likely to happen…
  1. Do what the major labels do and spend hundreds of thousands of dollars in the hope of creating national awareness for your music and brand.
  2. Experience the musical equivalent of being struck by lightning and get really, really
Unfortunately, most independent artists can’t afford to engage in six figure branding strategies, and luck… well, that’s not a strategy.

BUT IF YOU HAVE THE ATTENTION OF YOUR AUDIENCE, THEY WILL SPEND MONEY ON YOUR MUSIC, NO MATTER WHAT THE FORMAT IS.

And here’s the thing…
The average dollar earned per LISTEN is infinitely higher when people PURCHASE our music in album form, rather then if that music is listened to via a streaming platform like Spotify. This is especially true when you are an independent artist who is not benefiting from millions of impulse or curiosity-streams or being added to untold numbers of playlists as most mainstream artists are.
Just to illustrate the point, as most of us are aware Adele chose not to release her album “25” to the streaming services initially. Despite the stated reasons why, this was almost certainly so she (and the label) could maximize profits. Fair enough. Of course, after sales died down the album was released to Spotify and the like.
According to the old interweb, Adele’s album “25” would have needed to be streamed 16 Billion times in order to make the same amount of money she made in initial sales of that album (which was $115 MM dollars).
So I tallied up all of the streams that “25” has received on Spotify over the last 13 months since the album was released on the platform (let’s just call it a year to make the math easy) and it appears that “25 has been streamed 1,468,340,709 times as of this writing. That’s nearly 1.5 BILLION streams. Not bad right?
That would mean… and get ready for this…
It would take 10 YEARS and 10 months for her to make the same amount of money on Spotify as she did in album sales. I’ll give you a moment to get your jaw back into position.
Furthermore, just under half of those streams were generated from a single song (Hello), which she still could have released to Spotify as a single without releasing the album. If you remove “Hello” from the equation this would increase that figure to over 21 YEARS.
So…
If album sales generate more money than streaming… and you have a loyal following of fans that will support you when you ask them to (which you WILL need in order to succeed as an independent artist regardless) . . . Why in the world would you release your entire album to the streaming platforms when doing so would likely kill any incentive to buy that album?
Answer: You shouldn’t. At least initially, and/or in its entirety.
Now, none of this is to say that streaming does not have its place. 30 million songs in your pocket (the most recent number posted by Spotify) is fantastic for the consumer and as such, the platform can’t be ignored completely. Moreover, music IS being consumed on the streaming platforms, and money IS being generated. It’s become a necessary part of those “all or nothing” major-label branding campaigns. And there is also value there for independent artists in terms of music discovery, fan engagement, and the chance that you might get lucky and get added to a few big playlists. After all, you don’t want your fans NOT to engage with your music just because it can’t be found on their favourite listening platform.

THE SOLUTION IS TO WITHHOLD YOUR ALBUM FROM THE STREAMING PLATFORMS, INITIALLY…

Instead of releasing the entire album for streaming, my advice would instead be to make just a single track or two available. As such, you can insure that your album will generate maximum profit when sold directly to your fans. And in time – as album sales slowdown – you can consider releasing more (or all) of the album to the streaming platforms.
Note*** This is accomplished with digital music distributors like CD Baby by declining streaming distribution on your album, and then re-submitting a single or EP exclusively to the streaming platforms.
So in short… despite what the recent studies from BuzzAngle and Nielsen revealed about the predicted growth in the music industry in 2017 – which was pinned directly on the 10% growth in streaming that we should see by years end – These statistics have little bearing on the average musicians chances of actually making a living from their music.

SO WHAT SHOULD YOU DO?

Look, here’s the deal. If you are one of those artists who believes that “the cream rises to the top” or “if you build it they will come” and you are just not interested in actively marketing or promoting your music and brand, then honestly… stick with streaming. Get your music up there because you are counting on success to happen of its own accord. I mean it sincerely when I say, “good luck with that”!
But if you are a musician who embraces the value of marketing and is willing to take deliberate action to influence your chances of success… Here, in a nutshell, is a basic approach to generating income from your music that I think will serve you much better . . .
  1. Put all of your focus into creating an engaged audience of email and, to a lesser extent, social media subscribers and followers.
  2. Be so interesting, entertaining, and exceptional that you effectively EARN the right to ask your followers for a bit of financial support every few months. Ask your fans to show that support by purchasing albums, merchandise, tickets, access to a membership site, or by backing a crowd funding campaign.
  3. Release 1 – 3 tracks of each album to the streaming platforms (so that you have a presence there) but withhold the majority of the album until sales have slowed down and you have moved on to promoting the next album.
  4. Seek additional revenue streams from touring and licensing when possible.
  5. Feed your music business with paid advertising so there is steady growth regardless of touring activity.
If the ideas expressed above resonate with you and you would like me to show you HOW to build the system described above and generate income from direct-to-fan sales instead of relying on streaming revenue (which tends to pale by comparison), then consider joining me on July 26th (just a few days away) for the release of Music Marketing Manifesto 4.0. Everyone who registers on launch day or shortly thereafter will receive a special Early Bird DiscountClick here to learn more.
Thanks for reading and be sure to leave me a comment, with any questions, feedback, or just to say hey.

                       http://www.musicmarketingmanifesto.com/music-marketing-blueprint/


Tuesday, June 6, 2017

Jarius Lovett a/k/a "Standout" | F L


famlife.us
 



Jarius Lovett, better known by his stage name "Standout", derived from his mannerisms and unique style of dress, is an American hip hop recording artist and native of Atlanta Georgia's infamous "Zone 3." Although born into a city known for the "glitz and glamour" and the "good life," Standout's upbringings were the complete opposite of this over the top perception, and resemble nothing short of a hard knock life. Standout encountered several rough patches during his childhood from witnessing his mother's drug addiction and victimization to domestic violence, to battling the struggle of having an estranged father. 

However, Standout's roughest encounter was the passing of his mother a few short years after giving birth to his younger sibling, which marked the beginning of a downward spiral. After refusing to cope with the loss of his mother, Standout dropped out of school, and turned to alcohol as a mechanism to fill the void, and to shield feelings of pain and resentment. Knowing that he couldn't continue to live his life in sadness, pain, and loneliness, Standout decided to take a turn toward greatness and utilize music as an outlet to tell his story, and as an avenue toward rehabilitation.


Standout's dreams and passion for music began at the age of 17 when his natural talent as a rapper became more apparent. Standout's ability to creatively freestyle, and effortlessly compose unique and catchy hooks and lyrics is something that he credits greatly to his family, and musical influences including "King of the South" rap legend T.I., and Billboard Music Award Nominee, Future. Standout recently had the opportunity to work alongside Future on his original track, "Money in DA Air."



Music is something that has always been and will remain a passion of Standout's. Although intrigued by the fame and money, Standout is a firm believer that his passion and love for music will always overpower anything that life may throw his way. Standout is truly an artist that stands out!

         


Email: info@famlife.us

Rod 404-379-7549
TC   618-799-3583



 
 

F L (Fam Life) are an American Southern Hip Hop duo from Atlanta GA.

Comprising members Stand Out and Alveo Da Great (ADG).



 


 

 

 

Alveo Deshawn Seabrooks | F L





Alveo Deshawn Seabrooks, is an American hip hop recording artist and native of eastside Atlanta’s, Decatur “Where it’s Greater”.  Alveo’s upbringings mirrored a distant dream to many youth of today’s society: Two parent household, adequate housing, and steady income. From the outside looking in, it appeared Alveo had it all, and the likelihood of becoming another statistic by either disenfranchisement or death was practically impossible.

However, there was one thing that was missing in Alveo's life which ultimately led him down a coarse path…time. Alveo’s were parents ideal, however, demanding work schedules resulted in large periods of time away from the household, which forced Alveo to conduct his life in a manner in which he pleased. Alveo made the decision to pursue the “street life” in an area infamous for violence and gang culture, and consequently experienced life’s most trying and hardest situations associated with a “street” lifestyle.

Alveo was faced with a plethora of unimaginable learning curves, trials, and tribulations when he decided to travel life’s hardest roads. Alveo soon decided it was time to make a significant and positive change in life, and shifted his focus toward his inner talent and love, music. Alveo began nurturing and molding his craft at the age of 13, when his exceptional writing abilities and wordplay became more transparent. Alveo has made appearances at a variety of showcases, and continues to earn support and positive feedback from his peers.  Alveo far from the typical “swag rapper” flooding today’s industry, and  prefers to top the rap game with his unequalled wordplay and crucial abilities. Alveo credits his growth as an artist some of the industry's most talented and greatest musical influences including, but not limited to: Lil Wayne, Andre 3000, Jeezy,  2 Chainz, Gucci Mane, 2pac, Eazy E, and Ice Cube.

Although Alveo chose to take the road less traveled, it has made all of the difference in his life. Alveo is now focused on his daughter, providing a more secure and desired life for his family, and not falling victim to the “street life.”


Email: info@famlife.us

Rod 404-379-7549
TC   618-799-3583



F L (Fam Life) are an American Southern Hip Hop duo from Atlanta GA.
Comprising members Stand Out and Alveo Da Great (ADG).



































Friday, July 15, 2016

Beyonce's 'Lemonade' Picks Up Four Emmy Nominations

Big-N-Mage + Music | 2016 Emmy Awards nominations


The 2016 Emmy Awards nominations are in, and for the 16th straight year, HBO is the top-nominated network with a total of 94 nods. And while a few music-related entities are among the potential honorees -- Taraji P. Henson's Cookie Lyon character from Fox hit Empire was one; Broadway star Audra McDonald as Billie Holliday in HBO film Lady Day at Emerson's Bar & Grill another -- Beyonce's HBO special/"visual album" Lemonadewas shut out of the major categories.
Lemonade was, however, nominated four times. First, in the category Outstanding Production Design For A Variety, Nonfiction, Event Or Award Special; Hannah Beachler (Production Designer), Chris Britt (Art Director) and Kim Murphy (Set Decorator) are the people who stand to receive the award if the special wins against designers for Grease: LiveHe Named Me Malala, the Oscars broadcast and The Wiz Live.
Second, Beyonce herself, alongside director Kahlil Joseph, are nominated in the Outstanding Directing For A Variety Special category. The duo are up against Grease: Live, the Grammy Awards broadcast, the Kennedy Center Honors broadcast and live specials from Adele and Amy Schumer. Third, editor Bill Yukich is up for Outstanding Picture Editing For Variety Programming, against episodes of Drunk History, Conan,Key & Peele and Last Week Tonight with Jon Oliver.
And finally, Lemonade as a whole has been nominated in the Outstanding Variety Special category, up against Adele Live In New York CityAmy Schumer: Live At The Apollo, The Kennedy Center Honors and The Late Late Show Carpool Karaoke Prime Time Special. The two nominations (for directing and for the special as a whole) bring Beyonce's total number of nominations to four through the years; previously she was nominated in 2013 for her Super Bowl Halftime Show performance, and again in 2015 for her On The Run tour documentary alongside husband Jay Z.
Update (1:28 pm): An earlier version of this story mis-stated that Lemonade had been released outside of the Emmys' eligibility period. That was based from the L.A.-based Emmy nominations eligibiltity period, which runs the duration of 2015; the Primetime Emmys nominations period runs June 1, 2015 - May 31, 2016. The article has been updated to reflect the change.







Sunday, April 24, 2016

(Video) "Hold Up" & Beyonce's Lemonade Album's Credits 2016



Published on Sep 4, 2016
LEMONADE the Visual Album Available Now!

(Bmi), Soulja Boy Tell’em Music (Bmi) Emi Blackwood Music Inc., Disaster Publishing/Big-N-Mage Publishing,“Turn My Swag On”.


Beyonce, Lemonade (2016)
COURTESY PHOTO

"What a wicked way to treat the girl that loves you"
Following her HBO special of the same name, Beyonce dropped her highly anticipated sixth studio album, Lemonade, Saturday night (April 23), exclusively on Tidal. The songs, along with the Southern gothic-inspired concept film, trace a relationship through the emotions that come with infidelity, from jealousy and anger to sadness and reconciliation. 
It is an emotional tour de force, and Billboard.com will have all kinds of analysis coming in the next few days (check this deep dive into the credits on Lemonade here).
Below, check out 10 powerful lyrics about cheating that immediately stood out to us. Break one of these out the next time a friend tells you her significant other is cheating on them.  
1. "You can taste the dishonesty/ it's on your breath"
"Pray You Catch Me"
2. "Middle fingers up, put them hands high/ “Wave it in his face, tell him, boy, bye/ Tell him, boy, bye, middle fingers up/ I ain’t thinking ‘bout you"
"Sorry"
3. "What's worse, looking jealous or crazy? Jealous or crazy? / More like being walked all over lately, walked all over lately, I'd rather be crazy"
"Hold Up"
4. "Can't you see there's no other man above you / What a wicked way to treat the girl that loves you"
"Hold Up"
5. "I am the dragon breathing fire / Beautiful man, I'm the lion / Beautiful man, I know you're lying/ I am not broken, I'm not crying"
"Don't Hurt Yourself"
6. "You know I give you life / If you try this shit again you're gonna lose your wife"
"Don't Hurt Yourself"
7. "Looking at my watch, he shoulda been home / Today I regret the night I put that ring on / He always got them f--king excuses"
"Sorry"
8."My daddy warned me about men like you / He said, "Baby girl, he's playing you"
"Daddy Lessons"
9. "Ten times out of nine, I know you're lying / 
But nine times outta ten, I know you're trying"
"Love Drought"
10. "Found the truth beneath your lies
 / And true love never has to hide"
"All Night"
Beyonce and Jay Z in a still from the Lemonade visual album.
COURTESY PHOTO
The credits for Beyonce's Lemonade album are some 3,105 words long, and simply getting through them is an eye-straining slog. But the album features a list of collaborators, samples, interpolations, "elements of" and more that illustrates not just the singer's peerless ability to work with anyone she wants, but also the diversity of her influences and tastes. Collaborators range from stars like The Weeknd and Kendrick Lamar and hitmakers such as Diplo and Mike Will Made-It along with lower-on-the-radar artists including Melo-X, Johnny Coffer and Midian Mathers (apparently no relation to Eminem). It also indicates the vast number of people who have been able to keep quiet -- well, mostly -- in the many months it took for complete the album. Following are the results of 90-odd minutes of listening and rooting around in the liner notes -- Billboard will have a more thorough treatment soon.
The album features a murderer's row of featured artists -- Lamar, The Weeknd, Jack White and British electro crooner James Blake -- and producers, with a different set of collaborators on nearly every track. The boldface names include Diplo (two tracks including "Hold Up"); hip-hop kingpins Mike Will Made It (who's worked with artists from 2 Chainz and Lil Wayne to Miley Cyrus), Mike Dean (Kanye WestScarface, many Texas rappers), Ben Billions (The Weeknd, Rick Ross) and Just Blaze (Jay Z,T.I.); along with Boots (FKA TwigsRun the Jewels), Vampire Weekend's Ezra Koenig (with Diplo on "Hold Up") and Dannyboystyles (The Weeknd, UGK).
Lesser known are singer-songwriter and frequent featured singer Wynter Gordon, Brooklyn songwriter Kevin Garrett, rapper Melo-X, B's musical director Derek Dixie, Johnny Coffer and Vincent Berry II. Also in the mix, singing backing vocals on the Jack White collaboration "Don’t Hurt Yourself," is White collaborator and solo artist Ruby Amanfu. 
Along with many of the above, the collaborating songwriters include Father John Misty(aka Joshua Tillman) and Emile Haynie (Eminem, Kanye WestIce Cube), who teamed up with Diplo and Koenig on "Hold Up"; Rae Sremmurd's Khalif Brown and collaborator Asheton Hogan (who's also worked with Tinashe and Rick Ross) on "Formation"; Weeknd associate Belly and Terius "The-Dream" Nash amid the 12 songwriters on The Weeknd collaboration "6 Inch"; and elsewhere spoken-word artist Malik Yusef (Kanye West), rapper IB3 (aka Ingrid Burley), Kevin Cossum (Mary J. BligeKeri Hilson), Atlanta vets R. City (Timothy and Theron Thomas), Jonathan Coffer, Carla Williams and Midian Mathers.
But possibly most fascinating of all is the list of samples, interpolations and "contains elements of"s. Among them is "Hold Up," which in addition to the many collaborators above also incorporates the 1963 hit "Can't Get Used to Losing You" (originally sung by crooner Andy Williams and later covered by The English Beat); Soulja Boy's " “Turn My Swag On”," and the Yeah Yeah Yeahs' 2003 hit "Maps." Another choice collision takes place in "6 Inch," which features portions of indie titans Animal Collective's 2009 song "My Girls" along with Isaac Hayes' 1969 cover of Burt Bacharach and Hal David's classic "Walk on By," originally a hit for Dionne Warwick five years earlier. 
Elsewhere, "Don’t Hurt Yourself" incorporates a (probably very pricey) sample from Led Zeppelin's “When The Levee Breaks"; the Kendrick Lamar-featuring "Freedom" includes elements of 1960s psychedelic group Kaleidoscope's "Let Me Try" along with two field recordings from American music excavator Alan Lomax: “Collection Speech/ Unidentified Lining Hymn,” performed by Reverend R.C. Crenshaw, and “Stewball” from "Prisoner 22” at Mississippi State Penitentiary at Parchman. Finally, "All Night" includes the unmistakable horn section from OutKast's 1998 classic “Spottieottiedopaliscious.”
The full credits are listed below. Corrections are welcome -- we're only human, which is more than we can say for Queen Bey ...
Lemonade
Executive Producer
​Beyoncé Knowles Carter
1. Pray You Catch Me
Written By Kevin Garrett, Beyoncé, James Blake / Published By Wb Music Corp. (Ascap) Obo Itself, Roc Nation Music And Kevin Garrett Music, Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music, Sony/Atv / Produced By Kevin Garrett And Beyoncé / Vocal Production By Beyoncé / Mixed And Recorded By Stuart White / Second Engineering By Ramon Rivas / Assistant Recording Engineering By John Cranfield / Piano By Kevin Garrett / Jupiter Bass By James Blake / Strings By Eric Gorfain, Daphne Chen, Charlie Bisharat, Josefina Vergara, Songa Lee, Marisa Kuney, Neel Hammond, Susan Chatman, Katie Sloan, Amy Wickman, Lisa Dondlinger, Terry Glenny, Ina Veli, Gina Kronstadt, Yelena Yegoryan, Radu Pieptea, Crystal Alforque, Serena Mckinney, Leah Katz, Alma Fernandez, Rodney Wirtz, Briana Bandy, Anna Bulbrook, Grace Park, Richard Dodd, John Krovoza, Ira Glansbeek, Vanessa Fairbairn-Smith, Ginger Murphy, Adrienne Woods, Denise Briese, Ryan Cross, Geoff Osika / Orchestrations By Eric Gorfain / String Arrangement By Jon Brion / Strings And Keyboards Engineered By Greg Koller / Protools Editing And Keyboards Recorded By Eric Caudieux At Henson Studios, Los Angeles, Ca And The Apex Studio In Burbank, Ca / Recorded At Conway Studios In Los Angeles, Ca / Mixed At Pacifique Recording Studios, North Hollywood, Ca / Pacifique Studio Assistant: Arthur Chambazyan / Mastered By Dave Kutch Of The Mastering Palace Nyc At Pacifique Recording Studios, North Hollywood, Ca
2. Hold Up
Written By Thomas Wesley Pentz, Ezra Koenig, Beyoncé, Emile Haynie, Joshua Tillman, Uzoechi Emenike, Sean Rhoden P/K/A Melo-X, Doc Pomus, Mort Schuman, Deandre Way, Antonio Randolph, Kelvin Mcconnell, Brian Chase, Karen Orzolek And Nick Zinner / Published By Songs Music Publishing, Llc (Ascap) Obo I Like Turtles Music, Neon Reggae Co-Op City, Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music, Universal Music Corp./Heavycrate Publishing (Ascap), Sugar Pop Meow Meow (Ascap), Warner/Chappell Music Ltd. (Prs), Meloxtra Publishing (Bmi) , Unichappell Music, Inc. (Bmi), 456 Music Associates (Bmi) All Rights Administered By Unichappell Music, Inc. (Bmi), Soulja Boy Tell’em Music (Bmi) Emi Blackwood Music Inc./Disaster Publishing/Big-N-Mage Publishing (Bmi) Chrysalis Music Ltd/Bmg Blue (Bmi). All Rights Administered By Bmg Rights Management (Us) Llc / Produced By Diplo, Beyoncé And Ezra Koenig / Vocal Production By Beyoncé / Background Vocals By Melo-X / Guitar By Jr Blender / Drum Programming By Diplo And Jr Blender / Mixed And Recorded By Stuart White / Assisted By Jon Shacter / Second Engineering By Ramon Rivas / Assistant Mix Engineering By John Cranfield / Recorded At Record Plant Studios In Los Angeles, Ca And Mad Decent Studios In Burbank, Ca / Mixed At Pacifique Recording Studios In North Hollywood, Ca / Pacifique Studio Assistant: Arthur Chambazyan / Mastered By Dave Kutch Of The Mastering Palace Nyc At Pacifique Recording Studios, North Hollywood, Ca
Contains Elements Of “Can’t Get Used To Losing You” Written By Doc Pomus And Mort Shuman. Published By Unichappell Music, Inc. (Bmi) And 456 Music Associates (Bmi) All Rights Administered By Unichappell Music, Inc. (Bmi).
This Composition Embodies Portion Of “Turn My Swag On” Written By Deandre Way, Antonio Randolph And Kelvin McConnell. Published By Soulja Boy Tell’em Music (Bmi), Emi Blackwood Music Inc./Disaster Publishing/Big-N-Mage Publishing (Bmi)
Contains Elements Of “Maps” Written By Brian Chase, Karen Orzolek And Nick Zinner, Published By Chrysalis Music Ltd/Bmg Blue (Bmi). All Rights Administered By Bmg Rights Management (Us) Llc.
3. Don’t Hurt Yourself (Feat. Jack White)
Written By Jack White, Beyoncé, Diana “Wynter” Gordon, James Page, Robert Plant, John Paul Jones, John Bonham
Published By Third String Tunes (Bmi), Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music, Wb Music Corp. (Ascap) Obo Itself And Lots Of Lyrics Entertainment (Ascap) All Rights Obo Itself And Lots Of Lyrics Entertainment Administered By Wb Music Corp., Flames Of Albion Music, Inc. (Ascap). All Rights Administered By Wb Music Corp. (Ascap) All Rights Reserved. / Produced By Jack White And Beyoncé / Co-Produced By Derek Dixie / Vocal Production By Beyoncé / Background Vocals By Ruby Amanfu / Recorded By Stuart White, Vance Powell And Joshua V. Smith / Additional Overdubs By Joshua V. Smith / Second Engineering By Ramon Rivas / Bass Guitar By Jack White / Drums By Patrick Keeler / Hammond Organ By Mark Watrous / Mixed By Stuart White / Assistant Mix Engineering By John Cranfield / Strings By Eric Gorfain, Daphne Chen, Charlie Bisharat, Josefina Vergara, Songa Lee, Marisa Kuney, Neel Hammond, Susan Chatman, Katie Sloan, Amy Wickman, Lisa Dondlinger, Terry Glenny, Ina Veli, Gina Kronstadt, Yelena Yegoryan, Radu Pieptea, Crystal Alforque, Serena Mckinney, Leah Katz, Alma Fernandez, Rodney Wirtz, Briana Bandy, Anna Bulbrook, Grace Park, Richard Dodd, John Krovoza, Ira Glansbeek, Vanessa Fairbairn-Smith, Ginger Murphy, Adrienne Woods, Denise Briese, Ryan Cross, Geoff Osika, Mark Watrous, Fats Kaplan, Lindsey Smith-Trestle / Orchestrations By Eric Gorfain / String Arrangement By Jon Brion / Strings Engineered By Greg Koller / Additional Drum Programming By Derek Dixie / Protools Editing/Recording By Eric Caudieux At Henson Studios In Los Angeles, Ca And Joshua V. Smith / Additional Instrumentation Recording By Lester Mendoza At Skip Saylor Recording Studio In Northridge, Ca / Recorded At Jungle Studios In New York City / Mixed At Pacifique Recording Studios In North Hollywood, Ca / Pacifique Studio Assistant: Arthur Chambazyan / Additional Studio Assisting By Ed Spear / Mastered By Dave Kutch Of The Mastering Palace Nyc At Pacifique Recording Studios, North Hollywood, Ca
Features Sample From The Led Zeppelin Recording “When The Levee Breaks,” Produced Under License From Atlantic Recording Corp. By Arrangement With Rhino Entertainment Company, A Warner Music Group Company. Written By James Page, Robert Plant, John Paul Jones, John Bonham, Published By Flames Of Albion Music, Inc. (Ascap). All Rights Administered By Wb Music Corp. (Ascap) All Rights Reserved.
4. Sorry
Written By Diana “Wynter” Gordon, Sean Rhoden P/K/A Melo-X, Beyoncé / Published By Wb Music Corp. (Ascap) Obo Itself And Lots Of Lyrics Entertainment (Ascap) All Rights Obo Itself And Lots Of Lyrics Entertainment Administered By Wb Music Corp., Meloxtra Publishing (Bmi), Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music / Produced By Melo-X, Beyoncé And Wynter Gordon / Co-Produced By Hit-Boy For Hits Since ’87 / Additional Production By Stuart White / Vocal Production By Beyoncé / Additional Programming By B. Carr / Background Vocals By Chrissy Collins / Mixed And Recorded By Stuart White / Second Engineering By Ramon Rivas / Assistant Mix Engineering By John Cranfield / Recorded In The Beehive, Los Angeles, Ca / Mixed At Pacifique Recording Studios In North Hollywood, Ca / Pacifique Studio Assistant: Arthur Chambazyan / Mastered By Dave Kutch Of The Mastering Palace Nyc At Pacifique Recording Studios, North Hollywood, Ca
5. 6 Inch (Feat. The Weeknd)
Written By Abel “The Weeknd” Tesfaye, Beyoncé, Danny Schofield, Ben Diehl, Terius “The-Dream” Nash, Ahmad “Belly” Balshe, Boots, Dave Portner, Noah Lennox, Brian Weitz, Burt Bacharach, Hal David / Published By Songs Music Publishing, Llc Obo Songs Of Smp (Ascap), Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music, Universal Music Corp./Sal&Co Inc. (Ascap), Benjamin Diehl Publishing Designee (Bmi), 2082 Music Publishing (Ascap)/Wb Music Corp. Administered By Wb Music Corp., Wb Music Corp. (Ascap)/Sal&Co Inc. (Ascap), Warner-Tamerlane Publishing Corp. (Bmi), Songs Of Roc Nation Music (Bmi) And In Souls (Bmi). All Rights Administered By Warner-Tamerlane Publishing Corp. (Bmi), Rough Trade Publishing Ltd (Prs), Bmg Gold Songs (Ascap), New Hidden Valley Music Co. (Ascap) / Produced By Dannyboystyles, Ben Billions, Beyoncé And Boots / Vocal Production By Beyoncé / Additional Production By Derek Dixie / Additional Instrumentation By Derek Dixie / Recorded By Stuart White At Record Plant Studios In Los Angeles, Ca / Second Engineering By Ramon Rivas / Mixed By Tony Maserati At Mirrorball Studios In North Hollywood, Ca / Assistant Mix Engineering By Tyler Scott And James Krausse / Mastered By Dave Kutch Of The Mastering Palace Nyc At Pacifique Recording Studios In North Hollywood, Ca
This Composition Embodies Portions Of “My Girls” Written By David Portner, Noah Lennox, And Brian Weitz. Published By Rough Trade Publishing Ltd (Prs).
Contains Samples From “Walk On By” Written By Burt Bacharach And Hal David, Published By Bmg Gold Songs (Ascap), New Hidden Valley Music Co. (Ascap) And Performed By Isaac Hayes. Used Courtesy Of Stax Records Concord Music Group, Inc. All Rights Administered By Bmg Rights Management (Us) Llc.
The Weeknd Appears Courtesy Of The Weeknd Xo, Inc./Republic Records
6. Daddy Lessons
Written By Diana “Wynter” Gordon, Beyoncé, Kevin Cossum, Alex Delicata / Published By Wb Music Corp. (Ascap) Obo Itself And Lots Of Lyrics Entertainment (Ascap) All Rights Obo Itself And Lots Of Lyrics Entertainment Administered By Wb Music Corp., Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music, Warner-Tamerlane Publishing Corp. (Bmi) And Yrp Music Publishing (Bmi) All Rights On Behalf Of Itself An Yrp Music Publishing Administered By Warner-Tamerlane Publishing Corp., Delicata Music/Numbers Never Lie (Bmi) Administered By Songs Of Kobalt Music Publishing / Produced By Beyoncé / Co-Produced By Derek Dixie And Alex Delicata For Delicata Music Productions / Vocal Production By Beyoncé / Mixed And Recorded By Stuart White / Second Engineering By Ramon Rivas / Assistant Mix Engineering By John Cranfield / Bass By Courtney Leonard / Guitar By Eric Walls / Horns By Randolph Ellis, Peter Ortega, Christopher Gray, Richard Lucchese / Harmonica By Patrick Williams / Additional Instrumentation By Too Many Zoos / Drums And Drum Programming By Derek Dixie / Band Session Leader: Derek Dixie / Band Recording Engineering By Lester Mendoza At Skip Saylor Recording Studio In Northridge, Ca / Assistant Recording Engineering By Derek Dixie / Recorded In The Beehive In Los Angeles, Ca / Mixed At Pacifique Recording Studios In North Hollywood, Ca / Pacifique Studio Assistant: Arthur Chambazyan / Mastered By Dave Kutch Of The Mastering Palace Nyc At Pacifique Recording Studios, North Hollywood, Ca
7. Love Drought
Written By Mike Dean, Ingrid Burley, Beyoncé / Published By Warner-Tamerlane Publishing Corp. (Bmi)/Papa George Music (Bmi) All Rights Administered By Warner-Tamerlane Publishing Corp., Love Vivian Music/Sony/Atv Tunes/Emi April Music (Ascap), Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music / Produced By Mike Dean #Mwa For Dean’s List Productions And Beyoncé / Vocal Production By Beyoncé / Keyboards And Drum Programming By Mike Dean / Track Engineered By Mike Dean / Mixed And Recorded By Stuart White / Second Engineering By Ramon Rivas / Assistant Mix Engineering By John Cranfield / Recorded At Jungle Studios In New York City / Mixed At Pacifique Recording Studios In North Hollywood, Ca / Pacifique Studio Assistant: Arthur Chambazyan / Mastered By Dave Kutch Of The Mastering Palace Nyc At Pacifique Recording Studios, North Hollywood, Ca
8. Sandcastles
Written By Vincent Berry Ii, Beyoncé, Malik Yusef, Midian Mathers / Published By Cleftone Music (Ascap), Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music, Universal Music Corp./Jabriel Iz Myne (Ascap), Midian Mathers Bmg Platinum Songs Us Obo Mable Jean Music (Bmi) / Produced By Beyoncé And Vincent Berry Ii / Vocal Production By Beyoncé / Piano By Vincent Berry Ii / Synths By Jack Chambazyan / Synth Arrangement By Boots / Recorded By Stuart White In The Beehive, Los Angeles, Ca / Mixed By Tony Maserati At Mirrorball Studios In North Hollywood, Ca / Assistant Mix Engineering By Miles Comaskey / Mastered By Dave Kutch Of The Mastering Palace Nyc At Pacifique Recording Studios, North Hollywood, Ca
9. Forward (Feat. James Blake)
Written By James Blake And Beyoncé / Published By Sony/Atv, Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music / Produced By James Blake And Beyoncé / Vocal Production By Beyoncé / Piano By James Blake / Mixed And Recorded By Stuart White / Second Engineering By Ramon Rivas / Assistant Record Engineering By John Cranfield / Recorded At Conway Studios In Los Angeles, Ca / Mixed At Pacifique Recording Studios In North Hollywood, Ca / Pacifique Studio Assistant: Arthur Chambazyan / Mastered By Dave Kutch Of The Mastering Palace Nyc At Pacifique Recording Studios, North Hollywood, Ca
James Blake Appears Courtesy Of Polydor Limited
10. Freedom (Feat. Kendrick Lamar)
Written By Jonathan Coffer, Beyoncé, Carla Williams, Dean Mcintosh, Kendrick Duckworth, Frank Tirado, Alan Lomax, John Lomax Sr. / Published By B-Unique Music Limited/Kobalt Publishing America, Inc. (Bmi), Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music
Emi Blackwood Music Inc. (Bmi), Sony/Atv Songs (Bmi), Wb Music Corp. (Ascap), Hard Working Black Folks Inc. (Ascap) And Top Dawg Music (Ascap) Obo Kendrick Duckworth Pka Kendrick Lamar, Now-Again Records, Global Jukebox Publishing (Bmi), Ludlow Music Inc. (Bmi) / Produced By Jonny Coffer, Beyoncé And Just Blaze / Vocal Production By Beyoncé / Mixed And Recorded By Stuart White / Second Engineering By Ramon Rivas / Assistant Mix Engineering By John Cranfield / Background Vocals By Arrow Benjamin / Additional Programming By Boots / Bass By Marcus Miller / Recorded In The Beehive, Los Angeles, Ca / Mixed At Pacifique Recording Studios In North Hollywood, Ca / Pacifique Studio Assistant: Arthur Chambazyan / Mastered By Dave Kutch Of The Mastering Palace Nyc At Pacifique Recording Studios, North Hollywood, Ca
Contains A Sample Of “Let Me Try,” Written By Frank Tirado And Performed By Kaleidoscope. Used Courtesy Of Now-Again Records, With Thanks To Thomas Hartlage And Shadoks Music.
Contains A Sample Of “Collection Speech/Unidentified Lining Hymn,” Performed By Reverend R.C. Crenshaw. Recorded By Alan Lomax In 1959. Used Courtesy Of Global Jukebox Publishing (Bmi) And The Alan Lomax Collection, American Folklife Center, Library Of Congress, Courtesy Of Odyssey Productions, Inc.
Contains A Sample Of “Stewball,” Performed By Prisoner “22” At Mississippi State Penitentiary At Parchman, Recorded In 1947 By Alan Lomax And John Lomax Sr. Used Courtesy Of Ludlow Music Inc. (Bmi)/Global Jukebox Publishing (Bmi) And The Alan Lomax Collection, American Folklife Center, Library Of Congress, Courtesy Of Odyssey Productions, Inc.
Kendrick Lamar Appears Courtesy Of Top Dawg Ent./Aftermath Records/Interscope Records
11. All Night
Written By Thomas Wesley Pentz, Beyoncé, Timothy And Theron Thomas, Ilsey Juber, Akil King, Jaramye Daniels, Andre Benjamin, Patrick Brown, Antwan Patton / Published By Songs Music Publishing, Llc (Ascap) Obo I Like Turtles Music, Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music, Tnt Explosive Publishing/Umpg (Ascap), Sony/Atv Songs Llc / Sparko Phone Music (Bmi), Akil C. King/M Publishing/Bmg Rights Management (Bmi), Jaramye Daniels Music/Warner Tamerlane (Ascap), Bmg Monarch (Ascap)/Gnat Booty Music (Ascap), Songs Of Windswept (Bmi)/Hitco Music (Bmi) / Organized Noize Music (Bmi). All Rights Administered By Bmg Rights Management (Us) Llc / Produced By Diplo And Beyoncé / Co-Produced By Henry Allen / Vocal Production By Beyoncé / Background Vocals By Diplo And Henry Allen / Horns By Randolph Ellis, Peter Ortega, Christopher Gray, Richard Lucchese / Horns Arranged By Derek Dixie / Horns Recorded By Lester Mendoza At Skip Saylor Recording Studio In Northridge, Ca / Strings By Eric Gorfain, Daphne Chen, Charlie Bisharat, Josefina Vergara, Songa Lee, Marisa Kuney, Neel Hammond, Susan Chatman, Katie Sloan, Amy Wickman, Lisa Dondlinger, Terry Glenny, Ina Veli, Gina Kronstadt, Yelena Yegoryan, Radu Pieptea, Crystal Alforque, Serena Mckinney, Leah Katz, Alma Fernandez, Rodney Wirtz, Briana Bandy, Anna Bulbrook, Grace Park, Richard Dodd, John Krovoza, Ira Glansbeek, Vanessa Fairbairn-Smith, Ginger Murphy, Adrienne Woods, Denise Briese, Ryan Cross, Geoff Osika / Orchestrations By Eric Gorfain / String Arrangement By Jon Brion / Strings, Keyboards And Bass Engineered By Greg Koller / Guitar By Henry Allen / Bass By Marcus Miller / Drum Programming By Derek Dixie, Diplo And Henry Allen / Additional Instrumentation By Derek Dixie / Protools Editing And Keyboards Recorded By Eric Caudieux At Henson Studios In Los Angeles, Ca And The Apex Studio In Burbank, Ca / Recorded By Stuart White / Second Engineering By Ramon Rivas / Assistant Recording Engineering By John Cranfield / Recorded At Jungle City Studios In New York City, Conway Studios In Los Angeles, Ca And Mad Decent Studios In Burbank, Ca / Mixed By Tony Maserati At Mirrorball Studios In North Hollywood, Ca / Assistant Mix Engineering By Tyler Scott / Mastered By Dave Kutch Of The Mastering Palace Nyc At Pacifique Recording Studios, North Hollywood, Ca
Contains Elements Of “Spottieottiedopaliscious” Written By Andre Benjamin, Patrick Brown And Antwan Patton. Published By Bmg Monarch (Ascap)/Gnat Booty Music (Ascap), Songs Of Windswept (Bmi)/Hitco Music (Bmi) / Organized Noize Music (Bmi). All Rights Administered By Bmg Rights Management (Us) Llc.
12. Formation
Written By Michael L. Williams Ii, Khalif Brown, Asheton Hogan, Beyoncé / Published By Wb Music Corp (Ascap) Obo Itself, Sounds From Eardrummers Llc, Warner-Tamerlane Publishing Corp (Bmi) Obo Itself, Eardrummers Music Publishing Llc, (Bmi), Khalif Brown Bmi Pub Designee, Asheton Hogan Bmi Pub Designee, Wb Music Corp. (Ascap) And Oakland 13 Music (Ascap) All Rights Administered By Wb Music Corp. Obo Itself And Oakland 13 Music / Produced By Mike Will Made-It And Beyoncé / Co-Produced By Pluss For Eardrummers Entertainment Llc / Vocal Production By Beyoncé / Adlibs By Swae Lee Of Rae Sremmurd / Additional Background Adlibs By Big Freedia / Trumpet By Matt Doe / Horn Arrangement By Derek Dixie / Recorded By Stuart White In The Beehive In Los Angeles, Ca / Mixed By Jaycen Joshua For The Penua Project/Innersound Mgmt At Larrabee Sound Studios, North Hollywood Ca And Stuart White At Pacifique Studio In Los Angeles, Ca / Assistant Mix Engineering By Maddox Chhim, David Nakaji, And Arthur Chambazyan / Mastered By Dave Kutch At The Mastering Palace In New York City
A&R Executive: Teresa Labarbera Whites
Lemonade
Directed By Kahlil Joseph, Beyoncé Knowles Carter, Melina Matsoukas, Todd Tourso, Dikayl Rimmasch, Jonas Åkerlund, Mark Romanek
Executive Producers: Beyoncé Knowles Carter, Todd Tourso, Erinn Williams, Dora Melissa Vargas, Steve Pamon, Ed Burke
Produced By Onye Anyanwu, Jonathan Lia, Keenan Flynn, Nathan Scherrer, Scott Horan, Kira Carstensen, Thomas Benski, Danyi Deats, Thomas Martin, Violaine Etienne, Michael Garza