![]() ![]() Let's believe in the originality of dialogue and community. It's just a different definition of original. POWERS: No one would say De La Soul is not original. STEELY DAN: (Singing) I know I love you better. And only this year where they able to clear those samples and their music was able to be streamed on streaming services. POWERS: We love them because of their fascinating use of samples. (SOUNDBITE OF DE LA SOUL SONG, "EYE KNOW") POWERS: I think the best way to think about this is to think about the great group De La Soul. What do you think as a music critic, Ann? I might push you and say, is another way to view this, you know, everything is recycled? There are no new ideas. KELLY: You know, if I were to put on my grumpy skeptic cap, never far from my head. But if they are not credited, if they are not respected, it's meaningless. It can give a leg up to an unknown artist. You see artists now realize that their music being interpolated into another song is beneficial for a lot of reasons. It's not just about credit, although it is always about those things. ROBIN S: (Singing) You've got to show me love. was giving interviews saying, I thank you, Beyonce. POWERS: Immediately after the song came out, Robin S. You won't break my soul - no, no, na, na. For example, "Break My Soul," the first single off the record, interpolated the house music diva Robin S.īEYONCE: (Singing) Oh, baby, baby, you won't break my soul - na, na (ph). When she has sampled them, you know, she gives them all credit. POWERS: What she did with "Renaissance," I think, is she has marketed the album as a tribute to Black and brown queer dance music innovators. (SOUNDBITE OF BEYONCE SONG, "BREAK MY SOUL") I'm thinking of Beyonce and the album "Renaissance" that came out last year. KELLY: One change that does feel worth marking is artists preemptively giving other artists songwriting credits even if they didn't outright lift any sample, any passage. MESSINA: (Singing) Heads Carolina, tails California. It's sort of both a brand-new day and the same old thing at the same time. Here, the original artist says, hey this is revitalizing my career. We're talking about country music right now, right? I mean, country is a genre in which the songwriter has always mattered as much as the artist and in which songwriters want many artists to cover their songs. Technology and kind of the customs of the day really center interpolation, sampling, pastiche in the songwriting process. But another way to look at it is to say we are living in hip-hop's century. It's all about melodies and rhythms being passed down through time, sometimes credited, sometimes uncredited. POWERS: Well, one way to think about it, Mary Louise, would be to say music has always been an art of borrowing. So is this more widespread than it used to be, Ann? KELLY: And he even reached out to her to join a remix. JO DEE MESSINA: (Singing) Heads Carolina, tails California. (SOUNDBITE OF SONG, "HEADS CAROLINA, TAILS CALIFORNIA") Which borrows from a song by Jo Dee Messina. (SOUNDBITE OF SONG, "SHE HAD ME AT HEADS CAROLINA")ĬOLE SWINDELL: (Singing) Next thing I knew, man, she was up on stage, singing "Heads Carolina, Tails California." Here's another example - the big country music hit last year by Cole Swindell. KELLY: I mean, I feel like you turn on the radio these days, and everything feels like it is a sample or at least inspired heavily by something else. KELLY: Yeah, well, and, like, everything - I'm thinking. But honestly, this is a moment where everything seems to be combining (laughter). But right now there's a lot of anxiety about what it means to be a songwriter, and new techniques and, you know, dominant paradigms point toward this kind of borrowing - not that Ed Sheeran did borrow. Certainly, historically, these kinds of cases have caused a lot of conversation with people supporting the original artists as much as those who've interpolated their work. POWERS: I would say the overwhelming response was one of relief and support for Ed Sheeran. KELLY: Start by characterizing the reaction from folks in the music industry to this verdict in the Ed Sheeran case. We asked NPR music critic Ann Powers to help us understand. KELLY: Well, the jury decided Ed Sheeran's "Thinking Out Loud" did not violate the copyright of Marvin Gaye's "Let's Get It On." Anxious eyes in the music industry were watching the case closely, especially since so much pop music these days draws openly from other pop music. MARVIN GAYE: (Singing) I've been really trying, baby. By Ed Sheeran sounds too much like this song by Marvin Gaye. A week ago, a federal jury had to decide an unusual question - whether this song.ĮD SHEERAN: (Singing) Darling, I will be loving you till we're 70. ![]()
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