Britney Spears revealed the title of her upcoming single yesterday with a cryptic Instagram, but inadvertently opened up another can of worms with the credited songwriters. Among the co-writers of “Work Bitch” listed at the top of the lyrics page were William Adams (will.i.am), Otto Jettman (Otto Knows), and Sebastian Ingrosso. Later that day Ingrosso told Billboard that he didn’t know why he was listed and couldn’t take credit for the song’s production.
Instead he explained that will.i.am (who he refers to as a good friend) asked him for a beat to write on for the new Britney Spears single. Of the music offered, will.i.am chose a production from Otto Knows, one of the artists managed by Seb. While “Work Bitch” won’t be the latest Ingrosso production, the Tuesday release will be yet another episode where will.i.am snatches dance tunes.
After missing his set because of traffic at last year’s EDC Las Vegas, Mat Zo made his way to Circuit Grounds with a bit of something to prove. Setting off the second biggest stage at the festival in a way that few others did last weekend, the Zo man powered through personal edits and remixes, material new and old, and even managed to sneak in a little commentary on the recent “Rebound” controversy between himself, Arty & much-hated producer Will.i.am as well as the TC Bootleg of Daft Punk’s “Get Lucky” that went off that evening. Take a look at the partial tracklist here.
After remaining relatively quiet regarding Will.i.am’s blatant plagiarism of Arty and Mat Zo’s “Rebound,” Anjunabeats has just released an official statement on the matter. While it is true that Will.i.am. credited Arty in the sleeve notes (but not Mat Zo), Anjunabeats attests that he did not receive permission to use the track. As of writing, there has been no official paperwork filed by either party for the use of the track, further implicating Will.i.am in this ongoing case of copyright infringement. It seems you actually can’t take someone’s work without them knowing and then thank them for it later. Who knew? See Anjunabeats statement after the break. (more…)
Incase you were living somewhere other than the internet over the past couple of weeks, the electronic dance music community has not taken lightly to the recent reports of prolific pop producer Will.i.am and his unwarranted use of Arty & Mat Zo’s “Rebound.” But with serial accusations behind him and a burgeoning call for justice in the face of creative integrity, dance music’s popular outreach looks to be called into question once again. The accused has pleaded his excuses, but with calls to formal action and a long list of alleged victims mounting, Dancing Astronaut explores the legal qualms closer to home for electronic dance music.
In an interview with Associated Press, Will.i.am speaks out about the accusations that have been thrown his way regarding the use of “Rebound” in his latest track “Let’s Go,” claiming “you can’t steal if you credited somebody.” Heavily on the defensive, Will.i.am defers blame to both his legal team and Arty himself.
“What do I know, I give it to legal. I’m not an attorney, I did my piece. I gave credit to the person who did it. It’s not my fault he didn’t tell me about the other guy. So who’s to blame? I don’t know I wasn’t in the room when you made it. You should have told me you had a collaborator.”
Will continues to defend himself by claiming that this issue is something that commonly happens in music due to red tape and bureaucracy. “That happens a bunch of times. Where legal takes so long but creative is instantaneous.”
Will.i.am’s fourth studio album, #willpower, indicates strong electro-pop influences with lead singles including the Sebastian Ingrosso and Steve Angello produced “This Is Love” and the Basto written “Scream & Shout.” Other than these collaborators, Will.I.Am had no other EDM producers come to his aid — at least to their knowledge. Today, Will’s VEVO uploaded the fifth track from the album, “Let’s Go” alongside Chris Brown, and the preview has the dance music community up in arms. ”Let’s Go” appears to be a blatant ripoff of Arty and Mat Zo‘s Anjunabeats release, “Rebound,” and not just a sample, the entire track. Listen for yourself after the break.
BillboardMagazine has officially debuted its new Dance/Electronic songs chart, which will be the first song ranking system that will track the nation’s top dance songs based on digital download sales, radio airplay, streaming data, and reported club play according to a hand-selected panel of 140 American DJs.
According to Billboard.com, the Dance/Electronic songs chart will follow the same methodology of its other ranking systems, such as Billboard Top 100. Though the chart will not allow remix crossovers:
Dance remixes of titles categorized as pop, rock, R&B, rap or another genre would not make a song eligible for Dance/Electronic Songs, even if the title appears on the Dance Club Songs or Dance/Mix Show Airplay chart.
The magazine implemented a Dance/Electronic digital sales chart in 2010 and will be following the same determination when declaring a song dance or electronic. Currently topping the chart is the will.i.am produced Britney Spears‘ track “Scream and Shout” followed by Swedish House Mafia‘s “Don’t You Worry Child.”
Billboard also expanded its charts adding a Streaming Songs ranking, which will rank tracks based off radio streams and on-demand audio from leading services including Spotify, Muve, Slacker, Rhapsody, Rdio, MySpace, Xbox Music and Guvera.
Felix Da Housecat‘s “Burn The Disco,” has been a grade-A party starter as an original mix with vocals from Will.I.am, and has been taken to the next level with its remix package. The premier rendition comes from Fareoh, who injects a heavy fix of acid house to juxtapose the pop basis. First picking up the tempo and the pace of the bassline, Fareoh lets the catchy hook ride until the drop, where he plunges into dance floor contagion with splashes of 303-resemblant synth warps. Available on Beatport via Ultra Records, Fareoh’s remix of “Burn The Disco” is packaged with takes from David Heartbreak and Bro Safari.
Sidney Samson makes his pop crossover with a superstar who isn’t new to the electronic music world, Will.I.Am. Following “Dutchland,” Sidney comes back with an original mix for the clubs, an absolute party starter and energy booster, “Better Than Yesterday.” With Black Eyed Peas frontman on the vocal, this track can go either way — straight to the radio or deep into the night life scene. The beat comes with deeper progression and less bleeps than we are used to from Samson, but is packaged for infectious dance action. Head to Beatport for the release of “Better Than Yesterday” before it lands on Will.I.Am’s forthcoming album.
Afrojack takes on another pop hit for the remixing, this time of Will.I.Am’s Steve Angello-produced and Eva Simmons-assisted “This Is Love.” Making its way through air waves and DJ sets, The Black Eyed Peas’ front man edges further into the world of electronic music with an EP full of remixes. Afrojack’s rendition features heavier dutch bleeps and a deep, distorted drop, making for one of his darker productions. This Is Love Remixes EP also sees remixes from Sidney Samson, Damien Le Roy, James Egbert, and Richard Vission Solmatic; all available on Beatport today.