jay z grey download Free Download: and Jay-Z Mash-Up, ‘Jaydiohead’ Check out DJ Minty Fresh Beats' curious combination of tracks from the New York rapper and the Brit brainiacs. Jay-Z is no stranger to involuntary collaborations with the rock’n’roll elite; wizards across the web have mashed his tunes with those of bands from Oasis to Pavement and beyond. And now he has another musical partnership to add his lengthy list: Radiohead. Unlike ’s sensational The Grey Album , which united Jay’s Black Album and ’ self-titled “White Album” track for track, Jaydiohead mashes an array of songs from both artists, including pairs like The Black Album ’s “” and ’s “Nation Anthem” (remix title: “99 Anthems”), and American Gangster ’s “Fallin'” and ’ “15 Step” (“Fall in Step”). The man behind the mix: New York’s DJ Minty Fresh Beats, who premiered Jaydiohead on his MySpace page December 30. Creative Commons License Deed. 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In 3.0 and earlier license versions, the indication of changes is only required if you create a derivative. You may also use a license listed as compatible at https://creativecommons.org/compatiblelicenses. A commercial use is one primarily intended for commercial advantage or monetary compensation. Merely changing the format never creates a derivative. The license prohibits application of effective technological measures, defined with reference to Article 11 of the WIPO Copyright Treaty. The rights of users under exceptions and limitations, such as fair use and fair dealing, are not affected by the CC licenses. You may need to get additional permissions before using the material as you intend. “The Grey Album”: An Internet classic revisited. Last week, sound engineer John Stewart celebrated the eighth anniversary of Danger Mouse’s The Grey Album by releasing a remastered version via Mediafire zip file. That’s an awkward benchmark to examine the revolutionary mashup project, which layered Jay-Z’s vocals from The Black Album over warped highlights from the Beatles’ eponymous 1968 masterpiece that fans collectively branded The White Album . For starters, few pop culture moments this side of John Kerry’s fear of gay marriage make 2004 feel more dated than The Grey Album’s now also-ran cut and pasting. The tale of Grey reads like the plot of a ‘90s hacker thriller where someone accidentally dials up a 56K connection and finds a code that could change everything : million-dollar company sues starving bedroom artist and makes him the most-wanted producer in America along the way. The issue actually bypassed the freshman interest-group debates about Napster and entirely, because Danger Mouse’s crime (real name: Brian Burton) was not initially Internet-based. He produced roughly 3,000 copies and peddled CD-Rs independently like a Memphis rapper, and then EMI (the major label that’s survived on the Fab Four’s catalog) brought in an army of Machiavellian lawyers to squash it. It was this excess force that spun a classical freedom fighter firestorm about digital copyrights and fair use and statutory license. On Feb. 4, 2004, the now-defunct Worcester, Mass.-based Downhill Battle and nearly 200 sympathetic websites hosted the album for free on their servers for 24 hours to counter EMI’s efforts, and 100,000 people downloaded in civil disobedience. Eight years later, apparently, The Grey Album endures as one of the most heralded, important, and influential of the 21 st century. Thank well-earned martyrdom coupled with one pretty-cool-at-the-time idea. By mashup standards, however, the album doesn’t hold up—and it barely did eight years ago. The Avalanches’ 2001 LP Since I Left You , for instance, packed 3500 samples into one coherent, hour-long work. 2ManyDJ’s 2003’s As Heard On Soulwax is similarly full of drag and drop showmanship and evokes dancing. Here, the “99 Problems” loops don’t even sync with the distinct cadences of “Helter Skelter.” The “” riff that accompanies “December 4’s” verses is the only instance on The Grey Album where the mashup outduels the song its leeching. Within the culture, it’s one giant unlistenable crime against hip-hop because it cheapened the creative spirit of a genre it was supposed to champion. The Black Album is the best album from the most prolific commercial rapper of all-time because of two key items: Jay-Z raps like a sultan and selects beats like a scholarly dork. Jay-Z’s most underrated talent as a musician has always been his curation of beats. The “Fade to Black” documentary about the creative process behind The Black Album shows him tirelessly skimming potential tracks without pretention or favors; 14 people wound up with producer credits, including nobody duo, The Buchanans. They’re still relative nobodies, but they gave us rap song for the ages, “?” To the former point, producers were so quick to pirate his ‘hood favorite vocals and remix them that Jay’s people released an acapella version of The Black Album specifically for bootleggers to flesh them out with their own beats. I had a buddy who spent most of a semester smoking weed and working on his own Black Album and the result was somewhat naïve in ambition but a great and worthwhile exercise in composition. Once the Grey Album made Pazz & Jop’s top 10, the game plan for producers changed. The notion of juxtaposing pop music into mashups was nothing new eight years ago. That’s what’s made hip-hop such a fresh and interesting genre for four decades. But this was more direct and calculated. Peer-to-peer file-sharing by off the grid DJs helped spurn the practice while standardizing it: stack vocals over beats forged from cheeky origins not commonly found in the hip-hop genre. To make it work, one just needs to be a learned media guardian—urban kids who know suburban culture can gather and disseminate and live off their all-encompassing taste. (See the Radiohead/Jay-Z mashup, Jaydiohead . ) It should be noted that Danger Mouse, the producer, has shed his party crasher aesthetic and blossomed into a wonderful engineer, songwriter, and producer. His tight drumming on Beck’s Modern Guilt is virtuosic, human, and passionate. After the lawsuits his next two national projects— collaborating with eccentric masked rapper MF Doom on the hilarious and thumping LP and owning pop during the summer of 2006 by way of ’s “Crazy”—left Grey in the dust with an army of opportunistic mashups. The “Grey Album” THE “GREY ALBUM” is an absolute must-download record. Created by DJ Danger Mouse, it Jay-Z’s Black Album White Album , and it’s really good (just ask Rolling Stone or the Boston Globe). But since Danger Mouse has no way to get rights for the albums, the major labels say that the Grey Album is illegal. The big five labels use copyright to stifle creative freedom in a number of ways, and EMI has just sent a cease-and-desist letter to Danger Mouse and the handful of record stores that were selling the 3,000 copy release. No one is suprised that EMI is trying to ban this album, they don’t care about artistic value, they just think about protecting their “property”. But these and similar actions should give pause to everyone who cares about innovative music and artistic creativity. Corporations, including the five major labels, have gradually and thoroughly perverted copyright law; hip- hop, with its history of sampling and remixes, suffers the most. You will probably never hear a track from the Grey Album on the radio, and that is simply a shame. After Rebecca saw the news on MTV.com, we wrote up this press release and sent it out. One of the things we mention in the release is that almost everyone who has reviewed the album, downloaded a copy from filesharing networks– which the RIAA also claims is illegal. When even reviewers from major mainstream publications have to disobey the record companies in order to write about new music, something has gone very wrong, and it’s time to fix the system. Since we issued the press release, we’ve learned that EMI (representing Capitol) doesn’t even hold a copyright on the sound recording of the White Album . The LP was released in 1968, before copyright on sound recordings existed (EMI may try to claim that they own a copyright on the CD remastering, but, hey, maybe Danger Mouse got the music from original vinyl). None of this matters, of course; it’s not as if Danger Mouse or any of the record stores sued have the resources to make this case in court. And even if he through some miracle beat EMI, the record could still be blocked by Michael Jackson and Sony (who own the publishing rights) or by Jay-Z’s label (though it’s worth noting that Jay-Z himself took the unusual step of releasing an a capella 12-inch of the entire album specifically so it could be remixed). The larger point is that the decision about what music can be created and released is in the hands of corporations, not musicians. If you’re a DJ, or you make sample-based music, you are not allowed to use your instrument to make the art you want to make. Imagine if was in the studio and someone told him, “You’re not allowed to play that chord. Chuck Berry owns it already.” Anyone who doubts that sampling is an art should download the Grey Album right now. You can find it with Soulseek (pc) or Acquisition (mac). One solution to this problem is anything but radical: compulsory licensing with a reasonable fee (this is how cover songs work: you cover a song, you pay a small percentage of your record sales). Predictably, music monopolists like EMI like complete control better than simple, painless improvements. And of course, at Downhill Battle we prefer more fundamental change. We’ve got a new section on the site today, called the Sandbox. It’s a place for all of our outreach graphics like banners ads, website buttons, and buddy icons. If you run a website, maybe you can put one up. If you’re a designer, maybe you can make something beautiful (and effective). Big thanks to everyone who has submitted graphics so far, and we’re looking forward to getting even more. Free Download: Danger Mouse’s Classic “The Grey Album” Remastered. It’s a bit weird to think that Danger Mouse’s mash up masterpiece, The Grey Album , came out in 2004. Damn where does the time go? If you haven’t heard it, The Grey Album takes Jay-Z’s The Black Album and sets it alongside the Beatles’ White Album . From a technical point of view it was a pretty amazing concept, but sonically the music was middle-of-the-ground territory, as it was a bootleg and didn’t sound all that crisp or clear. Eight years on and The Grey Album has been remastered by engineer John Stewart, and just like when it originally came out…it’s being offered up as free to download. The link is dead, but you can stream the LP below. Stewart's website is gone as well and there appear to be some sort of hard copies floating around the web.