![]() It now can’t happen on anyone else’s.”Īlthough a drastic action from someone who helped build Amy’s career, the effect has been longlasting: the only Amy Winehouse release since was the soundtrack to her biographical documentary ‘Amy’, scattering old favourites with live versions and fleshed-out demos from her past without tarnishing her career. Following that, Universal Music UK chairman and CEO David Joseph destroyed all her remaining demos - “a moral thing,” he says - in order to prevent future exploitation from those trying to cash in: “Taking a stem or a vocal is not something that would ever happen on my watch. Six months following her tragic death, her close friends and collaborators put out a collection of demos and rebuilt vocals titled Lioness: Hidden Treasures, and despite many critics and fans calling the album’s release lazy and unnecessary, it was released in aid of the Amy Winehouse Foundation - a foundation created to prevent future stars from falling due to drug and alcohol problems. Elsewhere, musicians such as Aaliyah have been revived for half-baked posthumous singles and collaborations in the time since their deaths their careers feeling more lucrative and successful than when they were ever alive.Īmy Winehouse’s career post-death is another example, and one of the trend’s most complex. Still, a second posthumous release came a year later, lacking the ‘spirit’ of the rapper that attracted his wide-ranging fanbase in the first place. Skins, the first of two albums the rapper’s family released following his death, was dragged through the mud in reviews that labelled it from feeling “unfinished”. Occasionally, they can be life-encapsulating moments that give fans the opportunity to bid farewell to an unexpectedly passed hero - Joy Division’s Closer and J Dilla’s The Shining two examples of such - but more often, they’re chances for labels (and occasionally family members) to cash in on dead money music left in the vault for obvious reasons unearthed and shared to the public, tainting careers without any incorporation of the career-makers themselves.Ī recent example comes following the complicated death of Florida rapper XXXTentacion, whose work has been unearthed time and time again since his passing in June, 2018. The posthumous album - one released after the death of its creator - is a complex and at times, tiring display of musical capitalism.
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