Andrew Flanagan

On March 18, Drake released More Life, 22 songs packaged as what he's calling a playlist and what everyone else (including the streaming svengalis at Apple Music and Spotify) have categorized as an album. Whatever you call it, on Monday, Billboard announced that More Life had arrived at the top of the Billboard 200, which tracks the performance of the world's most popular albums, mostly through fans streaming it on Spotify and Apple Music.

Copyright 2017 NPR. To see more, visit http://www.npr.org/.

AUDIE CORNISH, HOST:

Unexpected releases, surprise announcements, the loss of giants - this week the music news kept coming. And here with the latest, NPR music editors Jacob Ganz. Hey there, Jacob.

JACOB GANZ, BYLINE: Hi, Audie.

This is the story of a hoax that almost was. Its motivating force was a hunger for fame, or infamy, or whispered legend in a particularly American sort of way. It begins on a beach somewhere in south Florida.

Less than a week after Chuck Berry's death at the age of 90, his family announced details Wednesday about the rock and roll pioneer's first album in 38 years — and gave us a taste of what it will sound like.

"First time your name was used, it was beauty, and I knew."

NPR's Scott Simon spoke to James Cotton in 2013. Hear an encore of their conversation at the audio link.

After missing two chances to control the compositions he co-authored while in The Beatles — once in 1969 when he and John Lennon were outbid and again to Michael Jackson, in a duplicitous move by the King of Pop, in the '80s — Paul McCartney is not taking any chances.

In a new video for the slinky, jazz-rooted BADBADNOTGOOD song "Lavender," a character named "Ronald Klump," a satirical Donald Trump stand-in, is the victim of a Looney Tunes-ian "BANG," fired by Snoop Dogg. (The video is also heavy on Snoop's favorite subject, the continuous ingestion of pot.)

One week and a day before thousands will descend on downtown Austin for South By Southwest 2017, what seemed like a standard bit of legalese in contracts given to artists performing at this year's SXSW music festival has, amidst a markedly shifted political climate, erupted into controversy. Musicians have accused the festival of threatening foreign performers with deportation if they appear outside official festival venues.

Last night, after all was said and done — you might've heard about a late-in-the-evening mix-upMoonlight was deservingly crowned last year's best film by the Academy of Motion Picture Arts and Sciences.

The Austin music industry isn't whole. The business underlying "The Live Music Capital of the World" stands bifurcated between its lucrative festivals (SXSW principally, but Austin City Limits, Fun Fun Fun Fest and others, too) and, as studies have found, a dwindling local music scene. Austin didn't become the self-styled "Capital" solely by hosting a handful of gargantuan events, which were first born from and since have capitalized handsomely on Austin's brand to increase their now-global footprints, which have drawn outsized attention to the city.

The Associated Press is reporting that Beyoncé will not make it to Indio, California in April for her planned headlining performance at Coachella, one of the world's most successful and highest-grossing music festivals.

On Wednesday, as protesters near the Dakota Access Pipeline began to break down their shelters and leave the area, Brooklyn singer Holly Miranda released a song, a cover of an obscure late-'70s science-fictional folk song, that she'd been working on for two months in support of those leaving.

The Songwriters Hall of Fame, with some assistance from Nile Rodgers and CBS This Morning, has announced its 2017 inductees, which include a first for the 38-year-old organization: rap.

Jay Z will be the first rapper inducted into the Hall and will be joined this year by one-man Swedish hit factory Max Martin; Motown founder Berry Gordy (who deferred his induction last year); Jimmy Jam and Terry Lewis of The Time; Robert Lamm, James Pankow and Peter Cetera of Chicago; and Kenneth "Babyface" Edmonds.

"It's really easy to throw in the kitchen sink," says Seattle producer Jeff McIlwain, who's made music under the moniker Lusine (or permutations thereof) since 1999. "It's a lot more difficult to take away."

We're talking about the role self-editing, or subtraction, plays in McIlwain's creative process. While Lusine's catalog is too varied and too open to genre wanderlust to allow for sweeping description, there is a through-line of crystalline restraint across the breadth of his discography.

Pages