Tuesday, November 10, 2026

Producers Sue Ye, Ty Dolla $ign Over Alleged Unlicensed ‘Vultures’ Recording

Composite of separate photographs of Ye and Ty Dolla Sign
Ye, left, and Ty Dolla $ign are shown in a composite of separate archival photographs. The rappers face a federal copyright lawsuit alleging unauthorized use of a recording on their song "Vultures." (Composite by Célestin Denis via Wikimedia Commons, CC BY-SA 4.0)
A music file sent to Ty Dolla $ign by text message is now at the center of a federal copyright lawsuit accusing him and Ye of using another pair of producers' work without permission on their hit "Vultures."


Producers Jaraed "Jae Deal" Deal and Marlon "Marlonwiththeglasses" Barrow filed the complaint Friday in Los Angeles, alleging the rappers incorporated a recording the producers created in 2018 into multiple versions of "Vultures" without securing a license or properly compensating them.

The lawsuit names Ye, formerly known as Kanye West; Ty Dolla $ign, whose legal name is Tyrone Griffin Jr.; Yeezy Record Label LLC; Yeezy LLC; and distributor Create Music Group.

According to the 24-page filing, Deal and Barrow jointly created a track called "Joint 2," including separate instrumental recordings featuring piano, brass, strings, flutes and Rhodes keyboard.

Barrow had known Ty Dolla $ign for years, the lawsuit says.
During a telephone conversation, Ty allegedly heard the recording playing in the background and expressed interest in using it. He later visited Barrow's studio and requested a copy.

Barrow sent him an MP3 by text message, the producers say, with the understanding that higher-quality audio files and individual instrumental tracks would be delivered only after a written agreement was negotiated.

That agreement never materialized.

The producers allege that Ty Dolla $ign subsequently shared the MP3 with Ye and that portions of the recording appeared in multiple commercially released versions of "Vultures" beginning in November 2023.

Barrow received a production credit but no compensation, according to the lawsuit. Deal alleges he received neither credit nor payment.

The producers say they objected shortly after learning the song had been released and sought to have it removed from streaming platforms.

They also describe a January 2024 discussion with producer 88-Keys, identified in the complaint as Yeezy's head of music, during which they asserted their ownership of the underlying recording.

Nevertheless, the disputed material allegedly continued appearing in subsequent versions of "Vultures," including releases connected to the duo's chart-topping "Vultures 1" album.

The filing also describes an October 2024 attempt to resolve the dispute.

According to the producers, a Yeezy attorney offered to buy out their rights. Deal rejected the proposal, arguing that it failed to reflect the music's value or address the disputed credits.

The complaint does not reveal the amount offered.

The plaintiffs are pursuing copyright infringement, vicarious infringement and contributory infringement claims. They seek monetary damages, legal costs and an injunction that could restrict further distribution of recordings containing their work.

They also want a share of profits they argue are connected to the allegedly unauthorized use.

In an unusually expansive argument, the complaint attempts to connect the recording to revenues from "Vultures"-branded merchandise and ticketed listening events.

It alleges that merchandise sales exceeded $100 million, although that figure has not been independently substantiated, and the lawsuit has not established how much of any such revenue would be attributable to the disputed recording.

The producers are seeking actual damages and related profits, or alternatively statutory damages under copyright law. No damages have been awarded.

The case adds to the legal disputes surrounding music on Ye and Ty Dolla $ign's "Vultures" projects, which have previously drawn complaints from other artists and rights holders over allegedly unauthorized samples.

The allegations in the new lawsuit have not been proven. No response from the defendants to this specific complaint was established at publication.

Rochelle Fleming, First Choice Singer Whose Voice Helped Shape House Music, Dies at 72

 

Rochelle Fleming, founding member and lead singer of First Choice, helped shape disco and house music with recordings including “Doctor Love,” “Love Thang” and “Let No Man Put Asunder.” Fleming died Nov. 5 in Philadelphia at age 72. (Photo courtesy of BMG)
Rochelle Fleming's voice helped define disco in the 1970s. It was still filling dance floors decades later.

The lead singer and founding member of Philadelphia R&B group First Choice, whose recordings became essential building blocks of house music and influenced generations of artists, died Nov. 5 in Philadelphia. She was 72.

Her longtime manager, George Iz Correia, announced her death on behalf of the Fleming-Finney family. No cause was disclosed, and arrangements for a celebration of her life have not been announced.

Fleming rose to fame with First Choice, the vocal group behind "Armed and Extremely Dangerous," "Smarty Pants," "The Player," "Doctor Love" and "Let No Man Put Asunder."
LISTEN: First Choice's "Let No Man Put Asunder," featuring Rochelle Fleming's lead vocals, became a touchstone of house music. Listen on YouTube. Audio provided through BMG Rights Management.
But the full measure of her influence extends well beyond the group's original run.

"Let No Man Put Asunder," recorded for First Choice's 1977 album "Delusions," became a defining record in house music as DJs and producers introduced it to new audiences through remixes, sampling and reinterpretation.

Mary J. Blige later recorded her own version for her 1999 album "Mary."

And First Choice's influence extended into another generation of hip-hop and electronic music. J. Cole sampled "Wake Up to Me" on his 2019 hit "Middle Child," while Kaytranada drew from "Love Thang" for "10%," his collaboration with Kali Uchis that won a Grammy for best dance recording.

For listeners who knew those later records but not the original group, Fleming's voice had been part of the soundtrack all along.

Born in Philadelphia in 1954, Fleming began singing with schoolmates Annette Guest and Wardell Piper. The group, initially known as the Debonettes, eventually became First Choice.

Their breakthrough came with 1973's "Armed and Extremely Dangerous," which reached No. 11 on Billboard's R&B chart and crossed over to the pop market.

Working with Philadelphia producer Norman Harris, the group helped bridge the soulful harmonies of the early 1970s and the rhythm-driven disco sound that followed.

Fleming's commanding vocals remained central to that identity as First Choice recorded for labels including Philly Groove and Gold Mind, the latter associated with Salsoul Records.

The group disbanded in 1980, but its music continued to circulate through dance clubs, remixes and subsequent recordings.

Fleming pursued a solo career, recording songs including "Love Itch" and "Danger!" She also continued performing, preserving the musical legacy of First Choice while finding audiences who had discovered the group long after its initial success.

BMG, which represents part of the group's catalog through Salsoul, paid tribute Monday, describing Fleming as an artist whose recordings helped shape Philadelphia soul, disco and dance music.
Dan Baxter, the company's senior vice president of global catalog recordings, said the songs continued reaching new listeners through remixes and samples.

"Her voice and the joy it brought to so many will not be forgotten," Baxter said.

Fellow Philadelphia group Sister Sledge also mourned Fleming, praising her soulful voice and the music she left behind.

Her manager remembered someone who preferred to call her supporters "sweeties" rather than fans.

Some knew Fleming from First Choice's original hits. Others discovered her decades later through house music, remixes and hip-hop samples.

Nearly half a century after "Let No Man Put Asunder" was recorded, her voice was still filling dance floors.

Jordan Fisher To Lead ‘Purple Rain’ Musical Featuring More Than 20 Prince Songs

Jordan Fisher will play The Kid, the role originated by Prince in the 1984 film "Purple Rain," when the stage adaptation opens on Broadway in 2027. Previews begin March 12 at New York's Majestic Theatre. (Mark Seliger/Courtesy of "Purple Rain")
Jordan Fisher is about to step into Prince's purple spotlight.

The singer and Broadway star will play The Kid in the stage adaptation of "Purple Rain," taking on the role Prince made famous in his 1984 film and the music that helped turn him into a superstar.

Producer Orin Wolf announced the casting Tuesday, confirming that the musical will begin previews March 12, 2027, at Broadway's Majestic Theatre. Opening night is scheduled for April 12.

The show features more than 20 Prince songs, including "When Doves Cry," "I Would Die 4 U," "Take Me With U" and "The Beautiful Ones."

For Fisher, whose stage credits include "Hamilton," "Dear Evan Hansen," "Sweeney Todd" and "Moulin Rouge!," the production represents his first opportunity to originate a role in a new Broadway musical.

It also puts him in the difficult position of following one of popular music's most recognizable performers in a role closely associated with his life and career.

Director Saheem Ali said Fisher brings both the musical ability and emotional range needed to portray The Kid, praising what he called "the swagger, vulnerability and restless creative spirit we recognize in Prince."

The story follows a young Minneapolis musician struggling with family turmoil, professional rivalries and a complicated romance while trying to establish himself as a performer.

Prince played The Kid opposite Apollonia Kotero in the original film, which also featured Morris Day and The Time.

Released in July 1984, "Purple Rain" became a cultural phenomenon. The film won an Academy Award for its music, while the soundtrack spent 24 weeks at No. 1 on the Billboard 200 and produced some of Prince's defining hits.

The stage adaptation had its world premiere in Minneapolis in 2025, but the Broadway version arrives with significant changes behind the scenes.

Ali will direct from a book by Peter Duchan, with music supervision, arrangements and orchestrations by Jason Michael Webb and choreography by Ebony Williams, whose credits include work with Beyoncé.

Two musicians who knew Prince's music firsthand are also involved.

Bobby Z, drummer for The Revolution, and Morris Hayes, a longtime member of Prince's New Power Generation, are serving as music advisers.

Their involvement gives the production direct connections to both the "Purple Rain" era and Prince's later touring and recording career.

Fisher won't perform every show. Producers said an alternate will play The Kid on Tuesday evenings and Wednesday matinees. Additional casting has not been announced.

Prince died April 21, 2016, at age 57.

Four decades after "Purple Rain" helped establish him as a global superstar, Broadway is preparing to introduce The Kid to another generation — this time with Fisher at the microphone.

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