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Major","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features118/v4/94/bc/57/94bc5739-a14d-1ebd-5d4b-9db0076edfe6/source/{w}x{h}bb.{f}","bgColor":"cdb8b3","textColor1":"1d0904","textColor2":"2a1712","textColor3":"402c27","textColor4":"4b3732"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features118/v4/da/29/e9/da29e9e8-df0a-3e31-7300-c8348787c096/source/{w}x{h}bb.{f}","bgColor":"fefefe","textColor1":"171717","textColor2":"323232","textColor3":"454545","textColor4":"5b5b5b"},"bannerUber":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features62/v4/74/dd/bc/74ddbc9e-1f75-67b7-4fba-f233ed718e3e/source/{w}x{h}bb.{f}","bgColor":"fefefe","textColor1":"0e0e0e","textColor2":"2d2d2d","textColor3":"3e3e3e","textColor4":"575757"}},"upc":"00602567424598","copyright":"℗ 2018 Mad Love/Interscope Records","playParams":{"id":"1428832200","kind":"album"},"editorialNotes":{"standard":"“Lotta rap and R&B n*ggas popped off my sound,” Tory Lanez gnashes on “Old Friends x New Foes.” It’s a bold declaration, but it’s not without merit: The singer helped originate the style of layering breathy vocals over fully recognizable loops of older R&B hits. But it’s a style he’s all but abandoned on MEMORIES DON’T DIE. The samples are few and far between and Lanez's personas oscillate between lovelorn lothario and cold vigilante as he reminds early doubters of their folly—in between dedicated serenades. “4 Me” is off-kilter pop-R&B, while “Benevolent” is a lyrical exercise the likes of an old DJ Clue mixtape—two ends of a spectrum that Lanez traverses completely here.","short":"An ideal balance of coarse swagger and starry-eyed longing."},"isCompilation":false,"offers":[{"buyParams":"productType=P&price=9990&salableAdamId=1428832200&pricingParameters=PLUS&pg=default","type":"buy","priceFormatted":"$9.99","price":9.99},{"buyParams":"productType=P&price=0&salableAdamId=1428832200&pricingParameters=SUBS&pg=default","type":"subscription","priceFormatted":"$0.00","price":0}],"contentRating":"explicit"}},{"id":"1486710711","type":"albums","href":"/v1/catalog/us/albums/1486710711?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music113/v4/74/a5/ea/74a5eab3-7f86-6f78-ef08-04b539b65cc9/19UMGIM98546.rgb.jpg/{w}x{h}bb.{f}","bgColor":"0c0a0b","textColor1":"ea8092","textColor2":"df6f89","textColor3":"bd6977","textColor4":"b55b70"},"artistName":"Tory Lanez","isSingle":false,"url":"https://music.apple.com/us/album/chixtape-5/1486710711","isComplete":true,"genreNames":["R&B/Soul","Music"],"trackCount":18,"isMasteredForItunes":true,"releaseDate":"2019-11-15","name":"Chixtape 5","recordLabel":"Mad Love/Interscope Records","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features123/v4/85/ec/3c/85ec3c38-eca5-8c64-4d2f-e7fed8a9000f/source/{w}x{h}bb.{f}","bgColor":"391c22","textColor1":"ffffff","textColor2":"d98592","textColor3":"d7d1d2","textColor4":"b9707b"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features123/v4/d4/26/2e/d4262e27-a35f-ba4f-63a0-c814d8c543a2/source/{w}x{h}bb.{f}","bgColor":"e2d7e2","textColor1":"0b0e08","textColor2":"002d1a","textColor3":"363634","textColor4":"2d4f42"}},"upc":"00602508450525","copyright":"℗ 2019 Mad Love/Interscope Records","playParams":{"id":"1486710711","kind":"album"},"editorialNotes":{"standard":"For Tory Lanez, it wasn’t enough just to sample his favorite 2000s-era R&B hits on his episodic Chixtape series—he outdid himself and got the original artists in the flesh. And what a lineup. Ashanti reprises her treasured “Foolish” vocal for “A Fool’s Tale.” Chris Brown updates “Take You Down” for “The Take.” Throwback legends like Jagged Edge, Slim from 112, and Pretty Ricky bring back the good ol’ days when loose fits were cool. “I remember being starstruck when I saw these artists in middle school,” Lanez tells Apple Music. “And I had the same feeling during every session when I worked with all of them.” Lanez recruited all these stars to power the boy-meets-girl, girl-curves-boy narrative of Chixtape 5. He goes through each song track by track with Apple Music.
\nJalissa’s Back! (SKIT)\n“It's the story of me, a girl named Jalissa, her friend Keisha, and Keisha's sister. It's a big drama that goes on. It's very important that I have cinematic relief from so much music, because sometimes music can be overwhelming. I felt like the skits are always important to me.”
\nThe Trade feat. Jagged Edge & Jermaine Dupri\n“It's the intro of the album, and who’s more classic and of this time than Jagged Edge, right? And Jermaine Dupri signed them. If I can get Jermaine Dupri just to say, ‘Y'all know what this is,’ I don't care about anything else, that's all I needed. It just set the temperature, the mood of the next 16 songs.”
\nJerry Sprunger feat. T-Pain\n“This was the first record that was made for Chixtape 5, so it was the one that inspired the rest of them. It was also the record that helped me get all the rest of the features. I would go to people and tell them, ‘You know, T-Pain did “Jerry Sprunger,” you have to hop on this album.’”
\nBeauty in the Benz feat. Snoop Dogg\n“Snoop’s ‘Beautiful’ and ‘Let's Get Blown’ played a big role in my childhood. I'm a superfan of Pharrell's production. This was my opportunity to produce a beat that I felt like he would be proud of. Now, the whole concept was to get everybody on their original records. Some of these people I didn't know if they were going to come back. Snoop Dogg is such an iconic person; is he really going to hop on ‘Beautiful’ sampled by Tory? He did and he loved it. It's reactions like that from people that are so iconic to me that kept me driven and motivated to keep on going.”
\nBlowin’ Mine’s\n“‘Let's Get Blown’ is my favorite song from this era. I fell asleep to ‘Let's Get Blown’ on repeat and it was installed in my head. I have always loved the production on it. When I mixed this one, I wanted to give people the same airy feel that I got from listening to ‘Let's Get Blown,’ because something is so dreamy about the song that it always stuck with me.”
\nLeah’s Introduction (SKIT)\n“It's taking you back to a time when we were all teenagers and we're in the car, and she's like, ‘I rock with you, I really do. But I feel like you still fuck with Jalissa and Keisha.’ You have to listen to the previous projects to understand what's going on here. I'm like, 'No, I don't.' I convince her and it ends up in a night of passion. And that's the first time you see this character, Leah, the love interest of Chixtape 5.”
\nThe Take feat. Chris Brown\n“I didn't even think the song was going to make it. You’ve got to remember how people feel about ‘Take You Down’ and how much of a lovemaking classic it is. I wanted to make sure that I did something that was a little bit different, come with a different flow. I feel like the production on the second half is probably my favorite thing about the song.”
\nBroken Promises\n“Right where the tape ends is literally the beginning of ‘Broken Promises.’ I'm big on transitions. At the ending of the song, I was like, ‘I still got to take this to another level.’ It stems from a sample that comes out of ‘The Take.’”
\nThe Fargo Splash feat. Ludacris\n“I could have sampled other Ludacris records, but I just felt like ‘Splash Waterfalls’ played a big part for me. I just remember that video being so hilarious—there was one part of the video he's with the girl and they're supposed to be skinny-dipping in the pool and then you got to see them fight. It was just so funny to me. Just the way Ludacris always acted things out. I felt like I always wanted to make music with him. Even when you're listening to the new song, you should still be able to feel how you felt about the old song.”
\nLuv Ya Gyal // Love Sounds feat. The-Dream\n“First off, the reason I sing softly is because of The-Dream. I didn't really know how to sing, and he was the first person that I ever wanted to sound like. ‘Mr. Yeah,’ ‘Fancy,’ and all these songs played a big part in the way I sound. This was originally a solo song. I sampled ‘I Luv Your Girl’ and ‘Falsetto’ by The-Dream. When I heard both of the beats, I was like, ‘Can I get Dream on this?’ It felt so far-fetched. This guy writes for Beyoncé, has tons of Grammys. When you hear Dream’s verse, you hear all these old innuendos of how he used to sound. So when he says, ‘I hate to see that look in your eye,’ and you start hearing all the sounds, it wasn't him. It was actually me just being a fanboy and trying to emulate what he would have done.”
\nYessirr feat. Pretty Ricky\n“Pretty Ricky were larger than life. They were so big when ‘Your Body’ came out. It was a dope song for me to sample because I lived in Florida when I was young. I just remember feeling so good, outside was warm, everybody's driving around in these donks out there with the big colorful wheels. Girls will hop in your donk before they hop in your Lamborghini—that's a known fact in Florida.”
\nBest of You // Busted (SKIT) feat. Mýa\n“I love Mýa. I'm gonna go on record and say that the first time I saw Mýa, I said the dumbest shit I ever said. It was just true emotion. I saw her at the BET Awards. She was walking the red carpet and she caught me by surprise. I was like, ‘Oh shit, Mýa,’ and she was like, ‘Hey, what's up?’ I was like, ‘I love you.’ She's like, ‘For sure.’ When she did hop on ‘Best of You,’ it felt special and it was dope, and for her and Ashanti to be the only two women on the project, it was very important that they played strong roles on their records.”
\nThe Cry feat. Mario\n“The first thing that comes out on ‘The Cry’ is ‘You curved the fuck out of me.’ I'm really blunt with the way I say shit. Basically it's just about a girl curving me and just like how she still wants me because now she needs me. The ending is my favorite part—the way the drums break down and just the way Mario ad-libs and does the ending of it. Very beautiful.”
\nStill Waiting feat. Trey Songz\n“This part of the project you're in heartbreak mode. ‘Still Waiting’ is a flip of Trey Songz’s ‘Can't Help but Wait.’ There was a point in time when he was the only feature I was waiting on. I couldn't get my verse from Trey for the longest time, but Trey is such a real n*gga that he'll always hold me down.”
\nA Fool’s Tale (Running Back) feat. Ashanti\n“The song is crazy. I sampled ‘Foolish’ and when I asked Ashanti to do it, I was really nervous. It was probably like the fourth or fifth time we had worked together. She's like, ‘What do you want to do with it?’ I flipped the beat right in front of her in literally ten minutes. They’re watching me—her mom, her sister, a lot of people inside the room. I added the first couple of sounds and then it started sounding good. So it was nerve-racking, but it got done and it was a fruitful process.”
\nThoughts feat. Lloyd and Lil Wayne\n“Wayne and Lloyd’s verses came in at the last moment. The moment they came in, my life and Chixtape was made. That was the ribbon on it. That's all I needed.”
\nIf You Gotta… feat. Fabolous\n“The song is very important to me. I think it's very important to this time and this culture. I feel like if you ever go back on any of the throwbacks of 2000s, the greatest hits, you're always going to see ‘Can't Let You Go’ with Fab. You're going to see ‘Into You’ by Fab and Tamia. I felt like this was a big song to get him featured and he hopped on it. All I asked him for was to make sure that when he came in, he said ‘F-A-B-O-L-O-U-S’ the same way he used to do it, and he did that for me. I love the vibe of it.”
\nRoom 112 feat. Slim\n“‘Room 112’ is the last song. It was an honor to have Slim on the project. I definitely wanted to attach this song to the skit at the end. I just felt like the way that ‘Room 112’ ended, it felt like a great way for the finale, what's going to happen next. He was feeling this girl and she played him, and we've never seen Tory get played on Chixtapes ever.”
\nLast Love Letter (SKIT)\n“Leah is on the phone with a friend. All of a sudden, she gets a knock at the door. It's the mailman. It's a note with a CD. The note says, ‘You let me down and I won't forget that. But without you doing things like that, I can't give you things like this.’ She starts reading out the CD and she says, ‘Chixtape Si...’ It cuts, insinuating that there will be a Chixtape 6. It’s not coming no time soon. Leave me the fuck alone after this one for a couple years.”","short":"Lanez recruits 2000s R&B greats for a girl-curves-boy tale."},"isCompilation":false,"offers":[{"buyParams":"productType=P&price=10990&salableAdamId=1486710711&pricingParameters=PLUS&pg=default","type":"buy","priceFormatted":"$10.99","price":10.99},{"buyParams":"productType=P&price=0&salableAdamId=1486710711&pricingParameters=SUBS&pg=default","type":"subscription","priceFormatted":"$0.00","price":0}],"contentRating":"explicit"}},{"id":"1506269876","type":"albums","href":"/v1/catalog/us/albums/1506269876?l=en-US","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music113/v4/93/a3/84/93a3841d-63f3-bc8c-9e4c-bc714c090ca8/20UMGIM22468.rgb.jpg/{w}x{h}bb.{f}","bgColor":"040404","textColor1":"e5ecea","textColor2":"d4d1d2","textColor3":"b8bebc","textColor4":"aaa8a9"},"artistName":"Tory Lanez","isSingle":false,"url":"https://music.apple.com/us/album/the-new-toronto-3/1506269876","isComplete":true,"genreNames":["Hip-Hop/Rap","Music"],"trackCount":16,"isMasteredForItunes":false,"releaseDate":"2020-04-10","name":"The New Toronto 3","recordLabel":"Interscope Records","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features113/v4/4e/d8/cf/4ed8cf19-9c4b-2e82-dfcd-bfc1f3616707/source/{w}x{h}bb.{f}","bgColor":"101010","textColor1":"f2f2f3","textColor2":"f5653d","textColor3":"c5c5c6","textColor4":"c75434"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features113/v4/9c/84/06/9c8406af-ccf3-7f5d-bc83-62f10c67daaa/source/{w}x{h}bb.{f}","bgColor":"001b25","textColor1":"f2eeef","textColor2":"c5dacd","textColor3":"c2c4c7","textColor4":"9db4ac"}},"upc":"00602508944635","copyright":"℗ 2020 Interscope Records","playParams":{"id":"1506269876","kind":"album"},"editorialNotes":{"standard":"Tory Lanez is remarkably fluent in a handful of musical languages. Over the past five years, the Toronto native’s albums have displayed a chameleonic prowess for the sounds of the moment, nimbly melding hip-hop and R&B with styles like Afrofusion and glossy pop. Then there’s his mixtapes, which tend to be more free-form, honing in on his various sonic identities and magnifying them. His Chixtape series began in 2011 as a display of the singer-rapper’s loverman side and of his affinity for bygone eras of R&B. He began pairing them with The New Toronto on Christmas Day 2015. The latter series, in contrast, is home to some of Lanez’s most turned-up music—the beats hit harder (largely courtesy of longtime collaborator Play Picasso), the flows are more breakneck, the lyrics more aggressive. “There were fans who wanted to hear R&B, and there were fans that wanted to hear only rap, so I would try to do both sides and give them a taste,” Lanez tells Apple Music.
\nThe New Toronto 3 is an especially stark release, propelled by the tumultuous emotions of a relationship gone wrong and the hunger of an underdog. “I definitely was going through a breakup,” he says. “The girl had left me, and I felt like she was playing with my emotions. I also felt like I was going through a lot of issues with friends, family, and just certain people that didn't seem genuine. A lot of things were just turning me coldhearted, and I used that as the fuel to put in the project.” It’s a callback to the energy that initially made those releases some of his most compelling. Still, he says the best is yet to come as he embarks on a new chapter of his career as an independent artist, with The New Toronto 3 marking the end of his contractual obligation. “I just wanted to make sure I gave [the fans] what they wanted and what they could expect, because I'm about to go back to a lot of the classic sounds that I had and I'm about to start putting out real music again,” he says. “I've just been with a label, and I never wanted to give them any of my best music, so I've been holding my best music back for like five years.”
\nPricey & Spicy\n“I wanted to give people more of an understanding of what they were getting into as the project is opening. I wanted to make sure that all New Toronto fans had the original knock, the original operas, the original sound, which was ‘Pricey.’ That beat was made in the times of the original New Torontos and then we brought it back and started freaking it. That's why it was super special to me, because I was like, this record right here was one of those records that was definitely supposed to be a part of this.”
\nThe Coldest Playboy\n“The girl I was talking to had just finished saying something to me along the lines of ‘I'm going to just start fucking other n*ggas.’ I remember she tried to argue with me that morning, and I was like, ‘You know what? I'm not having this with you no more. I'm at a different part of my life, and fuck you.’ I was in straight fuck-you mode—not just to her, but just my whole situation. The first line is so honest and so vulnerable, but so real, and I just felt like as an opener, if that's the first thing you hear, you just know you're about to get into some shit.”
\nStupid Again\n“We had just got to California, and I rented out a house just to work in for three months. I had rented a good car, good house, going pretty good, a bunch of groceries in the fridge. I was feeling good, and I just said, ‘N*ggas just going stupid right now.’ I made the song in the house—I'm in a big-ass massive bedroom, and I'm just recording this shit. It was certain things I was actually going through. We were way in the hills; there wasn't really no service. At that point, I was like, ‘Let's just make it fun, because I'm going to be in the club and I'm going to want to wild out to this.’”
\n10 F*CKS\n“Mansa is a kid I signed. He was actually on two projects before this, and he’s definitely one of the most talented people—if not the most talented—I've signed. Mansa was originally supposed to be pretty much the only feature in the project. When we did the record, I had did the first verse—I was still going through it with the girl, that's why some of the verses are like, 'I still love you, but it's still fuck you.' Then, Mansa came in, and he just started skating, and I was like, 'All right, it’s lit.'”
\nDope Boy's Diary\n“‘Dope Boy’s Diary’ is a lot like ‘Adidas.’ It's like one of those verses where I'm just spitting it all out. It was really what I was going through when I was selling, when I was homeless, and in positions before the deal and all that stuff. That's why I call it ‘Dope Boy’s Diary,’ because it sounds like something a dope boy would've been writing in his journal if a dope boy ever had a journal. Certain things that people that really were there, they’re going to know what I'm talking about.”
\nAccidents Happen\n“‘Accidents Happen’ was a throwaway song at the start—it was just a song I made. Then, when I was going through records that I had, I played it, and the people in the room were like, ‘This is crazy.’ I remember I had asked [Lil] Tjay to hop on it back at the time, so I had a verse from him already on it. From that point, I just knew he was super special with it.”
\nBroke in a Minute\n“It was actually supposed to be a freestyle on one of [NLE Choppa’s] beats. When Papi Yerr came in with that beat for ‘Broke in a Minute’—Papi Yerr is the dude who did ‘[Jerry] Sprunger’ and the [version of] ‘Take You Down’ that I did with Chris [Brown]—I was like, ‘I might as well just put it on this,’ and it just ended up sounding hard.’”
\nP.A.I.N\n“I was on my way to the airport, and n*ggas was trying to rush me out the crib to get to the airport. I remember I was at my house recording it all myself, I don't know why. As they're rushing me, I'm just spitting the verse. The verses came out so hard. I don't even know if that had anything to do with it, but I felt like I had to get it out quick, and it came out so heartfelt. I remember I would play that song for anybody, and everybody that heard it was like, ‘It’s just so much pain.’”
\nAdidas\n“I just went back to the times of how was I feeling when I was going through certain things and n*ggas was alone and homeless and still had a dream. There's so many people that go through that moment when you make some money from something, and you want to be an artist. You're like, ‘Should I really spend this 10,000 on this feature or should I put this back into what I'm doing that's wrong?’ You don't even got to be selling dope. Some people want to do music, but they also got a side hustle. Sometimes, the cards are not always in your favor, but you’re trying to make it happen.”
\nWho Needs Love\n“The funny thing about ‘Who Needs Love’ is I've only had two real girlfriends in my life. I'm not a real fall-in-love guy. I can love you as a person, I can be there as a partner—somebody to help you get through certain things in life—and we can have lots of memorable moments, but I'm not a real lovey-dovey guy like that. When I'm saying I got these diamonds on my neck, it's not necessarily meaning just the materialism of it. I feel like the girl that I was with didn't understand I came into this as Tory Lanez. The girl wanted me to act as some regular guy. I'm a very down-to-earth person, but at the same time, I came into this relationship with money. If you can't accept me for the guy that I am, then who needs love?”
\nDo the Most\n“My exes come with a lot of confusion and shit.”
\nPenthouse Red\n“I'm telling you all of this stuff about this girl, the good stuff, but I'm also telling her we've been in a hot pursuit, you've been doing you, so it's time that I do me. This is when I'm getting off the relationship now. The whole section of those last three songs, it's heartbreak Tory. I think that women have this way of making themselves seem so innocent and then when you finally find out that she can also be not as innocent as the person that you thought, it's like a shocker to a lot of guys with egos. Me, I’ve been through it all—I don't put nothing past nobody at this point.”
\nLetter to the City 2\n“There's a lot of hidden things in there that I couldn't say—certain names I couldn't say due to contracts and things like that. But I just gave you an understanding of how we wrapping it up being that this is my last album with the label. I'm an independent artist. I'm a free man. When I was writing that song, that's why I said, 'As soon as you hear this verse, I'm out the record deal.' What's crazy about that line is I actually took that line from Drake purposefully because I remember it was one of the hardest things I ever heard him say. I don't really care how anybody takes it. I'm not going to lie, even though I took out certain names because I didn't want it to be a legal issue, but at the end of the day, when I go through life, I'm allowed with every creative right to talk about what happens in my life and what has happened in my life. I just had to get off my chest what I had to get off of my chest.”
\nBack in Business\n“‘Back in Business’ is actually old. That's from the same time we made ‘Pricey.’ I think I made [them] in the same session, actually. The beat, the verse, and the song for ‘Pricey’ was done at that same time.”
\nD.N.D.\n“I actually made ‘D.N.D.’ live on Instagram with my Instagram followers. They came up with the name—we made a tally on the names, we picked the beat out together. I be doing this shit where I go in the studio and I just make records on Live. We made that record together, honestly. Somebody told me to call it ‘Do Not Disturb’ and I liked it.”
\nMSG 4 GOD'S CHILDREN \n“I'm a child in God's army, God's son. And more importantly, I'm an instrument for God. At the end of the day, there's times when I need to use my talents for the kingdom of God and just for light—to make sure that I'm always helping people stay woke if I can, because my whole point of doing music was always to bring positive light to my generation and to bring godlike energy to my generation and to help bring souls back to the kingdom of God. That's really what my main goal is. At the same time, I always told myself and told my parents—or my dad [who was a missionary preacher] at least, because my mom died when I was 11—I feel like God called me to be in dark areas and to camouflage with them until I'm able to show them this is the light. As long as I can pinpoint those moments where I can use my platform and I can put that light in there that could be the deciding and changing factors of somebody's life, then that's what I try to do. I don't think that I do it enough, and I think that now I'm at a place where now that I'm getting out of the deal, I know that I can make any type of music that I want. 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