by Tyler Glover and Julian Spivey 10 Favorite Grammy NominationsTaylor Swift for Album of the Year Taylor Swift was a Grammy darling. Her second album, Fearless, would take home the Grammy for Album of the Year making her, at the time, the youngest winner in that category. She was also nominated in the Album of the Year category for Red and 1989. She would not prevail for Red but with her second Album of the Year win for 1989, Swift became the first solo female artist to win Album of the Year twice. However, there was some controversy around her second win with many feeling the prize should have gone to Kendrick Lamar for To Pimp A Butterfly. Her next two albums would only garner her a total of four nominations with only one of those being in the general field categories. However, when the Grammy nominations were announced this year, Swift made her triumphant return to the Album of the Year category for her critically and commercially successful album, folklore. folklore is also nominated for Pop Vocal Album, her hit single, "Cardigan" was nominated for Song of the Year and Pop Solo Performance, "Exile" is nominated for Best Pop Duo/Group Performance, and her song "Beautiful Ghosts" from the film "Cats" is nominated for Best Song Written For Visual Media. Swift is my favorite singer and favorite songwriter and I am thrilled that after the lukewarm Grammy reception to her last two albums that she is back! If Swift wins Album of the Year this time, she will become the first female artist to win three times and joining a very elite group of singers that have managed to pull of the same feat. Those singers are Frank Sinatra, Stevie Wonder and Paul Simon. My biggest Grammy wish is for Taylor Swift to win Album of the Year and show everyone that she never goes out of style. TG “Colors” by Black Pumas for Record of the Year The biggest Grammy nomination surprise for me was “Colors” by Black Pumas receiving a nomination for Record of the Year in the general field categories, but I was thrilled to see it. Ever since I first heard the song of the group’s debut album last year, I’ve been in love with it. It’s everything music should be as it pretty much encompasses a multitude of sounds and genres that all meld into one. Singer-songwriter Eric Burton was inspired to write the song by looking out upon a glorious sunset while sitting on a rooftop at home in New Mexico. “Colors” just sounds like a revelation, like everything is right with the world for a few minutes of bliss. JS "More Hearts Than Mine" by Ingrid Andress for Best Country Song It is always surprising to see what the Grammy voters will do in the country music categories. Sometimes, they embrace the commercial hits and sometimes, they embrace good country music regardless of how the song charted. For example, in 2017, "Humble and Kind" won the category, which was a No. 1 hit on the Billboard U.S. Country Airplay chart. However, in 2019, Kacey Musgraves' "Space Cowboy" won despite only peaking at No. 30 on the Billboard U.S. Country Songs chart. The nominations tend to be a mix most years, which makes this category a difficult one to predict. This is why I was so excited to see "More Hearts Than Mine" by Ingrid Andress show up in this category. "More Hearts Than Mine" is a beautiful song sung by newcomer Andress that deals with the idea that when a couple breaks up, it affects more than just them. It affects their families and their friends who have grown to care for the person as well. Andress sings that if he ever leaves, he will be breaking more hearts than hers. What makes me love this song so much is that with years and years of musicians writing stories, it feels in a lot of ways that everything has been touched on. This really did bring another perspective to the forefront. I truly hope Andress can pull off a win in this category but if she loses, I feel the Grammys will definitely be breaking more hearts than mine. TG “I Remember Everything” by John Prine for Best American Roots Performance/Song The most heartbreaking music moment for me personally of 2020 was the death of legendary singer-songwriter John Prine in early April from COVID-19. Prine is one of my all-time favorite songwriters and truly a father to what’s known as Americana music, something I’ve probably listened to more of over the last decade than anything else. The final song Prine was said to have ever written and recorded “I Remember Everything” was released posthumously in June and received nominees for Best American Roots Performance and Best American Roots Song. Prine’s final recording is up against stiff competition in those categories, including “Colors” by Black Pumas (which is also nominated for overall Record of the Year) in the Best American Roots Performance category and against legendary Lucinda Williams in the Best American Roots Song category. JS “The Steps” by HAIM for Best Rock Performance I’d seen and heard HAIM, the group of three sisters from Los Angeles who’s surname gives the band its name, occasionally on television over the years (and knew they did a mean cover of Shania Twain’s “That Don’t Impress Me Much” that I was lowkey obsessed with), but had never paid a whole lot of attention to their music. But when they performed “The Steps” on an episode of “The Tonight Show starring Jimmy Fallon” early in 2020 it blew me away from the first listen. I had to immediately watch it again. And then probably did so again quite often over those next few weeks (which led into the pandemic and quarantining and the song just constantly made me happy despite the darkness of the world). I’m thrilled to see the talented sisters nominated for Best Rock Performance for this song and the group also received a major nomination for overall Album of the Year for their third studio release Women in Music Pt. III. JS "There Was Jesus" by Dolly Parton and Zach Williams for Best Contemporary Christian Music Performance/Song Dolly Parton has been remarkably busy in 2020. Parton has released a Christmas album entitled A Holly Dolly Christmas, released a film for Netflix, "Dolly Parton's Christmas On The Square," made donations that have helped with developing a vaccine for COVID-19, and now, she has just received her tenth Grammy nomination for her work in "There Was Jesus." In "There Was Jesus," Parton sings alongside Christian singer Zach Williams to make a beautiful piece of art. This song touched me in so many ways when I first heard it. "There Was Jesus" talks about how we all have those difficult moments in life and we sometimes feel we are on our own but Jesus is always there for us. Sometimes, we may not see it in the moment but when we look back upon reflection, we will always see that Jesus was there. I feel that this is the song we have all needed to hear in 2020 during this pandemic. Regardless of what is going on, we always have Jesus and even though it may seem that he isn't there, he is. TG “Stick That in Your Country Song” by Eric Church for Best Country Solo Performance I don’t expect for him to be a front-runner, in fact if I were to rank the five nominees from most likely to least likely to win he’d probably be the least likely, but I’m thrilled Eric Church was nominated for Best Country Solo Performance for “Stick That In Your Country Song.” Not only is it a typically great and raucous performance from Church, but it’s also a message that mainstream country music needs to hear (and what better than from someone within the mainstream) about how country music needs to once again be about something real and not just a white trash wet dream. Maybe this is the Grammys sending the mainstream a message? JS "Circles" by Post Malone for Song of the Year Post Malone may have only been nominated for three Grammys this year but they are the three biggest prizes of the night: Album, Song and Record of the Year. This was one of my favorite nominations really for a very personal reason. My children have all started really getting into music. Every time "Circles" came on the radio this year; they would want us to turn it up and they would sing at the top of their lungs. This is just one example of how music can bring us all together. It is not only this reason though for my excitement. "Circles" really showcases how sometimes in relationships; people are drawn together and may not be good for one another. They will leave each other and then reconcile but it will never work out. They will just continue to move in this circular motion but it never ends with them together. Someone has to break the cycle. This song also made me more interested to listen to more of Post Malone's work. While I would prefer "Cardigan" from Taylor Swift to win Song of the Year, I am still really excited this song got recognized. TG “Sound & Fury” by Sturgill Simpson for Best Rock Album Sturgill Simpson can pretty much do it all – country, American Roots, bluegrass, soul and rock & roll. His previous album A Sailor’s Guide to Earth (2016) won the Grammy for Best Country Album (despite it getting no love whatsoever from mainstream country music in Nashville) and received a nomination for overall Album of the Year. Last year it shocked some of Simpson’s fans when he came out with a rock album Sound & Fury (which had an anime film of all things accompanying it), but the album was pretty beloved by rock critics so it’s not a complete shock to see it nominated. I’m willing to bet Simpson is probably the first artist ever to be nominated for both Best Country Album and Best Rock Album in Grammy history – it’ll be interesting to see if he can become a winner of both, as well. JS "Into The Unknown" from Frozen II" for Best Song Written For Visual Media The moment that "Frozen" entered our lives, "Let It Go" was almost instantaneously sung all over the world by little girls at the top of their lungs. "Let It Go" would go on to win the Grammy for Best Song Written for Visual Media and the Academy Award for Best Original Song. When a sequel was announced, it must have been very overwhelming for writers Kristen Anderson-Lopez and her husband, Robert, to think of how they could replicate that success or even make something better than it. "Into The Unknown" is about as close as they could have gotten. My little girls sang this song just as loudly and with as much heart as they did "Let It Go." I have so much admiration for this writing team for truly giving the "Frozen" world such magnificent songs in not only the two films but in the "Frozen" short films over the years. They never miss the mark in delivering memorable songs that truly touch the world. TG 5 Biggest Grammy SnubsThe Weeknd The Weeknd has won three Grammys: Best Urban Contemporary Album twice (Beauty Behind the Madness and Starboy) and Best R&B Performance for "Earned It." Before the Grammy nominations were announced, it was expected that The Weeknd was going to have a fantastic year at the Grammys. Gold Derby had The Weeknd predicted to win Album of the Year for After Hours and to win Song and Record of the Year for "Blinding Lights." There was no reason to believe this would not happen. From the moment After Hours was released, it proved to be a critical and commercial blockbuster. "Blinding Lights" was a song that the radio played all the time and I am still not tired of it. It is just that good of a song. While there may be tons of talent that the Academy is seeking to recognize, it is highway robbery that not only could he not get in the general field but even in the genre categories. I do not care what the Academy says, The Weeknd "earned it" and should have been there. TG Bob Dylan There seems to be a change going on at the Grammys as of late where they’re no longer really considering old legends of rock music for anything, general field categories or genre specific ones, even if those are all-time greats like Bob Dylan whom the Grammys have bestowed much love on in the past. I first noticed it last year when Bruce Springsteen’s excellent Western Stars didn’t receive a single nomination despite rave reviews. But it was even more shocking this year when Bob Dylan’s Rough and Rowdy Ways, which critics raved was one of his best in years and was considered a favorite to make some of the general field Categories (especially Album of the Year) and should’ve at the very least been included in the Folk Album or American Roots categories. JS The Chicks The Chicks had not released an album since Taking the Long Way in 2006. That album would go on to win five Grammys, including Album of the Year and Best Song and Record of the Year for "Not Ready To Make Nice." After a collaboration with Taylor Swift on "Soon You'll Get Better" in 2019, it was announced the Chicks would be releasing a new album. The album, Gaslighter would turn out to be one of their best albums to date. The album really explores all the complexities of a divorce after adultery - anger, sadness, how it affects the children, re-entering the dating world, and hoping her ex feels this was all worth it. There is a song on this album entitled "Young Man" that I cannot listen to without crying. It is a mother's plea to her son to rise above everything that has happened and not let it affect who he becomes. This album was predicted before the nomination announcement to be the winner of the Grammy for Best Country Album of the Year. This shows that people were recognizing what a great achievement this was to the music world but when the Grammy nominations were announced, the Chicks were nowhere to be found in any category. In this regard, I am not ready to make nice with the Grammys. TG Jason Isbell & the 400 Unit
Jason Isbell’s last two albums Something More Than Free (2015) and The Nashville Sound (2017) each won the Grammy Award for Best Americana Album, as well as other awards in the American Roots categories. I didn’t really feel like Isbell’s 2020 release Reunions with his band the 400 Unit was as great as those two albums but was still shocked when it received zero nominations in the American Roots field this year. A weaker than usual Isbell album is still better than 90 percent of other albums released. It’s not the first time I’ve been irritated by an Isbell album being snubbed by the Grammys, as his career best Southeastern (2013) also failed to be nominated. JS Country Music The Grammy Awards represent the best in all of music – or at least are supposed to – but we all know the show has had an issue with certain genres before (most notably hip-hop), but this year the award voters left country music standing completely out in the rain without a single nomination in the big three categories of Album of the Year, Record of the Year or Song of the Year. Maybe since Taylor Swift went outside of the pop realm for an indie album the Grammy voters felt it was close enough to country music? The Grammys should always try to get the best of the year from country, pop, rock and hip-hop (at the very least) into the major general field categories every year. If it weren’t for Ingrid Andress receiving a nomination for Best New Artist the genre would’ve been snubbed from all four general field categories. JS
0 Comments
by Bryce Ratliff Ariana Grande has been busy the last three years. She dropped one of the best pop albums of the decade in 2016, her blockbuster masterpiece Dangerous Woman. After a two year hiatus and some very public tragedy, she dropped Sweetener in 2018, a much more divisive album among her fan base. Then in 2019, she dropped Thank U, Next which was much more universally praised than its predecessor. She’s broken numerous records and she dominates pop culture conversation, if one thing is clear: Ariana Grande is a force to be reckoned with. It is much more difficult to be in the entertainment industry in 2020 however. With the COVID-19 pandemic halting everything from movies to trips, concert tours are a definite no go. Some pop artists have had a lot of success this year with album releases however. Taylor Swift dropped her best album yet with folklore, a moody masterpiece that will bring tears and a bittersweet smile to your eyes. Miley Cyrus has a nice comeback with her pop-rock single “Midnight Sky.” It isn’t all perfect though, Katy Perry dropped her new album Smile this summer with low sales and criticisms of generic sound and a lack of depth or evolution. How do you drop a fun pop album when everyone is trapped inside and scared for their lives? While Perry went for overwhelming positivity, Swift went for nostalgic melancholy and despair. Grande has chosen her own path with Positions, choosing to release an album that is chill, fun and very sensual. Positions is a solid record overall. I would say it doesn’t reach the dazzling heights of Dangerous Woman, but it rarely hits the lows that 2018’s Sweetener did. This album is loaded with strings, trap beats and a nice helping of desire. The song that ties these elements together with the most ease is the second track on the album, “34+35”. This song is exactly what I wanted from this album. It’s pure, blunt, sexy fun. It’s got light, airy production – blending strings with a nice beat, not too heavy on bass. The lyrics are openly sexual and incredibly fun. If you want to know how sexually confident she is here, she compares her abilities in bed to an earthquake – and it’s honestly delightful. The themes explored on “34+35” are continued on two tracks around the middle of the album: “my hair” and the bluntly titled, “nasty”. I don’t know how to describe the former track besides groovy. The song uses a bass and saxophone, along with Grande’s lovely beckoning vocals to create a smooth, sexy tune. And on the latter track, Grande gets playful with her lyrics and her enunciation. When she declares that she wants to get “nasty,” it’s impossible not to sing along. The way she flows through the chorus without a care makes the listener both aroused and relaxed. It’s designed to be the perfect anthem for “Netflix and chill” nights. The next real winner on the album is the endlessly listenable “west side”. This track is laid back but bouncy – making a song that is perfect for driving around at night or jamming on your couch into the early hours of the morning. The highs on the album are Grande at her strongest, expressing her self-confidence and comfort with showcasing her sexuality. Before getting to the few downright bad songs on the album, I need to touch on some middling tracks. The lead single and title track, “positions”, is catchy enough but also falls prey to some of Grande’s occasional weaknesses. The trap-string hybrid sound on the album gets a bit repetitive after a while, and this song is far too low on the track list not to feel like a retread. Couple this with some hard to understand enunciation from Grande and the track ends up being listenable but forgettable. The duet with The Weeknd, “off the table,” has some nice lyrics and good vocals but the production feels rather stale. I never felt grabbed by the song, which is quite the disappointment considering the duo’s song, “Love Me Harder,” is a classic bop that got me into Ariana Grande in the first place. There’s a much better duet present on the album, “safety net” with rapper Ty Dolla $ign – who does a surprisingly good job matching Grande vocally on this wonderfully moody song. The album opener, “shut up,” is a fun jab at Grande’s harshest critics. She’s tired of people going after her for every little thing she does and is bluntly telling them she’s no longer listening. The humor and bite are there to a degree but the song lacks the energy it needs to become a repeat listen. Now, onto the songs that I found myself struggling to get through on the album. “six thirty” and “motive” are both just too damn repetitive. The former track is flat musically and features the worst lyrics on the album. It reminds me of the weakest moments from her Sweetner album – and I don’t see myself ever revisiting it. The latter track simply bored me and felt somewhat lazy. The chorus is overly repetitive, the production never goes anywhere, and the usually electric Doja Cat feels oddly watered down here. Besides these two songs, the only other clunker here is the penultimate track, “obvious”. Grande has some nice vocals on the chorus, but the production feels far too generic – a common problem for the album. While the production overall is solid and cohesive, there are a few songs that are near indistinguishable from one another. Overall, Positions is a solid entry into Grande’s discography. I don’t think it will be remembered as triumphantly as Dangerous Woman, but it won’t be nearly as divisive as Sweetener. It’s a mellow pop album that is good for people craving touch in a year where touch is the last thing you can do. The good songs here will hold up well over time, and the bad songs will more likely be forgotten without too much of a fuss. I can’t wait to see how she evolves in her next album – an evolution I think necessary after three trap-pop albums. Either way, it’s Ariana Grande and the album will more than likely be a juggernaut, and it’s a welcome distraction in such a gloomy year. |
Archives
November 2024
|