Wednesday, February 15, 2012

Love, Whitney...


In the recognition of the loss of one of the most significant voices in the expression of love and lovers, I am writing this article... remembering Whitney Houston, who passed on from this existence to the next, on Saturday, February 11, 2012.


This article is about Whitney Houston - The Voice; The Sonic Paintbrush of God, utilized to clearly illustrate our emotions and experiences of love. I'm writing about Whitney's magnificent contribution to the Soundtrack of our Lives. So, if you're interested in reading about her faults, flaws, unwise agreements, or the questionable nature of her death, this is not the blog for you. We will explore her lasting legacy, as an artist, and as, quite possibly, the greatest female voice of the second half of the 20th century. No matter what anyone thought of her, no one could rightfully deny the power, beauty, and clarity of her voice, as well as her supremely capable skill in expressing it to touch the souls of people all around the world... literally.


For this exploration and remembrance of Whitney's music and effects, I will select certain love songs from throughout her career and identify the memories each song connects me with. That is what happens when songs impact us in a way that they become part of our life's soundtrack. When you hear it, you are automatically connected with memories of your own life and experiences, which have been associated with that song. As I chronicle a few of the moments in time that, for me, are now associated with these songs, I invite you to do the same. What memories do these songs bring to your mind?



You Give Good Love. Just barely into my teenage years, I had absolutely no idea what this song was about. It would be much, much, much later when I truly began to appreciate it, however, this song single-handedly  got me interested in the notion of love and provided me with a... feeling... a vibration of how to identify love. Needless to say, it was one of the first songs that carried a personal significance to me... and I'm sure I'm not alone.



Just the Lonely Talking Again. When the second album was released, I was fully in high school and this song takes me back to that time. I was one of the lonely, smart boys, who either stood on the walls and watched other people dance, or just didn't go to the dance, at all. I really was (or, at least I thought at the time) really ready for love... Don't we all think that, around that age? Anyway, I can recall pensive moments alone in my room, thinking about the many girls who were the various objects of my would-be affection. They're names are much more difficult to recall, now, with the effects of time and experience... but I can see them clearly, and when I listen to this song, I can feel the need to have love returned.



Lover For Life. When this came out, I was in college and had actually experienced my first lasting, successful relationship (albeit with the temporary self-life that collegiate romances tend to have). This song, although never released as a single, I always found to be one of the best on the album. It had a prominent appearance on my first mix tape (back when they were still actually mix tapes!)... When I listen to this, I'm transported to dorm rooms and back roads to and from college and off-campus apartments... This, for me, connects me with the earliest conversations of long-lasting relationships... it brings to mind the plans couples make for the rest of their lives. This song is blissful comfort, wrapped into a tight package of less than five minutes.



I Will Always Love You. This is Houston's most famous, signature song. I, like many of the rest of you, have many memories associated with it. This song is timeless... it is, quite simply... perfect (in both execution and intent, as well as impact). However, that having been said, the memory that rises to the top, when I hear this iconic love letter, is much more recent. This song now brings to mind my daughter, who first began to notice, recognize and develop opinions about music and artists with this song. I can remember her asking, from the back seat of the car, for me to play "Whitley" Houston I Will Love You. It still makes me smile, to this day.



Why Does it Hurt So Bad. When this song came out, I was graduating from one college and going to another to start post-graduate studies. Just as with most major life transitions, there were a great many changes that had to be made. This song brings me back to that time, where relationships were closed out, like chapters of a book to which the reader becomes emotionally attached. I remember starting over in a new state and the loneliness of the initial weeks. Knowing that this feeling will pass and going through the passing process are two different things. It reminds me that it's never as bad as you think it is, while it's happening (no matter what "it" is).



I Believe in You and Me. This reminds me... of being newly married. The freshness of true adult love and commitment. I remember this song as if it were a part of my wedding (and, no, it wasn't)... I "discovered" this song some years after it was originally released, due to changes in my personal life and, subsequently, my listening preferences. One day I watched the movie, and was struck by the soundtrack so significantly that I went out to find it. I listened to and studied this song... It is a perpetual wedding march... the capturing of the purity of love and commitment in a sound recording. This reminds me... of newlywed smiles and bright eyes... it reminds me of... leaps of faith taken by young lovers.



My Love Is Your Love. This song reminds me... no... it takes me back to a time when I understood the concept of forever, as it relates to relationships. I remember going through hard times, and having to depend on my wife, and my wife having to depend on me... This song makes me remember the true nature of marriage, being a team effort.



Million Dollar Bill & Worth It. When these songs came out, I was excited to finally hear Whitney again... and I was filled with the exuberance of youth! My wife and I both loved these songs. Million Dollar Bill, reminds me of driving around town, running errands, listening to this song on repeat! After many years, and too many dysfunctional relationships, I actually understood and fully knew how to appreciate love and the celebration of it. Worth It brings to mind the enduring quality of love. "This is for the lovers just gettin' on their feet. This is for the lovers 'bout twenty years deep." These are some of the best lyrics Whitney's sung... experience is a wonderful thing. I can relate to ( and even remember) almost all the lyrics in this song, from a first hand perspective. This song especially makes me remember looking into my wife's eyes and thinking, "yeah... it's worth it." "What's worth it?" you might ask... well if you have to ask, then you're not really ready for the answer...



So, this is not a "Best of Whitney Houston" list, this is just a short sampling of her contribution to the Soundtrack to Life.  Be free to write your own list and maybe even leave a comment or two. Whatever you do, make sure to take the time to listen to, and enjoy, a few songs from one of the greatest voices ever to be given to the world.

Until next time, keep listening and stay tuned.
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Sunday, February 12, 2012

The Grammys...



This will be short.

The 54th annual Grammy Awards were quite flat... and shameful... In many ways, it was like witnessing the death of music... killed by the corporate music industry... what with multiple Satanic ceremonies and a general darkness and celebration of a move away from actual talent... well, I'll just say this...

There were only a few bright spots...




The recognition of Whitney Houston's passing. Both in the beginning of the show, as well as Stevie Wonder's shout out and Jennifer Hudson's beautiful rendition of I Will Always Love You (Houston's signature song), the tributes to Whitney were civilized and classic. This is a fitting a touching way to acknowledge the passing of one so dear and important to the world of music (especially on such short notice).



The performance of Bruno Mars (Runaway Baby). This opening performance was really great... no, spectacular! Mars really took the viewer back to music's earlier time period of innocence and real raw talent. His performance was captivating and fun, both vocally and visually... especially when it came to the James Brown break down! It's too bad that it would be the high point of the evening.



Acceptance speech for Best New Artist, Bon Iver. When Justin Vernon came up to accept the award for Best New Artist, he was humble and grateful. He also made statements about the music industry and how it picks and celebrates certain artists. He may not receive the same warm welcome next time, should there be a next time. I also found it interesting that he was the only one who got the music playing, to hurry him up to finish. He had the best remarks.



The performance of Taylor Swift (Mean). Taylor's performance of Mean was a good reproduction of her video for the same song. It was expertly performed and she looked like she was having fun. The best part, perhaps, was the Grammy shout out toward the end of the song, "some day, I'll be singing at the Grammys..." That was fun and light.



The performance of Adele (Rolling in the Deep). This was a stunning vocal performance, with supple emotion. Adele's performance of the song of the year was the third worthy performance of the evening. Everything about it was powerful (if not all that colorful)... it was all about her voice and the emotional release of the song... and it pays off.




The tribute to Glen Campbell, by The Band Perry, Blake Shelton and Campbell himself. This was the final real bright spot of the show. It was still innocent and about the celebration of good music. The music made you feel good, and Campbell's performance was inspired and spirited.It felt like a little party... like a cozy concert. It was one of the few performances that inspired a smile.

That's all for the Grammys... it's time to close that musical chapter and continue living and enjoying the music all around us, that is the soundtrack of life. Until next time, stay tuned and keep listening.
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Grammy Countdown...





In the final hours before the next Grammy Awards, my life away from blogging has been pretty full, so I haven't been able to keep up the pace I wanted to. Therefore, I've decided to give a few last minute Grammy picks, before the big show...




Record of the Year:
Firework - Katy Perry. This is a great record... an instant classic.

Album of the Year:
Doo-Wops & Hooligans - Bruno Mars. Despite the insanely idiotic Grenade, this album is filled with a plethora of wonderful music, pulling from all over the musical spectrum. If you haven't listened to it by now... then do yourself a favor and get it! This is the best album of the five, and definitely the most deserving (although some may choose to give it to Adel's 21... I say no, because, although she's talented, she's a bit of a one-trick pony).
Best New Artist:
Bon Iver. This group brings pop music to a whole new level... They brought the symphonic orchestra sound of life to the radio... this brings people just a little closer to nature (even if we can't understand the words in the lead vocals). On the sheer strength of the music's sound, texture and cinematic scope, I pick theses guys (even though they're not really new... but hey, neither was Esperanza Spalding when she won, last year).




Best Pop Vocal Album:
21. I think it should go to Doo-Wops & Hooligans, however since people love Adele so much, and this was the year's top selling album, I think she'll get the prize for this one. And, after all... her strength is her vocals... The album plays like one long song... so if you love it, you love it! ... and if not... well you can get lost... but everyone agrees... the girl's got a tremendous voice.

Best R&B Song:
Fool for You - Cee Lo Green ft. Melanie Fiona. This song is spectacular, and although I think Betty Wright will get the award  for  Best Traditional R&B Performance, I think this song is the strongest in the running.



Best R&B Album:
Second Chance - El DeBarge. This is a close one, because R. Kelly's Love Letter  is one of his best efforts and is certainly worthy of the award. However, El wins in the close photo-finish technicality points, because Second Chance is a non-stop, listen all the way through album; where Love Letter falls flat on the one song about "making love in a taxi cab" (oh, please...). Those were critical points. And plus, who can ignore the back story for Second Chance? El DeBarge is a national treasure, who has returned in true classic style, with a civilized charm and a voice at the top of his game.




Best Country Song:
Mean - Taylor Swift. I don't think she'll get the best performance nod, however this is the best song. She does deserve it.


Well, that's it, for now... let's watch tonight and see if the judges get it right!

See you on the flip side! Until then keep on watching and listening for the soundtrack to our lives...

PS... next I'll recap the Grammys and we'll remember the incomparable Whitney Houston.
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Best Remixed Recording, Non-Classical





As we wind down and get closer to the 54th Annual Grammy Awards, let's take a look at a category that's a little less popular. A little off the beaten path, if you will. The next topic is Best Remixed Recording, Non-Classical. This particular has been in existence in its current incarnation since 2002. Prior to that, the award was for Remixer of the Year. Since the name change, the award is given for specific tracks and awarded to the remixing producer. The purpose is to recognize the abilities of the producer (or production team) to take an existing song and alter it, adding, subtracting, multiplying and/or dividing elements of it which were either previously under-emphasized or completely absent, thus re-mixing the song into a new piece of auditory artwork. 

Remixing is generally accepted to be a tool of dance club DJs. For as many different types of nightclubs as one can point out, there are just as many types of remixes. This year, all five of the nominated songs are straight from the world of Electronica (albeit from different countries within said world). All of them are danceable head-bobbers, however which will cut the mustard? Let's see...




Cinema (Skillex Remix), by Benny Benassi - remixed by Sonny Moore. This song is like getting two songs in one. It starts off like a typical electronica style club song, with light vocals only for effect... then the quick break down... then dub step comes in. For those of you who may not know, dub step is a relatively new sub-genre of electronica... it's a most unusual and purposefully ugly style of music (if you want to call it that). What is the appeal of it? I can only say that it makes the listener more highly aware of the crazy world through which they navigate on a daily basis. This world is crazy, and this type of musical expression seeks to connect one with that insanity, rather than elevate one to a higher vibration, in order to better the world in which one lives. So how does this song sound? Well, it splits the difference, between a catchy club/love song and a mainframe computer throwing up, because of some massive internal deadly computer virus (not pleasant). Key Lyrics: not really any. The lyrics that are present prove not to be key, because of the rest of the "song"... Song in One Word: disturbing. Pick: No. no.... please, no! It's a "silent" nod to the underground culture of dub step, however it can stay underground.




Collide (Afrojack Remix), by Leona Lewis - remixed by Afrojack. This song is great. It's a smooth club song, in the first place, as Leona Lewis is looking to move into the dance music scene with her next album. The remix extends and adds new elements to the song that causes it to be a new adventure and, in effect makes the music share the front stage with Lewis. She takes turns in the spot light with Afrojack's musical soundscape, and it's a pleasantly balanced duet. The listener can hear elements of the original song, along with Afrojack's technicolor vision of it... and we still get to hear a few vocal solos from Leona. Key Lyrics: "When you're in unfamiliar places, count on me through life's changes." (Indeed.) Song in One Word: colorful. Pick: It's a worthy nomination, but Afrojack will have to wait another year for his shot.




End of Line (Photek Remix), by Daft Punk - remixed by Photek. This song is massively dark... and groovy. This is the perfect sound for driving, or as background music to some serious underground gathering of ill intent... it's perfect for a movie soundtrack... hey! That's what this is! Daft Punk created a score like none other, which was an appropriate fit for the movie, as well as the musical environment into which the movie was released. In order to kick it up a notch, Daft Punk invited along some of the top remixers and producers in their field to come join in on the fun, by remixing the whole soundtrack, giving it another layer of other-worldliness. The only problem with this, if you could call it that, is that is just doesn't change the song very drastically. There are definitely more beeps and twirps than before, however the overall song really remains the same. No disrespect to Photek... it's just that Daft Punk really came up with such a stunning portrait of the digital unseen world that it's hard to get past it. Key Lyrics: None. Don't need any. Song in One Word: marauding. Pick: No, not this time. 




Only Girl (in the World) (Rosabel's Only Club Edit in the World), by Rihanna - remixed by Abel Aguilera & Ralphi Rosario. Now this is a remix. It's strong and muscular. It's more than double in length (not that it's a prerequisite... it's just nice). Aguilera and Rosario give this massively popular song an overhaul that makes it a new composition, while still keeping the vocals of Rihanna up front. Instead of the vocals being simply a means to an end (and completely disposable), the Rosabel remix makes the vocals the centerpiece, and elongates the musical ballet of dance beats and synths in between the verses and choruses. In addition, the music adds intensity to Rihanna's vocals. The pounding beats work well with her pleading hook... then we drift into an etheric break down, before bouncing back into a full swing of ecstatic club merriment. Key Lyrics: "... make me last all night... last all night... last all night... last all night..." (yes, gladly.) Song in One Word: magnetic. Pick: This is a toss-up, with Rope (Deadmau5 Mix). Odds are, Aguilera & Rosario will pull it off and walk away for the award, however...




Rope (Deadmau5 Mix), by Foo Fighters - remixed by Deadmau5. This is another strong muscular club banger. Deadmau5 further extends his legendary status. Although he can be known for going too far out there for some people, at times, this remix is totally accessible. Of all the songs nominated, this one is the most drastically reworked... and it works... even better than the original recording. This is an unapologetic rock song, that has been turned into an unapologizing, trunk thumping, beast of a party song. Although not much longer than it's original version, the Deadmau5 Mix is completely DJ friendly version, which enables the DJ to make it as long as necessary. This song sounds like a party at 2:24 am... and it's just getting started. Key Lyrics: "How can this come over me? I thought I was above it all." (no one is above the remix!) Song in One Word: massive. Pick: I would say this will be a tie, between the Rosabel remix of Only Girl(in the World) and this song... however... I think Deadmau5 takes this prize home, in the end. The edge out will be the vast sonic reworking of the song from its original form into the new remixed offering. (It may go the other way around, but I don't think so.)

You can take a listen to these songs for yourself, while you wait to check out the Grammys. Until then, keep reading and stay tuned.





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Friday, February 10, 2012

Best Country Solo Performance



Alright, back to the Grammys. Before Sunday gets here I want to get in a couple more categories. For right now, we're going to look at the Best Country Solo Performance. Five performances with a good amount of variance between artists and songs. This category is another amalgamation of existing categories, which have been combined in the effort to shrink the overall number of categories. Both Best Male & Female Country Vocal Performance, as well as Best Country Instrumental Performance, were combined to make this category. Again, as you'll see, the instrumental songs get the shaft.

We have five artists nominated for this award - three females, two males...  One is a super-duper star, two are talent show affiliated, one is old school country, and one is having an identity crisis. Let's take a look...




Dirt Road Anthem - Jason Aldean. This song is interesting... it was on the honorable mention list for the Top Ten Moronic Songs of 2011 (previous post). It seems Jason doesn't really know what he want's to do or who he want's to be. First he's "chillin'" on the dirt road, then he busts out into a country boy rap that's as terrible as anything should ever be, with major corporate backing. What could be a good song with a relaxing melody, turns into a shameful debacle... and he doesn't even have any compelling rap lyrics! Key Lyrics: "... watch out for the boys in blue... better watch yer mouth, before I come knock that loud mouth out..." (what's with the country/ghetto tough talk?) "we like corn bread and biscuits, and if it's broke 'round here, we fix it..." (That's the point were I had enough...) Song in One Word: confused. Pick: No. It's bad enough that it was nominated (and thus giving a nod of recognition to the merger of these two distinctive expressions), however it won't win. Not only is it not the best song, it's not even a good song.




I'm Gonna Love You Through It - Martina McBride. This is a sweet song. This inspirational number is centered around cancer and its effects on the family, however, in spite of the well crafted story, the song slips into the universal realm of all inspirational songs. It could be dedicated from anyone to someone who is going through a rough time and needs assistance. That's the genius of the song and the heartfelt performance of Martina. The story of cancer comes in secondary to the notion that someone will "love you through" the rough times. Key Lyrics: "When this road get's too long, I'll be the rock you lean on. Just take my hand. Together we can do it. I'm gonna love you through it." Song in One Word: warm. Pick: Not strong enough. It's a great performance, however it's just not sticky enough.... 




Honey Bee - Blake Shelton. This is pure "Grade A", radio friendly,  pop-country. Blake's use of various aspects of nature's balance of hard and soft, perfectly allow for the lyrics to relate to anyone listening. This is a universal subject... a simple love song. Blake delivers the song with a full helping of down-home country, while the song's construction is pure pop, hit-maker, formula driven. It could have back fired... but it didn't. It works, and works well! Key Lyrics: "I could've said I love you; could've wrote you a line or two, Baby all I know to do is speak right from the heart."  Song in One Word: pleasant. Pick: This is where it get's thick. This is strong enough to win. It sticks in your head way after it goes off (stickiness)... It could win, and that would be a good fit... however, I think he's going to be fighting over second place, this time.




Mean - Taylor Swift. This is the underdog song... the country underdog song... no, this is universal wisdom, wrapped up in a cute little country song. This song is strong. I'd say this is the best song of the bunch... The soundscape is alive with all the sounds of acoustic country music... while, at the same time, it's polished and beefed up like a modern pop song. This is a perfect merger of pop and country. If it suffers from anything, it's Taylor's laid back delivery. She's comfortable and very believable as the main character in the song, however as far as vocal performances go, it doesn't top the pack. Key Lyrics: "Some day I'll be livin' in a big ol' city, and all you're ever gonna be is mean... all you are is mean and a liar, and pathetic and alone in life, and mean and mean and mean..." (you gotta love it!) Song in One Word: courageous. Pick: She's fightin' it out with Carrie and Blake. After the smoke settles, the country-pop princess will still be sitting in her seat, clapping for someone else. (I will admit there is a possibility that she'll squeak past with a win... but I don't think so.)




Mama's Song - Carrie Underwood. This song starts off like a quiet Sting song, before hitting its stride, at the hook. Then the song pulls you in and carries you out into the sea wedding bell bliss. This song is the phone call every parent (mother or father) want's to receive from their daughter. This song, propelled by Underwood's genuine tones and crystal clear vocals, sticks to the brain like a great dream... even when you wake up... and long after you forget the specifics... you still feel good for the rest of the day. This song is uplifting in every way... and sonically, the subtle strings in the background take it over the top. Key Lyrics: "... I think I found the answer to your prayers... and he is good, so good... he makes promises he keeps, no he's never going to leave, so don't you worry about me..." Song in One Word: touching. Pick: After all the smoke settles down... the former American Idol will fix her hair, straighten her dress, and walk right up those stairs to receive her award. This song's crafting is certainly of superior stock, however what makes it shine and gives it the life that it deserves is Carrie's delivery. This is the country solo performance of the year.


So, we'll see if the judges at the National Academy of Recording Arts and Sciences do the right thing...

Until then, take a look at the videos from these songs, and we'll meet again to look at more music.





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Tuesday, February 7, 2012

Best Traditional R&B Performance



Now, we're back to the Grammys...

Today's category is Best Traditional R&B Performance. It's a category that's been in existence since 1999, where it was initially awarded for entire albums. This was done to offset the rising popularity of a grittier, more street oriented Hip Hop flavor of R&B. In order to preserve the original "sanctity" of this style of music (for the lack of another term), this category was developed alongside the Best R&B Male/Female Vocal Performance categories, thereby recognizing both popular and classic tastes. In 2003, the category was renamed  to reflect being an award for a single song, instead of an entire album.

This year the category some of the music industry's best R&B talents. Each of these artists are solid choices, especially when considering the specific song choices. Let's check them out...




Sometimes I Cry - Eric Benét. This is a lush, cozy, beautiful sad song. It's sad... but it's not really sad... this song illustrates the whole idea of "it's better to have loved and lost..." theory. This song is what exists on the other side.When someone has experienced true love with someone else, and for whatever reason they do not stay together, there is a whole that cannot be filled by anyone else. That is what this song is about. Sung in his beautiful falsetto, Eric masterfully paints this portrait of love's aftermath, while, at the same time, channeling Marvin Gaye (When I'm Alone, I Cry) and Prince (The Beautiful Ones). This is true rhythm and blues. Key Lyrics: "I'm movin' on, I'm feelin' strong inside, but sometimes I cry, when I'm all alone... help me know how to... let you go..."Song in One Word: closure. Pick: Wow... that's a tough one... (can we have a five-way tie?)... I think he get's an honorable mention, but no prize to take home.




Fool for You (featuring Melanie Fiona) - Cee Lo Green. This song is strong and serves as an example of why Cee Lo is actually a star. Underneath all the antics, costumes and outlandish performances, he can actually translate emotions extremely well. When listening to this... especially his intro in the song's opening moments, he displays his talent in true classic R&B fashion. It's hard not to draw comparisons to Billy Stewart, when listening to this song. I'm really baffled as to why this version isn't on the album. Melanie Fiona's performance fits so right in harmony with Cee Lo's, that it makes this song a bright light of happiness. This is a celebration of love. Key Lyrics: "Can't nobody tell me nothin'. It is what it is!... So rare they swear that you just don't exist!" Song in One Word: intense. Pick: I don't think it's the favorite... but he might swoop in and steal it... Most likely, close-but-not-this-time.




Radio Message - R. Kelly. This song finds Kelly in top form, creating wonderfully crafted music that keeps its innocence. This song comes from one of Kelly's best efforts of his entire career. Like most of the other songs on the album, this song is stripped of the braggadocio and sexual posturing found on so many of his releases. What is left is raw soul... presented with all the polished smoothness of an old school R&B crooner. This is the Blues, in the key of modern R&B. Even the theme of the song (a radio message shout-out/apology) brings one back to a time of prevailing innocence and hope. This is Kelly's future... should he decide to embrace it. Key Lyrics: "Don't you hear the state of mind I'm in? I'm going crazy, 'cause I lost my best friend." Song in One Word: forgiveness. Pick: I think this record should get the Grammy... however, I don't think it will (politics)... final pronouncement: close second.




Good Man - Raphael Saadiq. This song is a gritty, southern, old fashioned ballad of love done wrong. Saadiq truly captures the Memphis sound on this record. With the song, the listener is walked through the inexplicable breakup of a relationship (including what seems to be an unjustified arrest). We get to see, hear and experience that the treachery he suffered opened the door for a better life, towards the end of the song, when the heavenly horns rescue us from the sorrow of this broken love. This is a sublime moment, rarely experienced in modern music. This is what music should be. Key Lyrics: "I don't think I deserve this from you... My life is better... so much better... without you..." Song in One Word: mesmerizing. Pick: It's a little too deep for its own good. This may be thoroughly understood by the Black community, however it may not penetrate enough of the popular consciousness for it's greatness to be recognized. He overshoots the mark... no prize.




Surrender - Betty Wright and The Roots. This is a comfortable couch of a song. This is a brand new bed... and expensive bed! This song wraps around you and dances you over to your partner. Betty Wright's ability to illustrate new love is quite legendary... she's an icon, pure and simple. This song and it's performance is a stunning example of this deep well of wisdom and talent. Betty simply blesses up with this track. This is a perfect account of new love developing... taking over and enveloping the singer/listener in an almost real-time fashion. This song sees love conquer all of the walls, road blocks and defenses that we put up to protect ourselves from the pain of making mistakes. The song's execution is perfectly tuned and Wright's performance is right on point. This is falling in love... no, more like walking into it, with eyes open and smiling wide. Key Lyrics: "I'm waving my flag, I surrender. I feel it's love, this time... but I've been hurt so many times, I don't wanna be flying blind... I need someone who will love me right from the start, with all his heart..." Song in One Word: submission. Pick: This will be a tough category to win, however, the veteran will (I predict) emerge victorious. (No need for Surrendering... )


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Sunday, February 5, 2012

Madonna's Half-Time Special

All right, we're going to take a quick break from our Grammy watch to talk about Madonna's Superbowl half-time performance.



Now, keep in mind the main idea of the performance is to showcase Madonna's new single Give Me All Your Luvin', which was released last Friday February 3rd. However, this performance was, quite simply, a means by which she could reestablish herself as the Queen of Pop music.



The performance begins with Madonna being carried by an impressive entourage Egyptian/Roman style. This was the first time that Madonna performed at a Superbowl half-time, in all of her close-to-thirty years in the music industry. So, what does she do? She walks us through the whole thing! No, not every song or every year... that would be a full concert. Just the highlights! She opens with Vogue, complete with hieroglyphic Egyptian poses. It's clear that Madonna's out to make you dance... or rather make you remember that she's the queen of dance, not any of these other young up-and-coming starlets. She does it convincingly. Vogue plays like the old school club royalty that it is. Seamlessly, the performance transitions to Music. Madonna starts running up the newly formed bleachers, then in come break dancers... break dancing on the bleachers! This is a great show... and then you start noticing that you're not just sitting and watching (like you started)... now you're standing and dancing. This is what music is for... to move us. Madonna's got it... and she happily gives it to us. Before the Music fades, she's joined by the Party Rockers LMFAO, in a nod to DJs and the driving force behind much of today's popular music, who are blending Party Rock Anthem... a perfect match, that no one would've suspected because of their years apart, however it works...


Then comes the main event. Give Me All Your Luvin' storms in to steal the show. Madonna is joined by Nikki Minaj and M.I.A., as a nod to current music bad-girls, yet is not upstaged by them. The show is hers and the song and performance brings back memories of "... oh, Micky, you're so fine..." What really stands out is that the sound of the song is throw back. It's updated, yet still rooted in the 1980s sound. Madonna's voice is still strong, just like in the 1980s... actually, even stronger. 

After a brief segue into Open Your Heart, Madonna wraps it up with Like a Prayer, joined by Cee Lo Green. This is a fitting closeout song. It's still a dance song, but reminds you about the "majesty" of Madonna, and as Cee Lo belts out the gospel solo and leads the choir. Madonna then disappears in a flash, down into the stage... and then the lights on the field read "Peace on Earth". Well, if dance music will do it...then we're certainly on the way.



Oh, by the way... the Giants won (21 to 17).



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Thursday, February 2, 2012

Best Pop Solo Performance 2012



Alright, this is the first installment of our examination of 2012's Grammy Awards. We're going to start with something that should be familiar to everyone... Best Pop Solo Performance... well, kind of.

In previous years, there was no "Best Solo Pop Performance". There was, instead, three different categories:  Best Male Pop Solo Performance, Best Female Pop Solo Performance and Best Pop Instrumental Performance. In order to cancel out the separation of the genders and decrease the overall number of categories of the whole ceremony, these three have been combined into one. Will we lose anything because of this move? Not necessarily, however it does seem that the "Pop Instrumental" songs will get the short end of the stick, because... really... how likely is it for an instrumental song to be recognized over a vocal performance? Not very. (Not impossible, I'll give you that... but I still say it's kind of messed up.)

In the first outing of this newly amalgamated category, there are four female artists and one male artist... none of whom are performing instrumental songs (so much for the whole balancing out idea...). Aside from the basic stats, the category is an interesting mix. Two songs are performances dedicated to wasted or misplaced love, one is about picking up where you left off (who says you can't go home?), while the other two are upbeat spirit boosters. These songs are all among Billboard's top 100 songs of 2011. Are they the five best performances of the year? No, I don't think so, however, we'll save that for another article. So let's deal with the songs at hand.



Someone Like You - Adele. This is a rather somber song. It is very well performed and even touching. Adele sings a tale of "bumping into" an old friend, with the hopes of reigniting their old flame. Things don't work out so well. So the song ends up being about the confirmation of lost love. It's a pretty swan song of giving up hope... a farewell, although not so fond. Key Lyrics: "Who would have known how bitter sweet this would taste?" Song in one word: Sad. Pick: Possible dark horse... but, sadly, nope.



You and I - Lady GaGa. This song is a country song with a rock pretense. A simple ballad. A love story about reclaimed love. As a performance, it's a complete shift for Lady Gaga, who is known for being the queen of club/dance music and the spokeswoman for all that is freaky. This is very warm and down to earth. Key Lyrics: "...This time I'm not leavin' without you." (Give me that Grammy!) Song in one word: Triumphant.  Pick: Really, really, really close... but no cigar. (Although she could upset Katy... yes, I know I'm hedging a bit... however, this ain't Vegas!) 


Grenade - Bruno Mars. I've already spoken about the lunacy of this song in a previous article.... It hasn't changed. They should've nominated Just the Way You Are. Key Lyrics: "(blah, blah, blah)... but you won't." Song in one word: Stupid. Pick: Thanks for coming, Kid... better luck next time.

Firework - Katy Perry. This song is big. In many ways I think it's the best song of the lot. It's very upbeat and inspiring. It's bright pounding dance beats move you, then give way to the soft strings that beckon Katy's impassioned vocals. It's a classic song. Key Lyrics: "Do you ever feel like a plastic bag, drifting through the wind wanting to start again?" (Sure, we all have.) "You just gotta ignite the light..." Song in one word: Inspirational. Pick: Winner (just over You and I).



F**kin' Perfect - P!nk. This is another inspirational song. It's from a different vantage point. P!nk sings from the experience of having been constantly doubted and misunderstood. Her determination shines through and grabs the listener, shaking them and making them take this shot in the arm to boost their confidence. Key Lyrics: " Pretty, pretty please, don't you ever ever feel like you're less than fuckin' perfect." Song in one word: Inspired. Pick: Not this time.
Let's see how this pans out...

Stay tuned and keep reading!
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