The 2015 Grammys in Review

Phew. Last night was crazy. I started the 2015 Grammys in the airport in Denver and finished them at home in Kansas City. I missed certain performances live due to boarding and safety information protocol, but I was able to catch up this morning on the major moments I missed the first time around.

The Grammys are a highlight for me each year. It’s basically a 3 hour concert of the greatest musicians in the world, so when people say they just can’t get into the Grammys I visualize myself giving them a wedgie before calmly responding, “that’s understandable.” No. It’s not really understandable. I mean, how often do we get to witness John Mayer, Questlove, Herbie Handcock, ELO and Ed Sheeran playing music in the same place at the same time?

It’s just a special night. It’s loads of fun.

If you’ve been following along here at all over the past month you know that I took some time to review all 5 albums up for Album of the Year, which I believe is the most important category. Last year, Daft Punk’s Random Access Memories took home top honors. This year, it was Beck’s Morning Phase.

Beck over Bey

Going into last night, I had Beyonce as the clear favorite and Beck as a dark horse. If there was someone who was going to take down the Queen, I thought Beck had the best chance among the others. I didn’t really think it would happen, but wouldn’t you know it, the dude pulled it off.

And he deserves it. He really does. Morning Phase is a beautiful album. It’s perfect for waking up on a grey Saturday morning, dropping the needle on the turntable and sipping some coffee for the next 47 minutes.

Twice last night, Beck tried to give the spotlight to someone who was a bigger star than he is. When he accepted his award, Kanye West stood up and “pulled a Kanye” by running up like he did to Taylor Swift back in the day. He ran up and acted like he was going to do it again but pulled away at the last second, laughing. Meanwhile, Jay-Z and Beyonce were absolutely mortified until they realized he was joking.

“No, Kanye, no…bahahahaha.” And just look at Jay shaking his head. It never gets old.

Except Kanye wasn’t really joking. He made comments after the show saying that Beck should give the Grammy to Beyonce and that Beck isn’t a true artist. Major jerk move. To which Beck responded later that he thinks Kanye is a genius regardless of what he thinks of him in return.

It’s hard for me to say this because I spent a decade of my life borderline obsessed with Kanye West’s music, but I’ve finally had enough of his ego. I justified his antics when he embarrassed Taylor Swift by remembering that he was standing up for his friend, Beyonce, even if it was at the expense of someone else. You can think someone else was more deserving, but you cannot publicly claim that someone isn’t a true artist. Art is not objective, and Kanye West is not the absolute rule.

Clearly Kanye’s never seen this:

Yeah. Put a sock in it, dummy.

Anyway, when Kanye started walking away, Beck told him to come back. He invited him on to the stage with him. Weird. Then later, following his performance with Chris Martin of Coldplay, Martin intentionally faded into the background to give Beck the spotlight. Beck noticed this at the last second and ran back and tried to pull Martin back into the front.

There’s something selfless and open about Beck that is very likable. Like when he began his entire speech with “Hi, Prince.” Just so genuine and friendly. It’s sad Kanye’s antics took the spotlight away from him. Because he deserves the spotlight.

By the way, during his speech Beck also thanked David Campbell for doing the strings on Morning Phase. David Campbell is Beck’s father. Campbell has quite the resume of arrangements and I encourage you to take a quick scroll through the list on his Wikipedia page.

Top 10 Performances

According to LL Cool J at the top of the show, there were 23 performances during last night’s show – probably why the winners only goy 6 seconds to give their acceptance speeches – and while I’d like to talk about each one separately…I’m not going to.

But what I am going to do is list my Top 10 performances with a line or two about each one.

10. Tony Bennett & Lady Gaga – Cheek to Cheek – This song is cute, but every time I hear it, it makes me miss Amy Winehouse. She would’ve been the right choice for this song. Lady Gaga is fine, but Amy…

9. Beck featuring Chris Martin – Heart is a Drum – Listening to one song from Morning Phase is like being forced to only eat one potato chip. The performance was good, but I wanted more of the album than just this sampling.

8. Sia – Chandelier  – So Sia just stands in the corner and sings with her face to the wall while Kristen Wiig runs around dancing dramatically? Goofy stuff. But a powerful song.

7. Ed Sheeran featuring John Mayer, Questlove & Herbie Hancock – Thinking Out Loud – The first time I saw this performance, I was so entranced by John going nuts on his pink guitar that I totally missed Herbie sitting on the piano behind him. Quest is awesome. I wish he’d hung around for the ELO performance. Wish it was a funner song too – TOL isn’t my favorite of his, but I’m a big fan of large chunks of x.

6. Usher featuring Stevie Wonder – If It’s Magic – “If It’s Magic” is track two off side four of Stevie Wonder’s Songs in the Key of Life. Last year, Stevie performed “Another Star” which comes two tracks later on the same side. The song in between these two is “As” which is my all-time favorite Stevie Wonder track. Since it seems the Grammys are now attempting to cameo Stevie Wonder as much as possible while he’s still around, I’m holding out hope for an “As” performance in 2016.

5. Pharrell featuring Lang Lang – Happy – What a fantastic rendition of the song that Pharrell obviously realizes is starting to get a bit redundant in the world these days. Lang Lang provides an epic piano solo while Pharrell and his backup dancers do the “Hands Up, Don’t Shoot” motion. The Great Hans Zimmer comes out on guitar. I am itching for new N*E*R*D in 2015.

Pharrell continues to plow an amazing path in the world of today’s music. He’s come a long way in a really short amount of time. It’ll be interesting to see where he goes in the future with the success of not only GIRL, but also his many collaborations and productions in recent years.

4. John Legend/Common – Glory – The final performance of the Grammys. Common has one of those voices – similar to Morgan Freeman, I think – that commands attention. He’s not necessarily the best rapper, but what he lacks in cadence he makes up for in clout. He has a powerful presence and the subject matter is obviously wonderful.

Also, I love the word “glory” – in Hebrew, the word is kavod which means something has significant weight. When we glorify God, we are recognizing that God has kavod. And when we ask for his glory to reign, we are asking that his weight overcome the heavy burdens we feel in our world. Appropriate image for this performance, I think.

3. Hozier & Annie Lennox – Take Me to Church/I Put a Spell on You – Four comments about this performance: 1. Hozier looks like Madison Bumgarner. 2. You may know Annie Lennox (that woman who looks like Ellen Degeneres) from The Eurythmics’ “Sweet Dreams (Are Made of This)” and her song “Walking on Broken Glass.” 3. Her new album includes a cover of “I Put a Spell on You.” 4. A song originally by Screamin’ Jay Hawkins that you might recall from this Pringles advertisement…

2. Beyonce – Take My Hand, Precious Lord – Chills. Just chills. Over and over and over. The more I watch it, the more I love this performance. Power singing about power. Creates some exponential biological singularity situation. Brings me to my knees. Another “Hands Up, Don’t Shoot” here too.

1. ELO featuring Ed Sheeran – Evil Woman/Mr. Blue Sky – I had no idea ELO was going to be performing, so when Ed announced them, I exclaimed “YES” in the airport loud enough that the woman at the gate raised her eyebrows in my direction.

In the summer of 2004, I found Electric Light Orchestra’s Greatest Hits on cassette at a used bookstore. It was one of the three cassette tapes I had in my car for about a year until I sold my 1991 Geo Prism for a new ride in 2005. Mr. Blue Sky has the power to put anyone in an immediately positive mood (most of their music has this power, I suppose). That piano in Evil Woman just gets me immediately bumpin. These two tracks probably round out my top five ELO songs along with Livin’ Thing, Don’t Bring Me Down and Strange Magic (you can keep Xanadu, no thanks).

But the best part of this performance – for the second year in a row – was Paul McCartney dancing along in the audience. In case you’ve forgotten, in 2014, we had Snap and Wiggle Paul during Daft Punk’s performance:

This year, we were awarded with an equally wonderful moment. Behold, Sing Along Standing Paul:

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Sir Paul, in the very front row, appears to be the only one standing in the entire Staples Center. But what happens here? It seems Paul makes eye contact with someone to the left of the camera, nods, then throws his hands up and sits down.

DID SOME JERK HAVE THE AUDACITY TO TELL SIR SING ALONG PAUL TO SIT DOWN?!? No one tells Paul to sit down. No one. Ever. This is unacceptable and must be addressed. But I’m not really worried. The Illuminati will likely take care of it in one quick silent movement. It’s possible that’s what Madonna’s performance was all about.

Sam Smith Wins a Bunch

Best New Artist. Record of the Year. Song of the Year. Best Pop Vocal Album. He also performed with Mary J. Blige.

Whatever. I will not argue that the dude has some crazy pipes, but the sound of his voice give me the creeps. He’s got some weird lisp thing going on along with a glottal situation that makes me want to run away when he sings. It’s unfortunate.

I can see how he could win all the categories above – people really seem to love the guy – but Taylor Swift should’ve won at least one of the two song categories for “Shake it Off.” I’m just thankful he didn’t win Album of the Year because In the Lonely Hour is just one big cryfest that never goes anywhere else.

A quick bit on Kanye

What are these new Kanye songs? “Only One” sounds like something off 808s and Heartbreaks only there’s no 808 and instead of heartbreak it’s heartfelt. So maybe it’s the opposite in terms of content, but the autotuned voice and stripped down style is NOT working for me. “FourFive Seconds” is maybe a little bit better, but if these are the tracks that are supposed to launch a new album you’re counting down to…sorry Kanye. You may have finally lost me.

But what I don’t understand, is how Paul McCartney’s touch has created this stuff. Paul is quirky and goofy and way out of the box. So is Kanye West. I’d think that if this partnership is actually going to create something, it would have to be waaaaay out there. Paul has never been one to make boring music. Kanye certainly hasn’t either. But these two songs are boring. They offer me nothing exciting and I don’t get it.

Couple that with the comments I mentioned earlier, and I’ve all but given up on Kanye West. The only thing I can figure that might save him is if this album turns out to be another stepping stone on to another chapter in his musical discography. Perhaps his forthcoming album will act like an interlude like 808s ended up doing. Who knows. But he’s on really thin ice.

A quick bit on country music

A quick comment on country music here: this years performances were good. Miranda Lambert (who I think is adorable) played early in the show, but the two that I really enjoyed were Eric Church and the Brandy Clark/Dwight Yoakam back to back performances around the halfway point.

Last year, I had a serious issue with the country music performances. I left struggling to understand the genre. What makes something “country” music these days? Is it storytelling? Because then Ed Sheeran is a phenomenal country artist. Is it the sound of their voice? Because then anyone can play country music if they just change up their twang. I don’t understand.

But this years performances seemed to fit the bill. There wasn’t an over the top voice alteration to fit the genre, and there was plenty of storytelling to go around. It wasn’t the poppy, boy band country, and it wasn’t stereotypical subject matter either. All that to say, it didn’t leave the same bad taste in my mouth as it did in 2014.

Cats on the Red Carpet

Finally, I have to share this shot of my cats – Desmond (right) and Hugo (left) – from the Red Carpet last night.

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A thousand shout outs to Maureen for her photoshopping brilliance.

That pretty much does it for the Grammys this year. Another amazing year in music comes to a close. Looking forward to the 2016 Grammys, AKA “D’Angelo Wins Everything.” Although, Mark Ronson’s Uptown Special will get some nods, and if Frank Ocean decides to exist again, I’m sure he’ll make his presence known too. Until then, it’s back to baseball for me.

-apc.

BACK TO GRAMMYS HOMEPAGE

G I R L – Pharrell Williams

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Note: I wrote this track by track review prior to knowing it would be nominated for Album of the Year. So this may not follow the same pattern as the other 4 posts in this Grammys series.

There at least three possible arguments for why I completely missed on this album two months ago.

The first is the typical excuse: I was too busy and wasn’t paying attention to music enough in the wake of Grammy season and was focusing more on class, my book project and my impending pilgrimage to Burma. This sounds good, but it’s mostly just an excuse.

Second, where was the promotion for this album?! I never heard anything about it – heck, Billboard announced it’s release date less than two weeks before it dropped on March 3. It seems like it blindsided the whole industry: “Happy” was majorly circulated with Despicable Me 2 coming out in the fall, and his heavy collaborations with Daft Punk on R.A.M. and with Miley Cyrus/Robin Thicke/T.I. on “Blurred Lines” didn’t really leave the possibility for a solo record. Besides, last time he put out any solo work – In My Mind, in 2006 – it didn’t necessarily dominate my iTunes.

The third reason is the most interesting. About two years ago, I started wondering if N*E*R*D – Pharrell’s band along with The Neptunes co-producer Chad Hugo and Shay Haley – would put out a new record to follow up their disappointing Nothing from 2010.

So I set up a Google Alert for any news on N*E*R*D’s new record.

I got weekly updates for about a year, but nothing substantial on the record front. Then, in 2013, I finally started seeing some stuff circulating about how they were working on a new record, but that it wouldn’t be released for a while because of Pharrell’s side work. I guess I just assumed that if N*E*R*D wasn’t putting out something new anytime soon, then Pharrell certainly wouldn’t put out something on his own. Just didn’t compute.

Then in late March someone, I forget who, asked me what I thought of Pharrell’s new album that I didn’t even know existed at that point. And then I got caught up in my excuses again and forgot to download it.

All that to say – and it’s a lot, in retrospect – I finally picked up the album last week and haven’t stopped to listen to anything else. All last week on The West Coast, this was my jam.

It’s been referred to as a “pseudo-feminist” concept album, seemingly in response to his affiliation with the controversial “Blurred Lines” performance from the 2013 VMAs. It’s clear that he wanted to rebrand himself as…something else.

These days, it seems like anything Pharrell touches turns to gold. “Blurred Lines” was huge. I don’t think I’ve spent a day anywhere in this country over the past month without hearing “Happy” two or three times. And “Get Lucky” was the hugest of them all taking home top Grammy nods this year on Daft Punk’s Random Access Memories.

And yet, I did not expect this solo album to be as good as it is. Here’s a track by track look at G I R L.

1. Marilyn Monroe

First of all, Hans Zimmer did all the strings on this album, and this one is the stringiest there is. A gorgeous orchestral arrangement opens the album and is coupled with some Nile Rodgers-esque guitar riffs a la “Get Lucky”. The track opens the feminist theme, questioning why he would ever want to lose the girl that even Marilyn Monroe, Cleopatra or Joan of Arc can compare to.

2. Brand New (Duet with Justin Timberlake)

One of the perks of completely missing on an album is that you don’t build up any expectation for should-be killer collaborations. This track is a little cheesy, especially the bridge, but I guess that’s what we should expect from a song about how a woman makes a man a better person – a “brand new” man, if you will. And a little Timbaland beatbox intro really, because JT can’t go anywhere without him apparently. Also, did you know: Pharrell and Timbaland were friends as kids?

3. Hunter

Not my favorite track, which is surprising because it has a heavy N*E*R*D sound to it. Goofy lyrics. Simple looped guitar riff. The occasional heavy breathing in the background. It’s Pharrell doing his best impression of himself sans Hugo and Haley.

4. Gush

A transition song, but a strong one. Sure, Pharrell wants to respect and not abuse the woman that makes him better, but that doesn’t mean he’s doesn’t want to get a little dirty. The chorus here is strong. Zimmer returns with the orchestra.

5. Happy (From “Despicable Me 2”)

We all know this song. Not really necessary to write about it other than to say that it’s a super fun doo-wop that I still catch myself snapping my fingers along with. But c’mon man. Track 5? This song startles me every time I’m listening to the album. I skip it about 75% of the time.

6. Come Get It Bae (Feat. Miley Cyrus)

This song has the feel of a group drumming on 5 gallon plastic buckets on a street corner. Lots of claps. A hint of strings and guitar. But mostly a stomp-style groove. This song is all about riding a motorcycle. But it’s a metaphor, you guys. Surprisingly, I actually like what Miley adds to this song – although, the “hey!” that runs throughout the song gets really old really fast.

7. Gust of Wind (Feat. Daft Punk)

Not shocking, but this is in the conversation for my favorite track. Marilyn Monroe is the front runner, but this one is right there too. Those robot vocoder voices are just so mesmerizing. I can’t help myself.

8. Lost Queen

The album takes a turn here. This song feels like it should be the last track. It brings us back to the “taking care of you is my number one thing” theme. Tribal hums and bongos drums give the first half of this song a raw human quality, and it’s reflected in the lyrics. Earth is so messed up, but this “Lost Queen” is so perfect it has to be from some other planet. This track is 8 minutes long. The middle minute is nothing but the sound of crashing waves. The second half feels like we’ve moved off Earth and into outer space. Probably Pharrell trying to communicate where this woman takes him.

9. Know Who You Are (Duet with Alicia Keys)

Alicia Keys!? Woah. This feels surprising for some reason. They seem to be from different edges of the hip hop spectrum for some reason. Pharrell gets me moving and pumps me up. Alicia’s voice just melts everything. It’s a decent song, but I can’t get over that dichotomy when I listen to it.

10. It Girl

This song is a short lyrical wrap up with an extended outro to close the album. It also has one of the best moments on the album when Pharrell takes his voice as high as it’ll go – so high that I don’t really know what he says. It’s a song with a bunch of nautical terms in relation to how this “It Girl” just does it for Pharrell: seasick without her, she’s got his compass spinnin’, her waves crash over him and and her tide pulls him in. It’s a metaphor, you guys.

Overall, it’s a very strong album, and Pharrell’s gold-touch apparently works with his solo stuff too. He even makes that goofy Arby’s hat look good.

Side note: I’ve been told on two separate occasions that I look like Pharrell. I don’t see it, but maybe you do.

Another side note: nearly all these track titles would make terrific horse names for next year’s Kentucky Derby.

Top Tracks: Marilyn Monroe, Gust of Wind, Gush

-apc.

For other reviews up for Album of the Year…

Pharrell Williams – G I R L
Ed Sheeran – x
Beck – Morning Phase

Beyonce – Beyonce
Sam Smith – In the Lonely Hour

RETURN TO GRAMMYS HOMEPAGE