52nd Annual Grammy Awards Winners

Whether or not the 52nd Annual Grammy Awards was a referendum on male singers of the past year is debatable, but there is no debate as to which gender dominated the awards yesterday evening. With female artists doing their damage on most of the major awards, the ceremony was marked by a mixture of intriguing performances and record-breaking feats with Beyonce, Taylor Swift, The Black Eyed Peas, Jay-Z, Kings of Leon and Lady Gaga all taking home at least two awards for the night. But the ceremony was clearly dominated by two female artists who couldn't be any different musically.

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Beyonce emerged from the ceremony as the big winner in terms of the number of awards, winning a record-breaking six golden gramophones, the most trophies awarded by a female artist in one night. The most prestigious of the awards won by Beyonce was Song of the Year, in which the #1 hit single, "Single Ladies (Put a Ring on It)," received its due honor. When accepting her award for Best Female Pop Vocal Performance for "Halo," the nervous singer thanked her family and her husband, while expressing her amazement at the awards she has won.

While Beyonce may have taken home the most awards, some of the biggest awards of the night made for some record-breaking news. Country-pop sensation Taylor Swift took home the coveted Album of the Year award for her enormous hit album Fearless, which garnered the most sales of any album in 2009 and has spent an astounding 53 weeks within the Billboard 200 and counting. At 20 years old, she was the youngest artist to earn the ceremony's most prestigous award. The singer-songwriter was a winner of four awards and her appreciation and organic excitement was most evident upon accepting the two primetime televised awards she won.

Other big winners of the night included Kings of Leon, whose "Use Somebody" earned the Tennessee rock group three awards, including Record of the Year, while Jay-Z three awards, one for "D.O.A. (Death of Autotune)" and two for "Run This Town," sharing the latter two awards with R&B/pop singer Rihanna and a noticeably absent Kanye West. The Black Eyed Peas also took home three awards, including Pop Vocal Album. Lastly, dance queen Lady Gaga earned two awards at tonight's ceremony, taking home awards for Best Dance Recording for "Poker Face" and Best Electronic/Dance Album for The Fame.

The ceremony's performances were the highlights of the show, with Lady Gaga opening the ceremony, singing her hit song "Poker Face", before joining Sir Elton John on the piano with smeared black makeup on their faces adding to the performances artistic premise. Energetic and proof of her inherent talent, the performance was met with resounding applause and cheers from the crowd.

Beyonce took the stage to sing a mashup of her song "If I Were a Boy" and Alanis Morrissette's "You Oughta Know," while Pink paraded her mastery of trapeze artistry with a physically demanding performance of "Glitter in the Air" off of her album Funhouse. The Black Eyed Peas performed their hit song "I Gotta Feeling," but not before they energized the crowd with an abridged performance of their new single "Imma Be," which had raced to number one on iTunes shortly after the performance.

While the show included many more performances, the 3-D glasses-assisted Michael Jackson tribute, which included vocals from Michael Jackson in "Earth Song" and additional vocals contributed by singers Usher, Smokey Robinson, Celine Dion, Carrie Underwood and Jennifer Hudson, was one of the highlights and most highly anticipated performance of the night.

The ceremony lasted about 3 hours and 30 minutes.

52nd Grammy Awards 2010 Predictions

Today marks one of the biggest days in international music as the biggest stars on radio, iPods, iPhones, MP3 players, and music software convene to honor the winners (and not the nominees) of the 52nd Grammy Awards ceremony at the Staples Center in Los Angeles. Whereas previous ceremonies have been dominated by critically acclaimed but commercially mediocre artists, some of the most successful artists in music have garnered substantial nominations, from Kanye West to Taylor Swift, Beyonce to Lady Gaga, Rihanna to Jay-Z, and Kings of Leon to Metallica. With any awards show, a little predictive input is always some fun!


Below is a list of a few of the major categories and MY winner predictions and the reasoning behind such predictions.

Record of the Year
Halo - Beyonce
I Gotta Feeling - The Black Eyed Peas
Use Somebody - Kings of Leon
Poker Face - Lady Gaga
You Belong with Me - Taylor Swift

PREDICTION: "Poker Face" by Lady Gaga. Arguably the most critically praised and commercially successful song of the past year, "Poker Face" is Lady Gaga's pièce de résistance, solidifying dance-pop's domination on radio and in the record stores, while lyrically ambiguous enough to garner varying interpretations as to the song's meaning. However, "You Belong with Me" would not be a surprising upset in this category.

Album of the Year
I Am... Sasha Fierce - Beyonce
The E.N.D. - The Black Eyed Peas
The Fame - Lady Gaga
Big Whiskey and the Groogrux King - Dave Matthews Band
Fearless - Taylor Swift

PREDICTION: Big Whiskey and the Groogrux King. This particular album has received very favorable reviews from critics and has been a particularly strong album contender for this cateogory for quite sometime. In particular, this category often goes to an album that has received substantial praise from the critics and public, while also retaining an ability to be likable across different cohorts of listeners. Fearless by Taylor Swift is once again a close second for this category.

Song of the Year
Poker Face - Lady Gaga
Pretty Wings - Maxwell
Single Ladies (Put A Ring On It) - Beyonce
Use Somebody - Kings of Leon
You Belong With Me - Taylor Swift

PREDICTION: Single Ladies (Put A Ring On It) by Beyonce. This is a songwriters' award but since Beyonce has songwriting credits, she will be a receiver of this award, should she win (which I think she will). This song far exceeded expectations and, coupled with the widespread popularity of the music video, became a pop culture phenomenon. I find it hard to believe that this song, with its substantial cultural impact, would be denied the honor of Song of the Year. However, a close second in this category is "Use Somebody" by Kings of Leon.

Best New Artist
Zac Brown Band
Keri Hilson
MGMT
Silversun Pickups
The Ting Tings

PREDICTION: The Ting Tings. While The Ting Tings have not achieved the success here as they have in their native UK, they managed to score two songs on the top 30 songs on pop radio, with "That's Not My Name" reaching 39 on the Billboard Hot 100, an impressive feat for a group that had virtually no promotion in the US for any of the singles (with the NOTABLE exception, of course, of the use of "Shut Up and Let Me Go" on an iPod commercial over a year ago). This category is a little tricky, with a potential upset coming with Keri Hilson or MGMT in this category.

Best Female Pop Vocal Performance
Hometown Glory - Adele
Halo - Beyonce
Hot N Cold - Katy Perry
Sober - Pink
You Belong with Me - Taylor Swift

PREDICTION: "You Belong with Me" by Taylor Swift. This song has become one of country music's most successful songs in the past decade, peaking just shy of the peak spot on the Billboard Hot 100 at #2. Furthermore, it has become Swift's breakthrough song in pop and adult contemporary radio formats, while attracting critical appeal and fan jubilation. "Hometown Glory" is a very likely candidate for this award as well, as she did take two awards last year, even at the young age of 20 just one year after her debut album was released in the UK. This would not be a surprising victory for this Brit at all.

Best Male Pop Vocal Performance
This Time - John Legend
Love You - Maxwell
Make it Mine - Jason Mraz
If You Don't Know Me By Now - Seal
All About the Love Again - Stevie Wonder

PREDICTION: "All About the Love Again" by Stevie Wonder. Stevie Wonder has always been a Grammy favorite and this song will likely be no exception, giving the R&B/Rock/Pop musician another award to fill his already (rightfully) crowded mantle of golden gramophones. A close second is possible with Maxwell's "Love You."

More award predictions will be added shortly as we near showtime Sunday evening!

Lady Gaga's "The Fame Monster" - Album Review

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Stefani Germanotta may be her birth name, but Lady Gaga is her god-given game, or fame, or fame monster, or whatever you chose to name the extra-dimensional existence that IS Ms. Gaga. Sure she may choose to strut down a Greenwich village sidewalk dressed for an otherworldly fashion show runway or perform on a stage littered with fiber-optic madness and dangerously sharp-edged couture, but her goal isn’t necessarily to shock you or alienate you, but to draw you into a vivid experience of bold, brass and sensuous serenity. Your eyes are engaged as much as your ears, you can taste the Gaga air, smell the sweet combination of fashion, art, and brilliance, and touch the glamour of Gagaworld. In Lady Gaga’s new album The Fame Monster (and no, it’s not a rerelease of The Fame), the goal is evident that her music is crafted to paint a vivid picture of the lurking glamorous monsters of love and fame, transcending the sonic sphere into visual pictures brighter than any music video could ever capture.

It begins with the lead single of Lady Gaga’s, “Bad Romance”. Here she plays a crazed lover, determined to rekindle a romance that she has herself identified as a bad romance. She’s blinded by the sheer magnetic nature of having a lover, in an obsessive, monstrous way, such that Gaga herself is not the monster, but the captivation of romance. The synths are raging in this song and as the songs builds to the chorus, an explosion of electronic, techno beats is unleashed, much like a caged monster of romance. While her beats have been an signature elements in her previous songs, never has it seemed so essential to the experience as it does with this song, dancing hand-in-hand with Gaga’s haunting ra-ra-ra-ra-ras. Gaga is taking no prisoners, but unleashing the first of many monsters on this track set.

Here Gaga puts on a Madonna/Ace of Base hybrid persona with “Alejandro”, with an equally powerful beat, which she rides quite well. Sonically, the song resembles “La Isla Bonita” in some ways, but shares an even greater resemblance sound-wise to “Don’t Turn Around” by Ace of Base. Lyrically, we meet another monster, this one of temptation and passion. Whereas “Bad Romance” hinged upon the monstrous magnetism of faux affection, “Alejandro” evokes the struggle of lust versus reason. Next up, “Monster”, yikes!

The next monster is a boy she would love nothing more than to escape from, but is drawn in by a seemingly inescapable something that she can’t describe. Again, Gaga lays it on thick with her vocals, while Red One and Space Cowboy lay it on equally thick with the beat. Gaga is determined to revert to late 80s/early 90s freestyle beats and house music instrumentals to guide the direction of this song. Gaga then takes a more personal turn with “Speechless”, which is inspired by her father’s recent health downturns. The song is nice, nothing groundbreaking, but a softer side of her while still keeping the beat as essential as ever.

With “Dance in the Dark”, Gaga attacks the monster of dying esteem of some girls. Again, Gaga tends to channel her inner-Madonna as she runs through the song, listing “Marilyn, Judy, Sylvia” much in the way that “Vogue” lists “Grace Kelly, Harlow, Jean.”

At last we come to the piéce de résistance, Lady Gaga and Beyonce. Titled “Telephone,” Gaga expresses the disdain of having “him” call me on her phone when she’s out in the club. The song is so well crafted and the contributions of Beyonce are so swagger-filled that there is no denying that this song is the high point of the album, so much so that the remaining two tracks are rendered essentially pointless. The beat is once again tremendous and Gaga makes the verb “Telephoning” somehow cool again. I can definitely see this song being someone’s ringtone at a club, and sadly answering it on the dance floor without second-guessing. That Gaga!

The album is a fun adventure, but perhaps a little too fun. The beats are powerful, the singing follows suit, and the images are projected so crisp clear that the music is best appreciated with one’s eyes closed. But just as tempting as cheesy pizza or cookie dough ice cream may be, there is a limit to how much one can consume before calling it quits, or at least taking a break. Gaga has surely crafted an infectious masterpiece, and while songs do start to blend a bit a few tracks into the album, it still emerges as one of the strongest and cohesive albums this year. Nevertheless, I’ve never felt so energized and yet exhausted after only eight songs, and Gaga is to blame!

Strong Track(s): Bad Romance, Alejandro, Monster, Telephone, So Happy I Could Die

Weak Track(s): Speechless

Rating: 4/5

Rihanna's RATED R - Album Review

The past two years have certainly been some of the most life-changing for R&B/Pop singer Rihanna. From a seemingly disposable pop starlet a mere two and a half years ago to international mega superstar with more number ones under her belt than any other female artist (with the exception of Beyonce, of course), things never looked brighter for the Bajan princess. But that pristine bubble burst shortly before the 2009 Grammy Awards Ceremony, a time at which her life would forever change. The famed Chris Brown altercation mystified the public and the sheer cringe-worthy details made it all the worse. Whether Rihanna would use music as an outlet to vent the emotions she had and continues to undergo was an obvious question the listening public was interested to hear shortly after it was made public that she would resume work on her fourth studio album a mere weeks after the attack. Fast-forward nine months and the final product is here, a new album, a new proclamation of edginess, and a new, darker Rihanna quickly shedding the remnant innocence one might have still imagined of the 21 year-old. So what about Rated R?



Rated R opens up with an intro, a first for Rihanna, entitled "Mad House" with its eerie arrangement of extra bass and light synths that does two things. First, it tells that listener that this is no umbrella-twirling Rihanna, begging that DJ not to stop that house-techno music of Good Girl Gone Bad. Hell no, this Rihanna is warning you to "come on, come on, come in," but at your own risk and with a promise to chuck fear at the gate. Second, it introduces a new reincarnation of Rihanna, where she sets her own rules and is daring enough to break even those she's established for herself. It certainly is one of most bizarre and yet intriguing intros and fits so perfectly for this album. Next up, Rihanna's promotional single, "Wait Your Turn."

It's Rihanna's first experimental track with little to no pop fluff. The forewarns are resounding that "it's just the way the game is played, it's best if you just wait your turn." The song is a different sound but Rihanna manages to make it all hers and sell it successfully. However, it pales in comparison to the swagger-strutting "Hard" featuring Jeezy, where Rihanna proudly proclaims herself as the "hottest bi*ch in heels right here." And just when it seems obvious that she is here to portray herself as a strong, powerful and untouchable woman, she unveils her vulnerabilities on "Stupid in Love." In not-so-subtle but never explicit references to her relationship with Chris Brown, she reflects on how a blinding love that left her hurt and lost. But back to swagger-strutting on "Rockstar 101", one of the strongest tracks on the album and an amazing feature with Slash. The song isn't too rock to draw charges of being disingenuous but has enough rock for Rihanna to accomodate some extra sexy, as Rihanna wants to make sure you frisk her good, "check my panties and my bra."

Then back to her vulnerable side with the album's lead single, entitled "Russian Roulette". While the song's title was evocative of something dark, the actual song proved to unveil an even darker, edgier side of Rihanna. Heavy breathing, strumming guitar strings, repeated sounds of a spinning revolver chamber, emotional lyrics, and that one gut-wrenching final gunshot to end the song pretty much sum up the four minutes of anguish and pain. Sure it was uncomfortable to hear the song at first. We never imagined fun-filled, danceable, umbrella-toting Rihanna would project the solemnness and pain of this song as her return to the pop world. Yet, to deny the stunning beauty and awe of the song would be an outrage. The song, the sixth track on the album, is a timeless song of swirling metaphors to reflect the danger of being in an abusive relationship. It's obvious what Rihanna and Ne-Yo were going for with this number.

Rihanna's choice to go more pop rocker with "Fire Bomb" is not the strongest point of the album, even with the strange piano strings and electric guitar mix, resembling a ballad accidentally dropped in puddle of Finger Eleven's pudding. The song would be more appropriate for Kelly Clarkson, but she does a nice job with her vocals. Then, a surprising up-tempo number with "Rude Boy", which is certainly reminiscent of Rihanna during her Good Girl Gone Bad or A Girl Like Me days. The song is littered with sticky, overtly sexual metaphors, but is fun, even if at times I am startled by the vocal resemblance to Beyonce on this particular track. The song is tons of fun, but doesn't aid the album's cohesiveness. Next up, Rihanna and Will.i.am on "Photographs", a softer song further displaying the vulnerable Rihanna.

While we may be more than two-thirds through the album, its most interesting tracks have yet to come. First off, "G4L" or Gangsta for Life, where Rihanna claims to be gangster for life. It's grimy and bold, and we even hear Rihanna send expletive after expletive at one point in the song. Now it becomes obvious that this is yet another persona that Rihanna has chosen to slip into as a chance of strengthening herself. A little later, we hear "Cold Case Love", arguably Rihanna's most revealing song of the album and of hers to date. Here she goes through the emotions of living through a relationship that has fallen off the deep-end with references to a crime scene. At this point, it is obvious that Rihanna isn't gangsta for life, or a rockstar. She doesn't go as hard as she claims, but rather is trying to rebuild for herself the image of a strong woman after suffering the damaging blows that have gone her way this past year. She puts on different personas, only to fall back into her own vulnerabilities. One minute, Rihanna is licking the barrel of a gun, the next she's stumbling through the crime scene of a cold case love. She's high atop her pedestal at one instant, and picking up the pieces of blind love the next. Rihanna wants you to know that she may be as weak at times as the average Jane, but in the end, all she ever wanted to be was a rockstar, with her "black guitar" in hand, "six-inchers" under her heels, and sexy gangster lingerie (and not a gun) around her waist.

Strong Track(s): Russian Roulette, Wait Your Turn, Rockstar, Hard, Rude Boy
Weak Tracks(s): Fire Bomb, The Last Song

Rating: 4/5

Alicia Keys 2nd Single "Try Sleeping With A Broken Hearth" Premieres Online

Although her album isn't scheduled to be released until December 15th, Alicia Keys's second single has hit the internet, titled "Try Sleeping With A Broken Heart".

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As her first single has not been the resounding success her previous lead singles have proven to be, this song has the uniqueness and potential to do very well, a bold statement to reassure the listening audience of her swift return to the music landscape. The smooth bass-driven track, peppered with interchanging whispers and hearty vocals from Ms. Keys is a huge improvement over her first single, "Doesn't Mean Anything", which seemed nothing more than a watered down rehashing of her number one single "No One". The song is pure R&B but has that special touch to it that is easily identifiable and relatable. While the song seems to at first be missing that notable touch of every Alicia Keys track, the piano takes control by the end of the song. Fantastic sound from one of R&B's most successful acts.

Jay-Z, Alicia Keys Rock 2009 World Series

Less than an hour ago, Hip Hop and R&B heavyweights Jay-Z and Alicia Keys performed at the 2009 World Series, performing their hit single "Empire State of Mind" in front of a cheering New York crowd.

Overall, a nice performance, even if the feedback from the microphone did get a bit annoying. The duo were scheduled to perform the song yesterday evening before Game 1 of the World Series but poor weather canceled the performance, fearing that the stage would damage the soft field for game play. This song is one of the most anthemic songs to be released in a very long time and seeing the two perform seems never to get tiring. The video is scheduled to premiere soon and you can click here to get a sneak peak of the video.

Britney Spears Premieres Short Clips of "3" Music Video

For the past couple of days, Britney Spears has been using her twitter page for mass promo of the music video for the number one hit song "3".

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I've only included one of the three video clips released today, just because the clips are not very insightful and are frustratingly short. The music video, which will see its worldwide premiere tomorrow, is described to show the pop princess's return to her impeccable dance ability. And, while I am hopeful to see a well choreographed music video, I am not expecting to see a video reminiscent of her prime days of dancing (e.g. "I'm A Slave 4 U", "Toxic", "Oops...I Did It Again"). Regardless, based on the pictures and short clips, the video does look interesting.