JoBros in the house, and the screams start early. Need You Now and Lady Antebellum take the stage. They’re not really country no matter how much music companies want to slot them there. Brilliant harmonies.
CBS shills The Big Bang Theory during Best Comedy Album. Six nominees and Colbert wins for a cute skit that turned into a record. And for this we’ve given up a Kings of Leon or a jazz or a blues performance? Or maybe even that, whaddya call it? Classical.
Off of commercial, Norah Jones and Ringo Starr. Remember, Norah’s dad and Ringo go way back. Bobby Darin gets a Lifetime Achievement Award as Mack The Knife plays. Ringo pumps up the audience for Norah.
Beyonce’s Halo, I Gotta Feeling by the Peas, Use Somebody by Kings of Leon, Gaga’s Poker Face and Taylor Swift’s You Belong With Me are the nominees. Kings of Leon pull off another huge upset. Peas and Swift were safe here. Good for the Academy voters.
Robert Downey, Jr. is introduced as the most self-important actor of his generation which is a joke gone bad or a horrible intro. He is Sue’s at Movie Rewind’s main dude. Gotta give it to Jamie Foxx who can make an intro. Autotune at The Grammys is a big no-no in my book especially when we all know Jamie can sing. Some weirdness when Jamie’s mic seemed to cut in and a different timbre was heard. I’m just saying… T-Pain who is never losing AutoTune regardless of venue prances a bit. The whole thing is a bit muddy for stars this talented.
It’s the big jam as Slash enters with hat and blazing guitar.
Katy Perry, kind of looking like his daughter, shows up with Alice Cooper. They give Florence Greenberg a posthumous Trustee Award and start naming Best Rock Album nominees.
Best Rock (Kid Rock? Rock of Ages?) whatever that means anymore, goes to Green Day. That’s a strange choice with Dave Matthews and the album I thought had won, AC/DC’s Black Ice. Insiders Butch Vig and Chris Lord-Alge get name checked by Billie Joe Armstrong who doesn’t let anyone else talk. He writes great hooks, but I’m getting bored with Billie Joe again. This happened after Dookie too.
Chris O’Donnell shills one of the NCIS shows. He throws a lifetime award to Harold Bradley. He then gives way for Zac Brown Band and Leon Russell. I would say Leon looks great, but between the shades, big white hat and beard, I couldn’t say.
He sounded great though as did the protracted acapella version of America that opened the segment. Brilliant, brilliant band. Harmony. Lyrics. America. Shredding acoustic guitar solo. These guys will be around on a decade.
For my guesses on who’ll win the rap categories, click here.
The issue with a lot of categories that the Grammy Awards choose to recognize is the fact that the categories themselves are so amorphous. OK, it’s easy to figure out what constitutes a “rap” performance, and “pop” is an all-encompassing term. But “rock” is one of those terms that means different things to different people, and when you look at a group of nominees in a rock category, there tends to be a lot of “those two bands do NOT belong in the same category”.
It’s the same premise as the Rock & Roll Hall of Fame. In that case, “rock” refers to any American music made after the rock era began in the mid-Fifties (which is why artists as disparate as Miles Davis, Bob Marley, Madonna and Grandmaster Flash are in the HOF). No one can really argue with that definition, can they?
Well, of course they can, because most people think of the word “rock” and immediately conjure up an image of five white guys with long hair playing guitar (there might be one black guy-he plays bass). However, even THAT definition is pretty amorphous: I mean, The Beatles are a rock band, but so is Against Me! So is Vampire Weekend. And you’d never see any of those three bands playing a bill together or hear them on the same radio station, right?
My point is that it occasionally leads to some head-scratchers, lilke Train’s “Drops of Jupiter” winning Best Rock Song in 2002, or Pink’s “Trouble” winning Best Female Rock Performance a year later. I mean, when you break it down, both bands can be considered “rock”, but…tell that to some kid listening to Led Zeppelin who has a fairly narrow definition of rock (which probably wouldn’t even include the blues singers and players Plant, Page and co. stole from).
By the way, “Drops of Jupiter” popped up on my iPod today, and I was reminded of what a great fucking song it was.
Anyhow, off my soapbox. This year’s Grammy nominees in the rock category have a very “old guard” quality to them thanks to the presence of Springsteen, U2 and Green Day (yes folks, Green Day is now classic rock). Even the nominees in the “harder” categories are a bit aged. Not sure what to attribute that all to, but here are the nominees.
Best Rock Song (awarded to the songwriter)
Nominees: The Fixer (Pearl Jam), I’ll Go Crazy if I Don’t Go Crazy Tonight (U2), 21 Guns (Green Day), Use Somebody (Kings of Leon), Working on a Dream (Bruce Springsteen)
Will Win: Kings of Leon
Should Win: Pearl Jam
Three Grammy favorites (including U2, who have won more Grammy Awards than any band in history) are here, along with a moderately-recognized band who made a great record in Pearl Jam and a team of relative new jacks in Kings of Leon. So why am I picking the new jacks to win? Because “Use Somebody” is the only one of these records nominated in a major category (Record and Song of the Year), because KoL won in this category last year (for “Sex on Fire”), and because “Use Somebody” was freaking ubiquitous last year. As much as I like the Followill boys, though, I think Pearl Jam made an amazing record (the album, “Backspacer”, was released after the eligibility deadline) and should get recognized for something. Won’t happen, though.
Best Rock Album
Nominees: “Black Ice” (AC/DC), “Live from Madison Square Garden” (Eric Clapton and Steve Winwood), “21st Century Breakdown” (Green Day), “Big Whiskey & the GrooGrux King” (Dave Matthews Band), “No Line on the Horizon” (U2)
Will Win: U2
Should Win: ????
This is what I’m talking about: yes, AC/DC and DMB both qualify as rock bands, but should they be competing against one another, considering their styles of music are worlds apart? That said, this is a ridiculously interesting category, and anyone could win. AC/DC’s got the long-overdue recognition thing going for them (they’ve never won a Grammy), as well as the anti-establishment vote. Clapton and Winwood have the superstar collaboration thing going for them that worked so well for Alison Krauss and Robert Plant last year. Dave Matthews Band have the only one of these five albums in a major category (Album of the Year), plus this is their first album following the death of sax player LeRoi Moore. U2 is, well…U2. So this one is a toss-up with the only sure loser being Green Day (who got MTV and American Music Awards anyway). Thing is, though, with the exception of Clapton and Winwood (the only one of the five nominations I’ve never heard), everyone in this category made a sub-par album (to be fair, AC/DC’s wasn’t exactly subpar, it just sounded like every other album the band’s ever made). None of these guys really deserves this award. Is that sad or what?
Best Solo Rock Performance
Nominees: Beyond Here Lies Nothin’ (Bob Dylan), Change in the Weather (John Fogerty), Dreamer (Prince), Working on a Dream (Bruce Springsteen), Fork in the Road (Neil Young)
Will Win: Bruce Springsteen
Should Win: I think I’ll sit this one out, too.
I couldn’t pick a “Should Win” for the last category because no one really deserved it. I won’t pick a “Should Win” for this category because I’m fairly unfamiliar with the nominated songs. I’m not sure if I even ever knew that Fogerty and Young released albums last year. That said, I was sort of surprised that Grammy voters didn’t show Bob Dylan love in any of the major categories, since they’ve slobbed Zimmerman’s knob plenty over the course of the past decade or so. This could be his consolation prize. It’s between him and the Boss, who had the closest thing to a universally-recognized critical and commercial success out of any of the five nominees. One thing I will say is that when 51-year old Prince is the youngest nominee in a category, it’s time for an infusion of some new blood, STAT.
Best Rock Performance by a Duo or Group
Nominees: “Can’t Find My Way Home” (Eric Clapton and Steve Winwood), “Life in Technicolor II” (Coldplay), “21 Guns” (Green Day), “Use Somebody” (Kings of Leon), “I’ll Go Crazy if I Don’t Go Crazy Tonight” (U2)
Will Win: Kings of Leon
Should Win: Kings of Leon
My Spidey Sense tells me that KoL will also win this category, with Grammy deciding to award the band that currently has the best balance between commercial recognition and “cool” factor. I wouldn’t count out either Green Day or U2, though. “21 Guns” was far and away the best thing on “21st Century Breakdown” (probably the most disappointing purchase I made in 2009) even though it was a bald-faced rewrite of “Boulevard of Broken Dreams”. U2 got a surprising amount of critical love for “No Line on the Horizon” (Rolling Stone named it the best album of the year), so…who knows? Whoever wins Best Rock Song will also win this award, so the most likely scenarios point to U2 or Kings of Leon winning this award.
Best Hard Rock Performance
Nominees: War Machine (AC/DC), Check My Brain (Alice in Chains), “What I’ve Done” (Linkin Park), “The Unforgiven III” (Metallica), “Burn it to the Ground” (Nickelback)
Will Win: AC/DC
Should Win: Alice in Chains
If Nickelback wins in this category, there will probably be a riot. Count them out immediately. I first picked Linkin Park to win this award (because Grammy voters honoring a live version of a 2-year old song sounds like something they would do), but then I thought about it some more and realized that now might be a good idea for the voters to finally acknowledge AC/DC’s contribution to rock and roll. With the double-platinum success of “Black Ice” and the probability that there probably won’t be another AC/DC album to nominate in the near future, if ever again, I say Angus, Brian and company finally walk away with a golden gramophone. Since Grammy folks like to award bands retroactively, this will be their consolation prize for not winning anything for “Highway to Hell” or “Back in Black” (although, to be fair, this category didn’t exist when those two classics were released). Personally, I don’t have a problem with AC/DC winning, but it would also be nice to see AiC rewarded for making a near-improbable comeback both creatively and commercially.
Best Metal Performance
Nominees: “Dissident Aggressor” (Judas Priest), “Set to Fail” (Lamb of God), “Head Crusher” (Megadeth), “Senor Peligro” (Ministry), “Hate Worldwide” (Slayer)
Will Win: Slayer
Should Win: I am NOT a metalhead
This is the one category in which I can safely say my familiarity with any of these songs is minimal. I know who all the bands are. I’ve heard music from all these bands before. I just haven’t heard the nominated works, and none of the bands ranks as anything I would listen to regularly. Metallica won in this category last year, and this year they have slid over to the Hard Rock category. Of the five nominated bands, Megadeth has seven nominations over their career without a win, while Ministry has six without a win. The only band in this category with an actual Grammy win to their name is Slayer, so my gut says they will prevail again and Dave Mustaine will continue to be the Susan Lucci of the Grammy Awards.
Best Alternative Music Performance
Nominees: “Everything That Happens Will Happen Today” (Brian Eno and David Byrne), “The Open Door” (Death Cab for Cutie), “Sounds of the Universe”(Depeche Mode), “Wolfgang Amadeus Phoenix” (Phoenix), “It’s Blitz!” (The Yeah Yeah Yeahs)
Will Win: Brian Eno and David Byrne
Should Win: Phoenix
Here’s another thing I don’t get. What qualifies as “alternative”? Alternative to what? That’s yet another amorphous category that has in the past awarded everyone from Green Day (post-punk) to Gnarls Barkley (R&B) to The Beastie Boys (hip-hop). This year’s nominees nod to the new wave of yesteryear while also giving a glance to morose singer-songwriter pop and French dance/rock. “Wolfgang Amadeus Phoenix” was, after Animal Collective’s “Merriweather Post Pavillion”, the year’s best reviewed album in any genre, so Phoenix could be a sleeper winner here. However, in line with Grammy voters recognizing artists belatedly, this one could also go to either the very solid Depeche Mode album, or the Eno/Byrne collaboration. That said, the latter album was only released digitally, and it’s hard to think that the industry would award an album that was released as kind of a “F*ck you” to the current label distribution structure. Hell, even Radiohead’s “In Rainbows” (the album that won last year) was released through traditional distribution channels.
Anyhow, we’ve now wrapped up the rock categories (except for the Best Rock Instrumental Performance category, which doesn’t interest me and probably doesn’t interest you either). Next, we jump on the Soooooooooul Train and check out this year’s R&B nominees).
Soundscan’s 2009 officially ended at midnight on Monday morning, and Taylor Swift and Susan Boyle were racing for the prize for best-selling album of the year. Swift manages to win in a photo finish. “Fearless” sold 3.22 million copies in the calendar year, just a shade over Boyle’s 3.10 million. Boyle can take some consolation in the fact that “I Dreamed a Dream” tops the Billboard album chart for a sixth consecutive week, with sales of 137,000 copies as the industry winds down from the holiday boom.
Actually, this week’s Top 5 is very kind to the fairer sex. Aside from Boyle at the top and Swift at #5, the chart is filled out by a resurgent Lady GaGa at #2, Alicia Keys at #3 and Mary J. Blige at #4. The post-Christmas lull and a lack of new releases makes for a pretty uneventful chart, but that may change next week as newcomer Ke$ha challenges for the #1 spot.
Let’s re-direct our attention to the year-end charts. Swift and Boyle had the only albums to move over 3 million units in 2009. All told, 5 albums crossed the 2 million mark, 22 albums crossed the 1 million mark and 62 albums scanned over half a million copies, as though we needed any further proof that the industry is shrinking-nearly 100 albums crossed the Gold barrier as recently as 2005.
A few trends that jump out as I peruse the year-end totals:
*Country is one genre that is illegal-download and recession proof. 14 country albums sold over half a million copies this year, led by two Taylor Swift albums. In addition to “Fearless”, her self-titled debut was the 35th best-selling album of the year with 782,000 copies sold. Other major country successes included Rascal Flatts, Carrie Underwood, the Zac Brown Band and the country-flavored “Hannah Montana” movie soundtrack, all of which were million-sellers.
*Hip-hop had a mixed bag of a year. Three rap albums land in the Top 10. The Black Eyed Peas had the year’s 7th biggest seller with “The E.N.D.”, followed by Eminem’s “Relapse” at #8 and Jay-Z’s “Blueprint 3” at #9. The only other rap album to sell more than half a million units this past year was T.I.’s “Paper Trail”, which pops in at #58 with 530,000 units scanned. You could also technically include Kanye West’s “808s and Heartbreak”, which scanned 597,000 units this year, although it’s not a rap album per se.
*If you’re an “American Idol” fan, now might be a good time to start buying music. Carrie Underwood’s “Play On” was the only album from an “Idol” alum to crash the million-sold barrier this year. She’s followed by Daughtry (#31, 882K) and Kelly Clarkson (#33, 813K). If you’re looking for other former “Idol”s, you have to go much lower on the chart, where you’ll find David Cook (#73), Underwood’s “Carnival Ride” (#74, Adam Lambert (#81), the first Daughtry album (#144), Underwood’s debut (#158), Jennifer Hudson (#166), Kris Allen (#183) and Kellie Pickler (#191).
*Good old dependable rock & roll? Not so much. The biggest-selling rock album of the year was Kings of Leon’s “Only by the Night”, which lands at #10, with 1.4 million copies sold. Nickelback’s “Dark Horse” trails right behind at #11. Along with the “Twilight” soundtrack (#13), they are the only rock albums in the Top 20.
*Then, of course, there’s Michael Jackson. “Number Ones” finished as the year’s third biggest-seller, with 2.4 million copies sold. It was followed by “This is It” (#12), “Thriller” (#14), and “The Essential Michael Jackson” (#20).
*As far as sales disappointments go, albums by these superstar artists failed to even hit the 400,000 copies sold mark: Mariah Carey, Colbie Caillat, Creed, Fabolous, Rob Thomas and 50 Cent, while albums by Rick Ross and Bon Jovi have stalled under the 500,000 mark.
Here are the year’s Top 40 sellers, according to Soundscan:
1) Taylor Swift “Fearless”
2) Susan Boyle “I Dreamed a Dream”
3) Michael Jackson “Number Ones”
4) Lady GaGa “The Fame”
5) Andrea Bocelli “My Christmas”
6) Soundtrack “Hannah Montana: The Movie”
7) The Black Eyed Peas “The E.N.D.”
8) Eminem “Relapse”
9) Jay-Z “Blueprint 3”
10) Kings of Leon “Only by the Night”
11) Nickelback “Dark Horse”
12) Michael Jackson “This is It”
13) Soundtrack “Twilight”
14) Michael Jackson “Thriller”
15) Zac Brown Band “Foundation”
16) Michael Buble “Crazy Love”
17) Miley Cyrus “Time of Our Lives EP”
18) Beyonce “I Am…Sasha Fierce”
19) Carrie Underwood “Play On”
20) Michael Jackson “The Essential Michael Jackson”
21) Rascal Flatts “Unstoppable”
22) U2 “No Line on the Horizon”
23) Dave Matthews Band “Big Whiskey & the GrooGrux King”
24) Lady Antebellum “Lady Antebellum”
25) Soundtrack “Twilight: New Moon”
26) Jason Aldean “Wide Open”
27) Maxwell “BLACKsummersnight”
28) Whitney Houston “I Look to You”
29) Green Day “21st Century Breakdown”
30) Darius Rucker “Learn to Live”
31) Daughtry “Leave This Town”
32) Various “Now That’s What I Call Music 32”
33) Kelly Clarkson “All I Ever Wanted”
34) P!nk “Funhouse”
35) Taylor Swift “Taylor Swift”
36) The Fray “The Fray”
37) Alicia Keys “The Element of Freedom”
38) Various “Now That’s What I Call Music 30”
39) Justin Bieber “My World”
40) Keith Urban “Defying Gravity”