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90363462 · 2 years

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The Greatest Grammys Snubs of All Time

Winners For Best New Artist Macklemore (C) and Ryan Lewis accept their trophy on stage as Pharrell Williams and Anna Kendrick, presenters, look on during the 56th Grammy Awards at the Staples Center in Los Angeles, California, January 26, 2014. Photo: Frederic J. Brown/AFP/Getty Images

According to leading experts in the very scientific field of complaining about things, there is no pastime more popular than griping about all the instances where the Grammys screwed up and gave an award to the wrong person. As you may have surmised, this is a deeply objective exercise. Maybe Blood, Sweat & Tears’ 1970 album really is better than the Beatles’ Abbey Road. Maybe that Lionel Richie album that has “All Night Long (All Night)” on it really was filled with back-to-back classics the same way that Purple Rain and Born in the U.S.A. were. With the benefit of hindsight, a lot of the choices the Grammys committee has made seem insane, but at the time things were probably a bit murkier. Nevertheless, presented here in chronological order, is our list of the Greatest Grammys Snubs. We stuck to the big categories — Album of the Year, Song of the Year, and Best New Artist — because they’re the most fun to get outraged about. These categories also say the most about where our collective consciousness was at during any given year and where the Grammys thought it was at, too. Spoiler alert: Kendrick Lamar and Beyoncé got snubbed a lot.

1970: Blood, Sweat & Tears’ Blood, Sweat & Tears over the Beatles’ Abbey Road, Johnny Cash’s At San Quentin, and Crosby Stills & Nash’s Crosby Stills & Nash With all due respect to the jazz-rock legends in Blood, Sweat & Tears, whose 1968 self-titled album was daring enough to jam Traffic, Billie Holiday, Cream, and Erik Satie covers into the same track list and make it work, and whose “Spinning Wheel” slaps to this very day, the Recording Academy had one job in 1970, and that was to slide the Album of the Year trophy to one of the three masterworks of the late ’60s. Blood, Sweat & Tears is great, but At San Quentin? Crosby, Stills & Nash? Abbey Road!? These are epochal records within their respective forms. Blood, Sweat & Tears isn’t even the tightest mainstream jazz-fusion album from the same eligibility period. (What’s up, Chicago Transit Authority?) Swing and a miss. —Craig Jenkins

1970: Joe South’s “Games People Play” over Blood, Sweat & Tears’ “Spinning Wheel” See, the Grammy Blood, Sweat & Tears should’ve been a lock for in 1970 is Song of the Year for “Spinning Wheel.” Instead they got squeezed out in favor of singer-songwriter Joe South’s warm but cloyingly overproduced peace-and-love anthem “Games People Play,” which isn’t even the best song called “Games People Play.” This feels like the Academy voting for politics over quality; South’s song is easygoing, with good intentions, but not enough so to walk away with Best Contemporary Song as well as Song of the Year. “Spinning Wheel” is more memorable, and it charted better too. —CJ

1984: The Police’s “Every Breath You Take” over Michael Jackson’s “Beat It” and “Billie Jean” Only in a white’s man world could this generic (by Sting’s own admission!) stalker’s anthem beat out two (two!) Michael Jackson songs. It was even sort of written into the title of one of those MJ songs that he was destined to beat the Police. Meanwhile, the other remains one of the biggest songs in the history of music. This was the year that MJ took home a record eight Grammys in a single night, but he deserved a ninth. —Dee Lockett

1985: Lionel Richie’s Can’t Slow Down over Prince’s Purple Rain and Bruce Springsteen’s Born in the U.S.A. This is the year that the Grammys awarded Lionel Richie Album of the Year for Can’t Slow Down. That means they gave it to him instead of Bruce Springsteen’s Born in the U.S.A. and Prince’s Purple Rain. Don’t think about it too hard. Can’t Slow Down has “All Night Long” on it I guess. —Sam Hockley-Smith

1988: Linda Ronstadt and James Ingram’s “Somewhere Out There” over U2’s “I Still Haven’t Found What I’m Looking For” The only thing the Recording Academy loves more than a chart smash is a drippy ballad, so James Ingram and Linda Ronstadt’s drippy chart smash “Somewhere Out There” was almost certain to come home with some gold from the 1988 show. The song’s win for Best Song Written Specifically for a Motion Picture or for Television made sense — although there are those who might rightly quip that the Dirty Dancing and Mannequin theme songs got robbed that year. Song of the Year is preposterous, though. When you think of the music that moved the culture of the late ’80s, are you thinking of Bono topping worldwide singles charts screaming at the desert sky, or are you conjuring up the schmaltzy love song from the Fievel movie? How many people even remember the Fievel movies? —CJ

1997: Céline Dion’s Falling Into You over Beck’s Odelay, the Smashing Pumpkins’ Melancholy & the Infinite Sadness, the Fugee’s The Score, and the Waiting to Exhale original soundtrack The bummer about Céline Dion’s absolutely massive Falling Into You taking the ’97 Grammy for Album of the Year is that it’s quite possibly the most popular but least impactful album from that year’s entire crop of nominations. Beck’s Odelay was a collage of stoned slacker funk that still sounds innovative today, the Smashing Pumpkins’ Melancholy & the Infinite Sadness was a wistful, achingly beautiful double album that unapologetically cranked the angst dial to 19, the Waiting to Exhale soundtrack was both a showcase of Babyface’s writing skills, and an unimpeachable soundtrack packed with instant classics, and the Fugees’ The Scoreintroduced the world at large (see: everyone who was not already a rap fan) to Lauryn Hill, with a collection of lyrical Jersey rap tinged with just the right amount of pop sensibility. Compared to all of these, Falling Into You was as boring as it could possibly get. —SHS

1998: Shawn Colvin’s “Sunny Came Home” over No Doubt’s “Don’t Speak” Shawn Colvin’s “Sunny Came Home” is a noble artifact from the stretch of the ’90s where alt-rock and Americana briefly rubbed elbows on the radio (see also: Sheryl Crow, Freedy Johnston, Tom Petty’s Wildflowers, etc.). High marks at the Grammys felt like overdue acknowledgment of women as formidable singer-songwriters in an era where Lilith Fair reminded everyone that rock and roll wasn’t just a game for boys. The same effect could’ve been achieved by giving the honor to No Doubt’s “Don’t Speak,” a song that served up Fleetwood Mac levels of band drama and commandeered complete control of the American airwaves for several months straight. Even ODB was confused about this one. —CJ

2000: Carlos Santana and Rob Thomas’s “Smooth” over the Backstreet Boys’ “I Want It That Way” or TLC’s “Unpretty” Ah yes, who could forget the time that Carlos Santana and Rob Thomas’s instantly dated “Smooth” beat Ricky Martin’s cheesy “Livin la Vida Loca,” TLC’s “Unpretty” — which was not even the best single from FanMail — Shania Twain’s “You’ve Got a Way,” and Backstreet Boys’ megacatchy megahit “I Want It That Way.” A cursory glance through the nominees of this year paints a bleak pop landscape for the year 2000. Is “Smooth” better than “Livin la Vida Loca?” Uh … I guess? But this one clearly should have gone to “I Want It That Way,” which crystallized the early ’00s better than any other song nominated that year. —SHS

2001: Steely Dan’s Two Against Nature over Eminem’s The Marshall Mathers LP and Radiohead’s Kid A It’s the first Grammy season of a whole millennium! What better way for the Academy to greet the dawn of a new era than to, uh, give the Album of the Year to a Steely Dan comeback album? In a year where Radiohead’s Kid A turned over a fresh digital leaf and Eminem’s Marshall Mathers LP blew young listeners’ minds with unprecedented levels of savage wit, bestowing oldsters Walter Becker and Donald Fagen with a de facto lifetime achievement award instead of respecting the austere artistry of Thom Yorke & Co. or the monstrous energy (and monstrous sales) of Marshall Mathers was a puzzling choice, one that, much like the legacy of all three artists, won’t soon be forgotten. —Frank Guan

2005: John Mayer’s “Daughters” over Kanye West’s “Jesus Walks” We’ve had a chuckle or two at John Mayer’s expense — who hasn’t? But that doesn’t mean that the cornball singer-songwriter hasn’t made a genuinely good song in his time. Regretfully, “Daughters” is not one of those good songs. Watery and retrograde, the song confuses triteness for profundity to a degree exceptional by Mayer’s standards, which didn’t keep it from rising to No. 1 on the Adult Top 40 (who knows, it might even have helped). “Daughters” is a wet, limp slap in the face of public taste, and the fact that it won Song of the Year over a double-platinum track that slaps as hard as Kanye’s “Jesus Walks” says a lot about the tastes that prevail in the Academy, none of it good. —FG

2005 Best New Artist: Maroon 5 over Kanye West It’s true that both Maroon 5 and Kanye West have carved out long careers in their respective lanes, and even had some crossover along the way — but one is not like the other. The Grammys are not in the business of predicting the future (if they were, there wouldn’t be so many holes in the BNA category), and they can’t map out a new artist’s trajectory for them. Could they have known the Kanye West who made the College Dropout also had Yeezus in him, or that the band with the potential to make Songs About Jane would go on to become karaoke versions of themselves? Maybe, if they were paying attention. The thing about Best New Artist awardees is that they are almost never actually new — there are plenty of times that this award has gone to an artist on their second or third album. By the time Kanye released College Dropout, the Grammys were already familiar with his production work, and had a sense of what kind of artist they had a chance to champion early on. They blew it, and Kanye never let them forget it. —DL

2006: U2’s How to Dismantle an Atomic Bombover Kanye West’s Late Registration I might be more judicious about late-period U2 than most — I actually tagged along with a friend to the All That You Can’t Leave Behind midnight drop back when big-box record retailers used to open in the middle of the night so fans could have first crack at an artist’s new release. That said, How to Dismantle an Atomic Bomb marked the beginning of a long stretch where the Irish rock legends received high marks just for continuing to be around. Don’t get me wrong: Atomic Bomb is a good album, but it didn’t capture a moment or point to the future the way Kanye West’s Late Registration did. Kanye and Jon Brion put trombones and flügelhorns on a rap record! But men with guitars always win in the clutch … —CJ

2006: U2’s “Sometimes You Can’t Make It On Your Own” over Mariah Carey’s “We Belong Together” The Grammys — in one of their most out-of-touch moments of that decade — saw fit to award U2 for a song I would bet most people can’t sing one note or lyric of on command. It’s not that the U2 song is bad — it’s an intimately written piece about Bono’s dying father, and some moments are genuinely devastating — they’ve just made this song before, and done it better. “We Belong Together,” on the other hand, cemented a career resurgence for Mariah and has aged flawlessly, becoming one of her best-known songs (all praise to the genius of Babyface). Somewhere, right this second, it’s being sung (badly) at karaoke. U2 hasn’t performed “Sometimes” on their last few tours. —DL

2008: Herbie Hancock’s River: The Joni Letters over Amy Winehouse’s Back to Black Every now and then the Grammys will really Grammy by sneaking Lifetime Achievement Awards into its Album of the Year category. This happened in 2005 when they gave Ray Charles AOTY for his final album over career-defining works from Kanye West, Alicia Keys, Usher, and Green Day (and even though they’d already given him a Lifetime Award two decades earlier). It happened, too, when Robert Plant and Allison Krauss pulled off an upset. But it’s never been more regrettable than when Herbie Hancock beat Amy Winehouse. The Grammys voting panel could not have known that Herbie would ultimately outlive her and that Back to Blackwould become her final album (she died a few years later at 27). But they should’ve known then that while both albums were an homage to the past (Hancock was a Joni Mitchell covers album; Amy’s a doo-wop and soul tribute though technically original work), they had different purposes. Amy’s album proved her a once-in-a-generation talent, but Hancock’s only reaffirmed the obvious: He’s a legend. Except there are quite a few of his albums that do a better job of making that point. Amy would never have another. —DL

2011 Best New Artist: Esperanza Spalding over Drake and Justin Bieber It was a pleasant surprise to see Esperanza Spalding pull off her shocking Best New Artist upset in 2011. Her contributions to the resurgence and crossover appeal of neo-jazz are unquestionable, but at the time, she was a relative unknown with not even a third of the audience Drake and Justin Bieber had amassed in their relatively young careers. Biebs was a teen heartthrob with tween-girl mania and mass-market singles; Drake was a Degrassi alum transitioning to a young rap phenom with hits already under his belt. Sure, it’s debatable that Drake and Bieber were new in 2011, but the Grammys thought they were new enough to nominate them. Florence and the Machine and Mumford & Sons, too, were no underdogs in this category given the success of their own respective singles and established followings. So what Grammys algorithm then led to Spalding pushing past all of them to win? That’s the thing about the Grammys: They make sense only to the people voting for them. (It is also likely the other four acts were too equal to pick one, so they picked the dark horse.) The rest of us just grab popcorn and hate-watch. —DL

2013: Mumford & Sons’ Babel over Frank Ocean’s Channel Orange It’s 2018, and Mumford & Sons are still hugely popular, but they’re the kind of popular that feels so safe that it’s easy to forget that they’re popular at all. In other words, they do one specific thing — make music that evokes a rustic time that never really existed — and people come to them because they know that they will never stop doing that thing. They found their lane, and they are not going to exit it maybe ever. The Grammys’ Album of the Year category has always gestured at some form of timelessness — implicit in the very nomination is the idea that the albums in this category will not only say something about the year they were released, but will also be milestones in popular music down the line. Five years after the release of Babel and Channel Orange, which album feels more like its part of the (amorphous) conversation? Which album better reflects the state of the world as we currently understand it? Is it the fine-enough pop-folk album, or the first nuanced, complicated major statement from one of the most important artists we have right now? Maybe my wishing for the latter is putting too much emphasis on an idealized version of the Grammys that never really existed, or maybe they just got it wrong. —SHS

2013 Best New Artist: Fun. over Frank Ocean Currently on indefinite hiatus, Fun. was a pop-rock trio whiter than a powdered doughnut, and it wasn’t all that shocking that their music tended toward toward the sweet and hollow. To be fair, they were pretty catchy, and their sophomore album, Some Nights, notched a No. 1 hit in “We Are Young” while also landing two other singles in the upper reaches of the Hot 100. How a band whose debut album came out in 2009 wins Best New Artist in 2013 behind the successes of its second album is something of a mystery. For Fun. to win Best New Artist in 2013 over Frank Ocean, though, isn’t so much a mystery as an insult to the meanings of the words best, new, and artist. Frank’s debut LP Channel Orange may or may not be a perfect album, but it’s undoubtedly great, the product of a unique voice and sensibility never known before. Snubbing him for an award that he could only be nominated for once seems especially gratuitous, and it’s hard not to imagine the slight contributing to Frank’s future decision to turn his back on the record industry. Why endure dishonor when you can do better elsewhere on your own? —FG

2014: Daft Punk’s Random Access Memoriesover Kendrick Lamar’s Good Kid, M.A.A.D City There is an argument to be made, I suppose, that Daft Punk’s win for Random Access Memories — an album that sounded like a yacht made out of cocaine and good vibes — was a triumph of fun over Kendrick’s heavy autobiographical meditations on life, death, and identity. And yeah, if your primary reason for listening to music is to have fun and not think too much, there are far worse albums to listen to than RAM, which is accomplished, nuanced, and intricately constructed. But Good Kid — home to the instant classic “Money Trees,” the heartbreaking “The Art of Peer Pressure,” and the corny-but-it-still-works “Swimming Pools (Drank)” — was not just a solid collection of tracks. It was an album as Zeitgeist, and would help define Kendrick’s trajectory in the years to come. —SHS

2014 Best New Artist: Macklemore over Kendrick Lamar Foreshadowing what would happen with Adele and Beyoncé just a fews year later, here we have another example of a white artist apologizing for the voting choices of the Grammys. Macklemore didn’t scold the Grammys onstage, and instead sent a now notorious apology text to Kendrick Lamar, and then shared a screenshot of it on Instagram. It took the Grammys more than 20 years to call another rapper Best New Artist after Arrested Development became the first in 1993. That they overlooked everyone else until Macklemore (then luckily got it together with Chance the Rapper last year) tells you all you need to know about what they think of hip-hop. —DL

2015: Beck’s Morning Phase over Beyoncé’s Beyoncé No year forced us to consider what the Grammys are really awarding when they denote a specific body of music Album of the Year more than 2015. We can pretend that the Album of the Year award only takes into consideration the songs on the album divorced from all other context, but that way of thinking fails to take into account what Beyoncé did with her self-titled magnum opus, which was to rethink the album experience as we knew it. She released it with no warning — which wasn’t a first, but certainly no one has ever done it better — and it came with an entire supplementary visual component. Beyoncé featured 17 stand-alone music videos, each filmed in secret, each building unique worlds. Anyone else’s album would look paint-by-numbers in comparison, but that was glaringly true of Beck’s Morning Phase, which was very good, but did nothing to change the game and has had little influence on the art produced since. This would’ve been the opportune time for Kanye to snatch his mic instead of pull a pump fake. —DL

2016: Taylor Swift’s 1989 over Kendrick Lamar’s To Pimp a Butterfly 1989 didn’t just have hits for days. It had hits for weeks, months, even years — not to mention that the album proper did ungodly numbers. Even the fact that it was, at the time, Taylor Swift’s worst album speaks more to the high standard Swift had set with her first four albums than anything else. 1989 is a fun album! People will listen to it for years to come. In just about any other year than 2016, its Album of the Year win wouldn’t come close to being a snub. But 2016 was the year of To Pimp a Butterfly, an album that was more than fun. Kendrick Lamar’s sophomore effort is the sort of creation that doesn’t just raise heart rates, but purifies souls. Sure, it didn’t come close to going diamond like 1989, but spiritually speaking the thing is a diamond, a work of sheer perfection wrought under extreme pressure. It’s an album for the ages, and the fact that it couldn’t even take home Album of the Year is a landmark even in a long history of Recording Academy short-sightedness. —FG

2016: Ed Sheeran’s “Thinking Out Loud” over Kendrick Lamar’s “Alright” There are music critics and publications who look on Ed Sheeran with what can best be described as grudging disdain, but even the coldest hater of the Brit singer would be pressed not to enjoy “Thinking Out Loud,” a ballad whose power is every bit as undeniable as its debt to Marvin Gaye’s “Let’s Get It On.” But while Sheeran was channeling Marvin Gaye in his lover-man mode, Kendrick Lamar was reviving the spirit of What’s Going On–era Marvin in “Alright.” If Sheeran’s tune is a home run, the Pharrell-produced “Alright” is spaceflight; in a year where Kendrick was also being robbed in the Album of the Year category, the deafness of the Academy voters stood out all the more. —FG

2017: Adele’s 25 over Beyoncé’s Lemonade Is there a surer sign the Recording Academy got it wrong than that a winning artist using her acceptance speech to tell them so? In previous years, it was Kanye West doing the thankless work of crashing stages to right egregious wrongs on Beyoncé’s behalf; last year, Adele interrupted herself. It wasn’t that Adele’s 25 didn’t deserve to win Album of the Year, it just didn’t deserve it more than Lemonade, and Adele knew. “I can’t possibly accept this award,” she said, turning to Beyoncé in the front row, pointing to the way the album made black women feel seen. “The Lemonade album was so monumental and so well thought out and so beautiful and soul-baring. We all got to see another side to you that we don’t always see. You are our light.” 21 and Lemonade are legacy albums from hopeful legacy artists (the jury’s still out on Adele), but 25 is most known for breaking sales records. Lemonade should’ve received the same canonical accolades afforded to Adele’s better album just a few years earlier. —DL

2018: Bruno Mars’s “24K Magic” over Luis Fonsi and Daddy Yankee’s “Despacito” The Recording Academy instituted the Latin Grammys in 2000 to more adequately recognize the sheer volume and diversity of Latin music, essentially an acknowledgment that Spanish-language music was then, and remains now, bigger than the rest of music combined. The gesture comes up short, though, in its failure to keep that same energy at the main event. When it comes to the “regular” Grammys, Spanish-language music has its own “Latin” catchall genre field, and historically that’s where it’s been relegated. Rarely has Latin music broken into the Big Four, with the exceptions of Santana and Rob Thomas’s novelty (and, uh, English-language) “Smooth,” which beat Ricky Martin’s “Livin’ la Vida Loca” for Record of the Year in 2000, and Los Lobos’ “La Bamba” cover in 1988. The Grammys had the opportunity to course correct in 2018 by awarding the biggest Spanish-language song of all time — and one of the biggest songs in music history, full stop — Luis Fonsi and Daddy Yankee’s “Despacito,” but they blew it. Both Song of the Year, and, an even worse call, Record of the Year, went to Bruno Mars’s “24K Magic.” “Despacito” was ultimately shut out. We know now what “Despacito” has meant to the música-urbana boom; the Grammys should’ve known better then. Flash forward two years later: Reggaeton is getting snubbed in the major categories at even the Latin Grammys; Cardi B, Bad Bunny, and J Balvin’s “I Like It” lost ROTY in 2019 to Childish Gambino’s “This Is America”; and Spain’s Rosalía, a white woman, is the Spanish-speaking world’s best shot at a major 2020 Grammy win, for Best New Artist. Will the Recording Academy ever learn? —DL

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brn1029 · 2 years

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It was on this date…in music history….

June 3rd

1953 - Elvis Presley

Elvis Presley graduated from J.C. Hulmes High School in Memphis; his graduation photo shows him to have a split curl in the middle of his forehead, later to become his trademark. He was the first member of his family to graduate high school.

1964 - Ringo Starr

During a photo session Ringo Starr was taken ill suffering from tonsillitis and pharyngitis, days before a world tour was about to start. After a last-minute phone call from George Martin, session drummer Jimmy Nichol rushed over to EMI Studios, where he and The Beatles ran through six songs from their tour repertoire in a quick rehearsal. Nichol replaced Ringo and became a Beatle for eleven days.

1967 - Aretha Franklin

Aretha Franklin went to No.1 on the US singles chart with her version of the Otis Redding hit 'Respect'. A No.10 hit on the UK chart. Aretha scored her first UK No.1 20 years later with a duet with George Michael 'I Knew You Were Waiting'.

1967 - The Doors

The Doors 'Light My Fire' was released in the US, where it went on to be No.1 on the singles chart two months later. When The Doors were booked to appear on The Ed Sullivan Show they were asked to change the line "girl, we couldn't get much higher", as the sponsors were uncomfortable with the possible reference to drug-taking. The band agreed to do so, and did a rehearsal using the amended lyrics; however, during the live performance, lead singer Jim Morrison sang the original lyric, after which they were informed they would never appear on the Ed Sullivan show again.

1968 - Andy Warhol

Valerie Solanas shot Andy Warhol and art critic and curator Mario Amaya at Warhol's studio in New York City. Solanas had been to see Warhol after asking for the return of a script which had apparently, been misplaced. Warhol was seriously wounded in the attack and barely survived.

1970 - Deep Purple

Deep Purple released their fourth studio album 'Deep Purple In Rock'. This was the first album to feature the classic Mk II lineup of - Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice.

1970 - Ray Davies

The Kinks Ray Davies was forced to make a 6,000 mile round trip from New York to London to record one word in a song. Davies had to change the word 'Coca- Cola' to 'Cherry Cola' on the bands forthcoming single 'Lola' due to an advertising ban at BBC Radio.

1983 - Jim Gordon

US session drummer Jim Gordon, murdered his mother by pounding her head with a hammer. A diagnosed schizophrenic, it was not until his trial in 1984 that he was properly diagnosed. Due to the fact that his attorney was unable to use the insanity defense, Gordon was sentenced to sixteen years-to-life in prison in 1984. A Grammy Award winner for co-writing Layla with Eric Clapton, Gordon worked with The Beach Boys, John Lennon, George Harrison Frank Zappa and many other artists.

1995 - Bryan Adams

Bryan Adams started a five week run at No.1 on the US singles chart with 'Have You Ever Really Loved A Woman' Taken from the film 'Don Juan De Marco' it became Adams third US solo No.1, a No.4 hit in the UK.

2000 - Kenny Chesney

Kenny Chesney and Tim McGraw were arrested in Buffalo, New York after Chesney ran away with a Mounted Reserve deputy's horse, and McGraw attacked deputies that tried to corral him. Chesney asked to sit on the horse outside Ralph Wilson Stadium and the daughter of the deputy gave him permission to do so. Then Chesney mounted the horse and rode away. He was told to stop, but ignored the orders from the other deputies, the deputies were then attacked by McGraw and members of his entourage. Chesney was charged with disorderly conduct and released on bail. McGraw was charged with second-degree assault, obstructing governmental administration, menacing and resisting arrest. He was released on $2,500 bail….(this is a country song just waiting to be written….)

2002 - Ozzy Osbourne

Paul McCartney, Sting, Elton John, Brian Wilson, Cliff Richard, Ozzy Osbourne, The Corrs, Will Young, Atomic Kitten and S Club 7 all appeared at The Queen's Jubilee concert at Buckingham Palace, London.

2003 - Barry Manilow

Barry Manilow suffered a broken nose after he accidentally walked into a wall at his home in Palm Springs, California and knocked himself unconscious. Although he passed out for four hours, he didn't endure any lasting effects as doctors determined that surgery was not necessary.

2006 - Red Hot Chili Peppers

Red Hot Chili Peppers were at No.1 on the UK and US album charts with Stadium Arcadium the bands ninth studio album.

2011 - Andrew Gold

American singer, songwriter Andrew Gold died in his sleep aged 59 from a heart attack. Had the 1977 US No.7 single 'Lonely Boy', 1978 UK No.5 single 'Never Let Her Slip Away' and as a member of Wax the 1987 UK No.12 single 'Bridge To Your Heart'.

2016 - Dave Swarbrick

English folk musician and singer-songwriter Dave Swarbrick died aged 75. His work for the group Fairport Convention from 1969 has been credited with leading them to produce their seminal album Liege & Lief (1969) which initiated the electric folk movement.

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usagirotten · 4 months

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David Lynch's Dune is returning to U.S. theaters for a limited time to mark the 40th anniversary

David Lynch's iconic #Dune is gracing U.S. theaters once again for its 40th anniversary. Immerse yourself in the epic world of spice, sand, and surrealism. 🎟️✨ To celebrate the 40th anniversary of David Lynch‘s BRILLIANT 1984 “Dune,” we’re getting a theatrical re-release! We are so very excited to get to experience this in theaters right before “Dune Part Two” from Denis Villeneuve hits in March. From the run time listed, this is not the longer cut of the film. Clocking in at 2 hours 17 minutes, be prepared to experience Lynch’s vision of Frank Herbert‘s seminal work of science fiction. 2024 is the 40th Anniversary of Lynch's #Dune, and in the US 🇺🇸 Fathom Events are re-releasing the movie for 2 days on the 18th & 19th February 2024.https://t.co/HGtOR6PgvA pic.twitter.com/oZfUbAcUcE — DuneInfo (@DuneInfo) January 14, 2024 As described by Fathom Events: The long-awaited film version of Frank Herbert’s classic science fiction epic, Dune, explodes on the screen with dazzling special effects, unforgettable images, and powerful performances. The saga of intergalactic warrior Paul Atreides (Kyle MacLachlan) and his messianic rise to leadership features an all-star cast, including Jose Ferrer, Max Von Sydow, Oscar® winner Linda Hunt and rock legend, Sting. This monumental Dino DeLaurentiis presentation is directed by David Lynch (The Elephant Man, Eraserhead), with photography by Academy Award® winner Freddie Francis, music by Grammy® winner Toto, and incredible monster creation by E.T.’s Carlo Rambaldi. Visit an unbelievable world beyond time and space and experience the ultimate adventure that goes beyond the imagination. Read the full article

#davidlynch #dune #franksherbert #scifi

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trendlifemag · 1 year

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Sting: My Songs World Tour heads to Bedford Park this Summer

Sting is bringing his My Songs World Tour to Bedford Park for a sensational outdoor show. The rock icon will play on Saturday June 24. Tickets go on sale at 9am on Friday November 18 via bedfordparkconcerts.co.uk Sting’s ‘My Songs’ concerts are an exuberant and dynamic show featuring his most beloved songs, written throughout the 17-time Grammy Award winner’s illustrious career both with The…

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newmusicradionetwork · 2 years

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The Voice Season 19 Finalist Ian Flanigan’s Debut Album STRONG Is Available Now

Country music singer/songwriter and The Voice Season 19 finalist Ian Flanigan’s debut album STRONG is available now. Offering a wide array of timeless tracks, Flanigan encompasses subjects from all walks of life including heartbreak and pain to a love that is everlasting, leaving no stone unturned. Over the last year, Flanigan has consistently released beloved singles such as “Grow Up” featuring Blake Shelton, “Under A Southern Sky,” and “Last Name On It,” showing not only his versatility as a singer but as a songwriter as well. His bold vocals soar on each track showcasing his one-of-a-kind talent, creativity, and ability to take every listener on this incredible journey each step of the way. STRONG was co-produced by Grammy winners Craig Alvin (Little Big Town, Amy Grant), Todd Lombardo (Kasey Musgraves, Brett Eldridge), Obie O’Brien (Bon Jovi, Levon), and Phil Nicolo (Sting, Aerosmith). Ian Flanigan has recently been featured by Fox News, Cowboys & Indians, Music Mayhem, American Songwriter, Sounds Like Nashville, The Music Universe, KTLA, and more. “For me, strength has always come from the support of the folks I hold dear,” shares Flanigan. “I made this record to feel like stepping out of the loud and busy world after a hard day’s work, taking off your boots, and having a seat with my loving family in the living room. My family would love for you to be our guest to enjoy this ride with us.” Flanigan recently joined Zac Brown Band co-founder, John “Hop” Hopkins in Kingston, New York for Hop On A Cure to raise money for ALS, which Hopkins is battling. Hop On A Cure raised over $23,000 and Flanigan not only performed his own set, but was brought back onstage for two additional songs with Hop and the band. Flanigan also made his recent debut at CMA Fest performance on the Maui Jim Reverb Stage, performing fan-favorite original music, and has been traveling the United States performing shows as well as an extensive radio tour. As part of the album release, fans can not only order the album digitally but can also purchase a limited edition vinyl record at ianflaniganmusic.com/strongpreorder. To keep up with future releases and everything Ian Flanigan, visit HERE and follow his social channels linked below. Facebook | Twitter | Instagram | YouTube | TikTok About Ian Flanigan: For the last decade, troubadour Ian Flanigan has toured his whiskey-soaked voice and evocative lyrics across America, with a country sound reminiscent of Joe Cocker and Chris Stapleton. In 2020, Flanigan was a celebrated finalist on NBC’s The Voice, finishing third as the representative from Team Blake. The country music world has since tapped him as an up-and-coming artist to watch. Flanigan has since then, continued to tour as direct support to Trace Adkins and Chris Janson, he has released his debut single, “Grow Up” featuring Blake Shelton (over 3 million streams), he represents Taylor Guitars, KICKER AUDIO, Denon, and PickleJar, gains exposure as a Reviver Publishing writer in Nashville, and his debut album ‘STRONG’ will be available September 2 on Reviver Records. About The Reviver Entertainment Group: With offices in Nashville and New Jersey, Reviver Entertainment Group is one of the country’s leading independent record labels. Founded in 2011 by industry veteran David Ross, The Reviver Entertainment Group includes Reviver Records, Reviver Publishing, Reviver Films One, Reviver Label Services, and Reviver Legacy. The artist roster includes platinum-selling contemporary country hitmaker Aaron Goodvin, Ian Flanigan, Brooke Moriber, David Devaul, David Adam Byrnes, Reid Brody, Blackjack Billy, as well legacy brands including The Carter Family, Johnny Cash, John Carter Cash, and Rock and Roll Hall of Famer (2009) Little Anthony. All in all, Reviver has celebrated four top-20 hits, three top-five hits, four No.1 songs, three gold and a platinum single, and multiple ACM and CMA Awards, all led by David’s vision. For more information, please visit revivermusic.com. # # # Suggested Post: .@IanFlanigan’s debut album ‘Strong’ is available now. To order limited edition vinyl or other formats, visit ianflaniganmusic.com/strongpreorder; Purchase/Stream: orcd.co/ifstrong Read the full article

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lboogie1906 · 2 years

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Christian McBride (born May 31, 1972) is a jazz bassist, composer, and arranger. He has appeared on more than 300 recordings as a sideman and is a six-time Grammy Award winner. He has performed and recorded with several jazz musicians and ensembles, including Freddie Hubbard, McCoy Tyner, Herbie Hancock, Pat Metheny, Joe Henderson, Diana Krall, Roy Haynes, Chick Corea, Wynton Marsalis, Eddie Palmieri, Joshua Redman, and Ray Brown's "SuperBass" with John Clayton, as well as with pop, hip-hop, soul and classical musicians like Sting, Paul McCartney, Celine Dion, Isaac Hayes, The Roots, Queen Latifah, Kathleen Battle, Renee Fleming, Carly Simon, Bruce Hornsby, and James Brown. He primarily plays double bass, but he is equally adept on bass guitar. He played both on the album The Philadelphia Experiment, which included keyboardist Uri Caine and hip-hop drummer Ahmir "Questlove" Thompson. Other projects have included tours and recordings with the Pat Metheny Trio, the Bruce Hornsby Trio, and Queen Latifah. Like Paul Chambers, he can solo by playing his bass arco style. #africanhistory365 #africanexcellence https://www.instagram.com/p/CeOF3x3LhTTbx-wq2IYvr1z5Ttb2dP-LKdYiG80/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence

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pcnmagazine · 2 years

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Sting 'The Bridge' Super Deluxe Edition to be Released on June 17th

Sting ‘The Bridge’ Super Deluxe Edition to be Released on June 17th

STING: THE BRIDGE SUPER DELUXE EDITION To be released on June 17th as 2CD & 2LP Available to pre-order here Sting’s latest album, The Bridge showcases the 17-time Grammy Award winner’s prolific and diverse songwriting prowess, with an array of songs representing styles and genres explored throughout his unrivalled career. Written and recorded in the early stages of the pandemic, the eclectic…

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bmars-news · 3 years

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Bruno Mars & Anderson .Paak's Silk Sonic Added to Grammy Line-up

This will be the sixth Grammy telecast on which Mars has performed, the second for .Paak.

Even though the Recording Academy framed its Sunday (March 7) announcement of 22 performers on the 63rd annual Grammy Awards, set for March 14, as a “full performer lineup,” you had to know they might have a surprise or two up their sleeve.

And sure enough they did. On Tuesday (March 9), Bruno Mars and Anderson .Paak, who as the duo Silk Sonic have a budding hit with the soulful “Leave the Door Open,” announced that they will be joining the lineup.

It was pretty obvious they were going to be added to the line-up on Sunday when Mars, an 11-time Grammy winner who has performed on the Grammy telecast five times, publicly released an appeal to the Academy politely asking them to consider adding Silk Sonic.

Mars’ "appeal" was a model of dry, understated comic writing.

"Dear Grammys, If you can see it in your hearts to allow two out of work musicians to perform at your show, we would really appreciate it. We just released a song and could really use the promotion right now. We have a lot riding on this record (and the Pelicans game next week, but that's another story)."

He promised that Silk Sonic would follow all safety protocols and even joked that they'd be willing to audition for the spot.

"We haven't been able to perform for a while and we just want to sing. We'll send in an audition tape and take as many covid tests as we need to. I promise we won't be extra. We just really want a gig again. I hope you'll consider this request and give us the opportunity to shine."

“Leave the Door Open” was released on March 5 and has already entered Billboard’s Pop Airplay (at No. 35) and Adult Pop Airplay (at No. 37).

In his five previous Grammy telecast performances, Mars has collaborated with such diverse artists as B.o.B and Janelle Monáe (2011, “Nothin’ on You” and “Grenade”); Rihanna, Sting and Damien and Ziggy Marley (2012, a reggae spot that doubled as a tribute to Bob Marley, “Locked Out of Heaven”); The Time (2017, a tribute to Prince); and Cardi B (2018, “Finesse”). He also performed solo on two occasions – “Runaway Baby” (2012) and “That’s What I Like” (2017).

Anderson .Paak has performed on the show once, in 2017, in a spot with A Tribe Called Quest, Busta Rhymes and Consequence in which they performed three A Tribe Called Quest songs.

Anderson .Paak is a three-time Grammy winner who is up for two more awards this year – best melodic rap performance and best music video, both for “Lockdown.” He was a 2016 nominee for best new artist.

- source: billboard

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d-criss-news · 4 years

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Members of the Film & TV Music community, made up of composers, songwriters, music editors, music supervisors, studio executives and more, are contributing their talents to SOUNDTRACK OF OUR LIVES: A CELEBRATION FOR THE FILM & TV MUSIC COMMUNITY, an online benefit event for MusiCares® COVID-19 Relief Fund. This specially produced program debuts June 25th, 2020, at noon pacific on YouTube, and will honor the talented people whose scores and songs transport, inspire, uplift and entertain us by creating the "soundtrack of our lives." The fun, delightful and heartfelt hour-long special will feature leading and iconic singers, composers, songwriters, actors, celebrity guests and others while celebrating glorious Film & TV Music moments with heart and humor. Donations to MusiCares® COVID-19 Relief Fund will be encouraged throughout the show.

"Thousands of music professionals and creators are struggling during this pandemic and remain in desperate need of assistance," says Debbie Carroll, Vice President Health and Human Services MusiCares®. "The continued support from the music community during these turbulent times has been heartwarming and inspiring. The power of music unites us all and gives us hope for better days ahead."

Over 75 film and television composers and songwriters, "From A to Z, Abels to Zimmer," will appear in this program. Collectively, this prestigious group has been nominated for 273 Grammys (with 87 wins), 216 Emmys (with 51 wins) and 136 Oscars (with 34 wins).

Confirmed performers and special guests include Sting, Catherine O'Hara, Ming-Na Wen, Patti LuPone, William Shatner, Elisabeth Moss, "Weird Al" Yankovic, Marla Gibbs, Jane Levy, Mandy Moore, Richard Kind, Alex Newell, Zachary Levi, Paul Reubens, Kiernan Shipka, Harvey Fierstein, Ginnifer Goodwin, Anika Noni Rose, Kasi Lemmons, Ted Danson, Auli'i Cravalho, Darren Criss, Drew Carey, Ray Romano, Holly Hunter, Reba McEntire, Bob Saget, Ken Page, Lucy Lawless, Mary Steenburgen, Dave Coulier, Kevin Smith, Peter Gallagher, Naomi Scott, Annie Potts, Clive Davis, Jodi Benson, Harvey Mason Jr., Susan Egan, Paige O'Hara, John Stamos, Andra Day and Rita Wilson.

Composers and songwriters participating include Michael Abels, Kristen Anderson-Lopez, Angelo Badalamenti, Glen Ballard, Lesley Barber, Nathan Barr, Tyler Bates, Jeff Beal, Marco Beltrami, Alan Bergman, Terence Blanchard, Jongnic Bontemps, Kathryn Bostic, Kris Bowers, Jon Brion, Nicholas Britell, Bruce Broughton, BT, Carter Burwell, Sean Callery, Joshuah Brian Campbell, Lisa Coleman, John Debney, Tan Dun, Fil Eisler, Danny Elfman, Charles Fox, Germaine Franco, Harry Gregson-Williams, Hildur Gudnadóttir, Alex Heffes, Joe Hisaishi, James Newton Howard, Justin Hurwitz, Ashley Irwin, Mark Isham, Steve Jablonsky, Amanda Jones, Laura Karpman, Christopher Lennertz, Joe LoDuca, Robert Lopez, Mark Mancina, Gabriel Mann, Clint Mansell, Dennis McCarthy, Bear McCreary, Alan Menken, Bruce Miller, John Murphy, Starr Parodi, Benj Pasek, Justin Paul, Daniel Pemberton, Michael Penn, Heitor Pereira, Rachel Portman, Mike Post, A. R. Rahman, Tim Rice, Lolita Ritmanis, Dan Romer, Anna Rose, Jeff Russo, Arturo Sandoval, Lalo Schifrin, Marc Shaiman, Teddy Shapiro, Richard M. Sherman, David Shire, Rob Simonsen, Mark Snow, Tamar-kali, Dara Taylor, Pinar Toprak, Brian Tyler, Nick Urata, Benjamin Wallfisch, Diane Warren, Mervyn Warren, Paul Williams, Austin Wintory, Alan Zachary, Geoff Zanelli, Marcelo Zarvos, David Zippel and Hans Zimmer.

Some highlights of the special include:

Members of the Film & TV Music community deliver heartfelt messages of hope, solidarity & encouragement.

"Musicians!" - a humorous musical tribute to the Film & TV Music community featuring Zachary Levi, Patti LuPone, Alex Newell, "Weird Al" Yankovic, Peter Gallagher and Harvey Fierstein.

Tony Award winner and Disney Legend Anika Noni Rose highlights the history of African American composers, songwriters and artists who have contributed to the Film & TV Music industry through the years.

Performers Danny Elfman, Catherine O'Hara, Paul Reubens and Ken Pagereunite to perform a song from the film The Nightmare Before Christmas.

Eight-time Academy Award winning composer Alan Menken performs his timeless song, "A Whole New World," alongside his daughter Anna Rose, introduced by Aladdin (2019) stars Mena Massoud and Naomi Scott.

Stars from beloved animated features step out from behind the microphone to lend their voices to inspirational messages, featuring Irene Bedard, Jodi Benson, Auli'i Cravalho, Holly Hunter, Mandy Moore, Susan Egan, Ginnifer Goodwin, Linda Larkin, Paige O'Hara, Annie Potts, Anika Noni Rose and Ming-Na Wen.

John Stamos hosts "Name That TV Tune!" with celebrity panelists including Elisabeth Moss, Drew Carey, Ray Romano, Eve Plumb, Reba McEntire, Bob Saget, Dave Coulier, Marla Gibbs, Lucy Lawless and Kevin Smith competing to identify famous TV themes.

Zoey's Extraordinary Playlist actor Jane Levy invites us into the dreamworld of her Extraordinary Soundtrack Playlist.

Various performers, including members of the original cast of La La Land, sing a parody version of "Another Day of Sun."

William Shatner explores how different scores can give the same film a different meaning as an exasperated director, played by Richard Kind, leads a composer in multiple directions for a short film starring Kiernan Shipkaand Christian Coppola.

Songwriter Paul Williams performs his classic song "The Rainbow Connection," from The Muppet Movie, joined by various special guests from the Film & TV Music community.

Tony- and Emmy-winner and seven-time Oscar® nominee Marc Shaimanperforms an original song tribute to end title sequences.

MusiCares® COVID-19 Relief Fund was created by MusiCares® to provide support to the music community during the pandemic crisis. The music industry has been essentially shut down with the cancellation of music performances, events, festivals, conferences and the many other live events that are the cornerstone of the shared music experience. Since the fund's establishment in March, over 14,000 clients have been served, with many more still needing help.

Show co-creator Peter Rotter says: "When the pandemic tragically hit our world and began to shut down our film music community, I felt that something needed to be done to help those who were in need of support and care. Through MusiCares® we have found the charitable vehicle that can come alongside our hurting musical family.

"Music has always played a role in history; reflecting both the subtle and monumental moments of our lives through its unique DNA. Music connects each of us, acting as a common thread of unification, opening the hearts of all people.

"Regardless of the color of one's skin, status or station in life, music powerfully breaks through boundaries as its message permeates deep within us; healing our human frailties and condition at our cores. Music is transformative and personal. It powerfully underscores our lives."

"Music has always helped transport, uplift and inspire us through wars, economic hardships, health crises and societal upheavals," says show co-creator, Richard Kraft. "When COVID-19 hit, it threatened the lives and livelihood of much of our Film & TV Music community. So, we decided to create an online special that both celebrates the soundtrack of our lives and benefits, via MusiCares®, the artists who create it."

Starting June 25th at noon pacific, watch the video on Youtube via Rolling Stone, Variety & GRAMMY's channels, as well as on www.soundtracklives.com. Donate at soundtracklives.com now!

#darren criss #broadway world #soundtrack of our lives benefit #press #upcoming events #june 2020

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unicornery · 4 years

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For my own amusement, I started tracking how the songs from the Billboard Hot 100 from this week in 1974 have been used in movie soundtracks. Feature Films only people! As you read, you will see the “gimmes” that made me think of the idea, but I’m putting this behind a cut because there ended up being so many which had a soundtrack match. As a reminder, you can follow along as I do the Hot 100 each week corresponding to which classic AT40 and VJ Big 40 get played on SiriusXM ‘70s on 7 and ‘80s on 8 respectively with my ever-changing Spotify playlist.

100. “Beyond the Blue Horizon” - Lou Christie. This one is a cheat because when I looked it up on Spotify it showed up on the Rain Man soundtrack. The only song I could have told you off the top of my head was in Rain Main is the Belle Stars’ version of “Iko Iko.” Rain Man marked the first soundtrack appearance for Christie’s version.

98. “The Air That I Breathe” - The Hollies. Very memorable appearance in The Virgin Suicides, which had the score done by, wait for it, French electronica duo Air. The song would go on to be heard in other movies.

90. “Billy Don’t Be a Hero” - Bo Donaldson and the Heywoods. The Paper Lace version appears in The Adventures of Priscilla, Queen of the Desert. Both acts topped the charts with the song on opposite sides of the pond: Paper Lace in the UK and Bo Donaldson and the Heywoods in the US. [Update: the BD&H version may be in "To Gillian on Her 37th Birthday"]

87. “Hollywood Swinging” - Kool & the Gang. This oft-sampled track first appeared in a feature film in the 2005 Get Shorty sequel Be Cool.

84. “La Grange” - ZZ Top. Armageddon first, followed by others.

68. “Band on the Run” - Paul McCartney and Wings. I didn’t search for this at first because I didn’t think there would be anything, but then Jet was on the chart at #27, so I did a twofer search on imdb. Jet has not been in any films (save “One Hand Clapping, a rockumentary on Paul, which I don’t count for purposes of this discussion) but “Band on the Run” appears in The Killing Fields, in a shocking scene that contrasts the light tone of the pop song with the horrors of the Khmer Rouge’s executions of Cambodian citizens.

66. “For the Love of Money” - The O’Jays. Has been used many times, according to IMDb the first feature film use was the Richard Pryor roman a clef (if I’m using that right, I only know it from Musings of a Cigarette Smoking Man) Jo Jo Dancer, Your Life Is Calling.

59. “Rock Around the Clock” - Bill Haley and his Comets. Notably used in Blackboard Jungle, the song is on this 1974 chart for its appearance in American Graffiti.

55. “Rock and Roll, Hoochie Koo” - Rick Derringer. First one that comes to mind is Dazed and Confused bc I had that soundtrack, but it has been in others.

49. “Love’s Theme” - the Love Unlimited Orchestra. The swirling strings of this song indicate that someone is indeed falling in love. That’s my way of saying, if you think you haven’t heard this, you have. Imdb has it in Mean Girls, among others.

47. “The Way We Were” - Barbra Streisand. The titular song of the 1973 film The Way We Were, starring Barbra and Robert Redford. A little long, but worth a watch bc Barbra is amazing in it. At the 1974 Academy Awards, Marvin Hamslich won Best Original Song honors for this tune, and was awarded Best Original Dramatic Score for his other musical work on the film. I always think of Lisa Loopner’s big crush on him.

44. “Don’t You Worry ‘Bout a Thing” - Stevie Wonder. First feature film usage was the 1998 Eddie Murphy flop Holy Man, which surprised me as it’s such a good song, you’d think it would have been in something earlier. Notable given Eddie’s impression of Stevie Wonder he performed on SNL!

42. “Rock On” - David Essex. Michael Damian’s cover (or remix as described by Patton Oswalt) was recorded for the 1989 2 Coreys classic Dream a Little Dream, and per imdb, David Essex’s original appears in the alternate-history comedy Dick, from 1999.

37. “Oh Very Young” - Cat Stevens/Yusef Islam. Surprisingly, this sweet song appears in the gross-out bowling comedy Kingpin.

36. “Jungle Boogie” - Kool & the Gang. This song may have been used in the most films and tv shows of any I’ve researched so far, but its first appearance was in Pulp Fiction.

34. “The Payback - Part 1” - James Brown. First feature film appearance was in 1995′s Dead Presidents. A different James Brown track appears on the soundtrack for racist-ass Melly Gibson’s Payback from 1999.

33. “Help Me” - Joni Mitchell. Another why’d-it-take-ya-so-long shocker, this mellow tune first appeared in the 2018 sci-fi movie Kin, narrowly beating Welcome to Marwen from 2019.

31. “The Entertainer” - Marvin Hamlisch. The title theme from the Redford/Newman team-up The Sting. Hamlisch won a record-tying third Academy Award in 1974 for Best Original Score for The Sting. It seems at this time Best Original Score and Best Original Dramatic Score were separate categories. Hamlisch would win Grammys for both this and “The Way We Were,” eventually becoming an EGOT winner in 1995.

30. “Eres Tú” - Mocedades. This Spanish Eurovision entry notably appears in the buddy comedy Tommy Boy when Chris Farley and David Spade’s characters sing along with the radio.

28. “Midnight at the Oasis” - Maria Muldaur. Catherine O’Hara and Fred Willard perform their own rendition in the Christopher Guest film Waiting for Guffman. That should be all you need, but imdb has the first film appearance for the song as 1995′s Falcon and the Snowman.

24. “Let it Ride” - Bachman-Turner Overdrive. This lesser-known but not less great BTO jam has appeared in a handful of films, the first being Ash Wednesday, starring Elijah Wood and directed by Edward Burns and not Garry Marshall. Note: it does not seem to be in the Richard Dreyfuss gambling movie Let It Ride, a classic VHS cover of my youth.

18. “Mockingbird” - James Taylor and Carly Simon. Memorably performed by Harry and Lloyd in the dog van in Dumb and Dumber, later joined by a Latinx family on guitar and vocals. Before that, Beverly D’Angelo and Chevy Chase’s characters also sang it on their road trip in National Lampoon’s Vacation. I couldn’t find an instance where James and Carly’s version played in a movie but I am sayin’ there’s a chance. That it could be someday.

16. “Tubular Bells” - Mike Oldfield. This instrumental is best known for being the theme to The Exorcist, but I was surprised to learn from the Wiki entry that it was not written for the film. Tubular Bells or something that’s meant to sound like it has been in a ton of other things, generally uncredited. Of note: Mike Oldfield would go on to do the score for The Killing Fields.

14. “Seasons in the Sun” - Terry Jacks. Now here is the type of song that ‘70s haters point to as an example of the whiny wuss rock that they feel over-dominated the era. It’s not one of my favorites but I appreciate it for how weird it is. I suppose being translated into English from a French/Belgian poem will do that to ya. Before I did my search, I imagined I would find it in a Farrelly Brothers movie or two, possibly the Anchorman sequel. However, the only feature film match I found was the 2002 indie flick Cherish, a movie I have never seen despite being confronted by the cover many times at rental places over the years. Before today, when I watched the trailer, I would have told you it starred Jennifer Love Hewitt and was about “a band trying to make it.” It turns out I am thinking of the 1999 film The Suburbans. Anyway Cherish seems aggressively indie and very of-its-time in a way that makes me want to watch it.

13. “Dancing Machine” - The Jackson 5. The song appears in the Blaxploitation spoof I’m Gonna Git You Sucka, as well as the movie of Starsky & Hutch.

11. “Lookin’ For A Love” - Bobby Womack. This was in the movie of The Ladies Man starring Tim Meadows as his SNL character Leon Phelps. I almost skipped this one but I’m glad I didn’t because Tim Meadows rules.

8. “The Loco-Motion” - Grand Funk Railroad (the single and album it was on are credited to Grand Funk). We have our second song from the Kirsten Dunst/Michelle Williams movie Dick. Since that was satirizing Nixon and Watergate, well done to the filmmakers for including these 1974 hits! It appeared in one earlier film, My Girl 2.

5. “Come and Get Your Love” - Redbone. Known to modern listeners for appearing in Guardians of the Galaxy. [Sidebar: if you can find a way to listen to the With Special Guest Lauren Lapkus episode T.G.I.G.O.T.G.OST (Thank God It’s the Guardians of the Galaxy Original Soundtrack) with Sean Clements and Hayes Davenport, do it!] The song first appeared in Dance Me Outside, a Canadian film about First Nations youth, which is a cool parallel with Redbone being composed of Native American musicians. “Come and Get Your Love” is also in Dick!

4. “Best Thing That Ever Happened To Me” - Gladys Knight & the Pips. Another SNL feature pops up on our list, 1994′s It’s Pat: The Movie.

3. “Hooked on a Feeling” - Blue Swede. ALSO known to modern listeners as being from the GOTG, but possibly only in the trailer? I’m fuzzy. The song ALSO also appears in Dick, and its first feature film appearance was Reservoir Dogs.

2. “Bennie and the Jets” - Elton John. You know it, you love it, you cackle at the gag in Mystery Team. IMDb has this song down as first appearing in the low budget feature Aloha, Bobby and Rose, from 1975. It is ALSO in My Girl 2, with proper credit for Sir Elton.

1. “TSOP (The Sound of Philadelphia)” - MFSB featuring The Three Degrees. IMDb says this appeared in the Al Pacino film Carlito’s Way, and I have no reason to doubt them because it means we are done! Thanks for readin’ and rockin’ along.

#AT40 #1970s music #movie soundtrack #Billboard hot 100

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nerdmars · 4 years

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The 2018 Grammys, which was held in New York City for the first time in 15 years to celebrate their 60th year, featured powerful performances from a host of artists and bands, including U2 (who performed outside, with the Statue of Liberty visible behind them), as well as Lady Gaga, Elton John (with Miley Cyrus), Sting, Kesha, and more.

Bruno brought down the house with a joyfully chromatic and high-energy performance of “Finesse,” evoking his beloved spirits of ’90s music and his own remarkable onstage moves. A songwriter and musician who has long honored his roots, his acceptance speeches were remarkable for their gracious recognition of those musical heroes who shaped his life.

“First off,” he began upon accepting the Grammy for Best Album, “to the other nominees in this category — Lorde, Kung Fu Kenny, Jay-Z, Gambino — you guys are the reason why I’m in the studio pulling my hair out, man, because I know you’re gonna only come with top-shelf artistry and music. Thank you guys for blessing the world with your music.”

Then, in another show of genuine gratitude for his own musical heroes, he urged the producers first to let him finish (“Don’t cut me off, Grammys, please!”), before relating a story of being a 15-year old in Hawaii entertaining big crowds of tourists. With no false humility, and to much laughter he said, “I’ll be honest; I was incredible at 15.”

But, as he explained, it was all about the timeless power of those songs he chose to perform then, songs which inspired him to become an artist and have sustained him to this day:

“Later in life.” he said, “I found out that those songs were written either by Babyface, Jimmy Jam/Terry Lewis or Teddy Riley. And with those songs, I remember seeing it first-hand: people dancing that had never met each other from two sides of the globe, people toasting each other, celebrating together. All I wanted to do with this album was that.”

By that, Bruno means capturing the spirit of genuine joy in the studio – and in the writing of the song – something which, as all songwriters know, cannot be faked.

“Those songs,” he said of the classic ’90s records on which he was raised, “were written with nothing but joy and for one reason and one reason only: love. And hopefully I could feel that again, and see everybody dancing and everybody moving. I’d like to dedicate this award to them. They are my heroes, they are my teachers. They laid the foundation. This album wouldn’t exist if it wasn’t for these guys that had written these songs. Sure, I had to sprinkle a little Mars sauce on them. This is for them.”

His love of ’90s hip-hop and gratitude for those artists who made it has been a constant through the few interviews he gave about 24 K Magic.

“Obviously, you hear these ’90s influences in the whole album,” he said to Beats 1. “That’s because of West Coast Hip-Hop. That’s because of Dr. Dre and DJ Quik and Suga Free. This is what we grew up on. It was at a time when it was okay to party. It was okay to be flashy.”

To capture that celebratory vibe in the studio and inject it directly into the heart of his tracks, he brought together two teams of writer-producers, and like Michael Jackson in the studio, showed exactly the dynamics and groove he required by dancing. Merging his own songwriting-production team the Smeezingtons (Bruno, Brody Brown, James Fauntleroy and Philip Lawrence) with old friends the Stereotypes (Ray Charles “Charm” McCullough II, Jeremy Reeves, Ray Romulus and Jonathan Yip) he crafted this joyful, dimensional album.

Even after completing the writing and production of a song, as he had with Song of the Year winner “That’s What I Like,” he’d invite his pals to focus completely on the groove, shifting and fine-tuning it until it had that precise ingredient of danceable joy that Bruno wanted.

“Bruno would have the general outline of the song,” said Jonathan Yip of The Stereotypes, “and said ‘I need to get that bounce.’”

As Charm explained, “That’s What I Like” has a slow tempo, but is in danceable double-time, so that “you bounce twice to it. We love slower tempos. You can body-roll to it. We didn’t change the tempo at all, but we added those in between beats, which made it modern. These days the drums lead.”

As musical joy can be captured but not contrived, Bruno and the gang made the recording process, and the studio set-up itself, as conducive as possible to musical fun. “We were like kids on a playground,” said Yip, “with all these instruments laying around. It took all of us. None of us could have done it by ourselves. Everything we did we did together. It’s the result of friends having a great time in the studio.”

To get the party started, Bruno played everyone the songs he had already recorded.”It was very nostalgic,” said Yip, “and heavily drenched with ’90s influence, which is my favorite era. [Bruno] said he wanted to make an album that people could dance to, with music that made him feel like when he was back at school dances. He told us he wanted something with the New Jack Swing feel, so we started vibing out until we all felt we had something.

To connect with the authentic sound they wanted, Bruno and his engineer Charles Moniz filled the studio with those instruments used back in the day.

“We were all transported back,” said Ray Romulus. “They got the actual keyboards from the era we all loved. Bruno’s no less hands-on than MJ. He’ll be dancing, and then the next second he’s on the keyboard. To me, he is almost the reincarnation of Michael Jackson, and he made us feel like Quincy.”

As Moniz recalled, Bruno was always receptive to any ideas about how to improve the music, never clinging to ideas that went nowhere. “He has the ability to look at his own work objectively,” Moniz said, “and that plays a huge role in it all. If you’re trying to get people on the dance floor, but the song doesn’t make you want to dance, you’re going to have to make some changes. He’s never afraid to make changes and no idea is ever too precious.”

The lyrics came from Bruno. “All that about the Cadillacs and champagne,” Romulus said, “that’s how Bruno is. He’s giving you a day in the life.”

In the end, Bruno said to Beats 1, it’s all about the music. All this attention on him and his own life is fine. But without the authentic joy of music at the center of everything, none of it matters.

“I hope that my music does the talking,” he said. “I just want to do music. I don’t want to be known for any …. scandals or controversy. I want to be the guy that brings joy to your life through his music. That’s it. And I want to go home.

In addition to winning the three major awards, Bruno also received Grammys for Best R&B Song, for “That’s What I Like,” given to all of its songwriters, Bruno, Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip. He also won for Best R&B Performance and Best R&B Album.

#bruno mars #article #bruno mars article #2018 #grammys #that’s what i like

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brn1029 · 2 years

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Time for today’s Rock Report, brought to you by Meriwether’s bistro! swing by for, breakfast, brunch lunch or dinner at Meriwether’s Bistro inside Hells Canyon Grand Hotel in Lewiston.

Are you newly engaged? Give Sarah a call at Hells Canyon Grand Hotel! Sarah and her team can take the stress out of wedding planning. Call 2 0 8 7 4 8 1 0 5 7 to set up a meeting.

The Hollywood Chamber of Commerce has announced the list of artists who will be receive stars on the Hollywood Walk of Fame in 2023. Half of the 24 honorees are from the music industry. Marc Anthony, Irving Azoff, Jonas Brothers, Sheila E., Lenny Kravitz, Jenni Rivera, Blake Shelton and Charlie Wilson have been named in the recording category. Singer Jenni Rivera is set to be honored posthumously. Ludacris, who is named in the category of motion pictures, is well known for music. Lang Lang, Melba Moore and Pentatonix, who have been named in the category of live theatre/live performance are music notables as well. "We can't wait to celebrate them as they become part of Hollywood's history with the unveiling of their star on the world's most famous walkway," chair and iHeartRadio host Ellen K, said in a statement. Hollywood Walk of Fame inductees are chosen by a panel of the Hollywood Chamber of Commerce from hundreds of submissions approved by the nominees or their reps. The honoree must agree to attend an unveiling ceremony within two years - typically timed to coincide with promotion of a new project.

Sting has released a Super Deluxe version of his fifteenth studio album The Bridge featuring live recordings from a private concert he performed at the Panthéon in Paris. The Bridge, released in 2021, showcases the 17-time Grammy Award winner's prolific and diverse songwriting prowess, with an array of songs representing styles and genres explored throughout his unrivalled career. The eclectic collection, written and recorded in the early stages of the pandemic, was produced by Martin Kierszenbaum.

English rock guitarist Jeff Beck and actor Johnny Depp have released a cover of The Velvet Underground's "Venus in Furs." The song is the latest track from the pair's forthcoming joint album, 18, due July 15.

"Venus in Furs" was written by Lou Reed and originally released on the 1967 album The Velvet Underground & Nico. Inspired by the book of the same name by Leopold von Sacher-Masoch, the song includes sexual themes of sadomasochism, bondage and submission. Beck and Depp met each other in 2016 and quickly became friends. In time, Beck found about Depp's songwriting skills and interest in music. Beck wanted to make an album together. Depp agreed and they started in 2019. Over the next three years, they recorded a mix of Depp originals along with a wide range of covers. 18 will be available on CD and digitally, with a 180-gram black vinyl version coming on September 30. The cover features an illustration of Beck and Depp as 18-year-olds that was drawn and designed by Beck's wife, Sandra.

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boomaudioapp · 5 years

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A “Boomified” Congrats to All the Grammy Award Winners!

The biggest night in music, the 61stAnnual Grammy Awards have surely struck a chord with the music enthusiasts. The nominations for the awards were announced on February 10 morning in all 84 categories, with respect to the best recordings that were released between October 1, 2017 and September 30, 2018.

Boom wishes big hearty congratulations to the artists who have won the most prestigious awards in the music industry.

Here are the winners in each category. Listen to them with Boom on your Mac, iOS, Windows, or Android device to enjoy the true richness of music.

Album of the Year

Kacey Musgraves - Golden Hour

Record of the Year

Childish Gambino - This Is America

Best New Artist

Dua Lipa

Best Rap Album

Cardi B - Invasion of Privacy

Best R&B Album

H.E.R. - H.E.R.

Best Rap Song

Drake - God’s Plan

Song of the Year

Childish Gambino - This Is America

Best Pop Duo/Group Performance

Lady Gaga and Bradley Cooper - Shallow

Producer of the Year, Non - Classical

Pharrell Williams

Best Rap/Sung Performance

Childish Gambino - This Is America

Best Rap Performance (Tie)

Kendrick Lamar, Jay Rock, Future, & James Blake - King’s Dead

Anderson .Paak - Bubblin

Best Rock Album

Greta Van Fleet - From the Fires

Best Rock Song

St. Vincent - Masseduction

Best Metal Performance

High on Fire - Electric Messiah

Best Rock Performance

Chris Cornell - When Bad Does Good

Best Urban Contemporary Album

The Carters - Everything Is Love

Best R&B Song

Ella Mai - Boo’d Up

Best Traditional R&B Performance (Tie)

Leon Bridges - Bet Ain’t Worth the Hand

PJ Morton - How Deep Is Your Love [ft. Yebba]

Best R&B Performance

H.E.R. - Best Part [ft. Daniel Caesar]

Best Latin Jazz Album

Dafnis Prieto Big Band - Back to the Sunset

Best Large Jazz Ensemble Album

John Daversa Big Band - American Dreamers: Voices of Hope, Music of Freedom

Best Jazz Instrumental Album

The Wayne Shorter Quartet - Emanon

Best Jazz Vocal Album

Cécile McLorin Salvant - The Window

Best Improvised Jazz Solo

John Daversa - Don’t Fence Me In

Best Reggae Album

Sting & Shaggy - 44/876

Best Dance/Electronic Album

Justice - Woman Worldwide

Best Dance Recording

Silk City & Dua Lipa - Electricity [ft. Diplo and Mark Ronson]

Best Contemporary Classical Composition

Kernis - Violin Concerto

Best Classical Compendium

Fuchs - Piano Concerto Spiritualist

Best Classical Solo Vocal Album

Monteverdi - Songs of Orpheus

Best Classical Instrumental Solo

Kernis - Violin Concerto

Chamber Music/Small Ensemble Performance

Laurie Anderson - Landfall

Best Choral Performance

McLoskey - Zealot Canticles

Best Opera Recording

Bates - The (R)evolution of Steve Jobs

Best Orchestral Performance

Shostakovich - Symphonies Nos. 4 & 11

Producer of the Year, Classical

Blanton Alspaugh

Best Engineered Album, Classical

Shostakovich - Symphonies Nos. 4 & 11

Best Pop Vocal Album

Ariana Grande - Sweetener

Best Traditional Pop Vocal Album

Willie Nelson - My Way

Best Pop Solo Performance

Lady Gaga - Joanne (Where Do You Think You’re Goin’?)

Best Country Song

Kacey Musgraves - Space Cowboy

Best Country Duo/Group Performance

Dan & Shay - Tequila

Best Country Solo Performance

Kacey Musgraves - Butterflies

Best Music Film

Quincy Jones - Quincy

Best Music Video

Childish Gambino - This Is America

Best Regional Roots Music Album

Kalani Pe’a - No ’Ane’i

Best Tropical Latin Album

Spanish Harlem Orchestra - Anniversary

Best Regional Mexican Music Album

Luis Miguel - ¡México Por Siempre!

Best Latin Rock, Urban or Alternative Album

Zoe - Aztlán

Best Latin Pop Album

Claudia Brant - Sincera

Best Spoken Word Album

Jimmy Carter - Faith: A Journey for All

Best Children’s Album

Lucy Kalantari & The Jazz Cats - All the Sounds

Best Folk Album

Punch Brothers - All Ashore

Best Contemporary Blues Album

Fantastic Negrito - Please Don’t Be Dead

Best Traditional Blues Album

Buddy Guy - The Blues Is Alive and Well

Best Bluegrass Album

The Travelin’ McCourys - The Travelin’ McCourys

Best Americana Album

Brandi Carlile - By the Way, I Forgive You

Best American Roots Song

Brandi Carlile - The Joke

Best American Roots Performance

Brandi Carlile - The Joke

Best New Age Album

Opium Moon - Opium Moon

Best Song Written for Visual Media

Lady Gaga & Bradley Cooper - Shallow

Best Score Soundtrack for Visual Media

Ludwig Göransson - Black Panther

Best Compilation Soundtrack for Visual Media

The Greatest Showman

Best World Music Album

Soweto Gospel Choir - Freedom

Best Roots Gospel Album

Jason Crabb - Unexpected

Best Contemporary Christian Music Album

Lauren Daigle - Look Up Child

Best Gospel Album

Tori Kelly - Hiding Place

Best Contemporary Christian Music Performance/Song

Lauren Daigle - You Say

Best Gospel Performance/Song

Tori Kelly Featuring Kirk Franklin - Never Alone

Best Contemporary Instrumental Album

Steve Gadd Band - Steve Gadd Band

Best Immersive Audio Album

Eye in the Sky: 35th Anniversary Edition

Best Remixed Recording

HAIM - Walking Away (Mura Masa remix)

Best Engineered Album, Non-Classical

Beck - Colors

Best Historical Album

Various Artists - Voices Of Mississippi: Artists And Musicians Documented By William Ferris

Best Album Notes

Various Artists - Voices Of Mississippi: Artists And Musicians Documented By William Ferris (David Evans)

Best Boxed or Special Limited Edition Package

“Weird Al” Yankovic - Squeeze Box: The Complete Works Of “Weird Al” Yankovic

Best Recording Package

St. Vincent - Masseduction

Best Arrangement, Insruments and Vocals

Randy Waldman Featuring Take 6 & Chris Potter - Spiderman Theme

Best Arrangement, Instrumental or a Capella

John Daversa Big Band Featuring DACA Artists - Stars and Stripes Forever

Best Instrumental Composition

Terence Blanchard - Blut Und Boden (Blood And Soil)

Best Alternative Music Album

Beck - Colors

Best Musical Theater Album

The Band’s Visit

Best Comedy Album

Dave Chappelle - Equanimity & the Bird Revelatio

#grammys #grammyawardwinner #grammy2019 #boom #boomapp #feelyourmusic

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