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Rock And Roll Over: Music, Legacy And Mortality

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Rock And Roll Over: Music, Legacy And Mortality

For Prince, David Bowie and Lemmy Kilmister's boomer and Gen X fans, an artist's legacy and musical footprint live on long after death

GRAMMYs/Aug 12, 2016 - 04:12 am

The last 15 months have been an unfortunate harbinger of what to expect in music in the next decade or so, starting with the death of King of the Blues B.B. King, then heavy metal god Lemmy Kilmister, R&B diva Natalie Cole, country/rock pioneer Glenn Frey, soul legend Maurice White, country icon Merle Haggard, and a 57-year-old Prince, among others. As Pete Townshend, who once declared, "Hope I die before I get old," might put it, "Who's next?"

Perhaps the first shocking "rock star" fatality was that of country pioneer Hank Williams, who suffered a heart attack in the back seat of his Cadillac at age 29 in the early hours of Jan. 1, 1953, while being driven to his next gig. The news sent sales of Williams' final single, the ironically titled "I'll Never Get Out Of This World Alive," to No. 1 on Billboard's Country Singles chart less than a week later.  

Some 63 years later, on Jan. 10, 2016, David Bowie died after a lengthy bout with cancer that had been kept from all but his closest family members and friends, just two days after the release of his new album, Blackstar. On Jan. 7, a mere 24 hours before the album's release, Bowie debuted the appearance of the eerie, fatalistic music video for "Lazarus," which made clear the chameleon performer was readying to shuffle off not just his latest guise, but the mortal coil itself. Like Williams, Bowie's death spurred his own first-ever chart-topping album, and unleashed a torrent of tributes and memorials to the fallen glam icon.

Similarly, Lou Reed (on his 1992 meditation on death, Magic And Loss), Warren Zevon (with his final album, The Wind, which contained a version of Bob Dylan's "Knockin' On Heaven's Door") and Johnny Cash (who covered standards such as "Ain't No Grave" and "Can't Help But Wonder Where I'm Bound" on his posthumous Rick Rubin-produced American VI: Ain't No Grave) all released albums in their later years that pondered imminent mortality. Listening to these songs, knowing their creators are no longer with us, gives the odd sensation of hearing them speak from beyond the grave — a final parting gift, keeping their spirits, if not their corporeal beings, alive for subsequent generations.

With the specter of this fall's Desert Trip — dubbed "Oldchella" by cynics — the true last waltz for boomers has resulted in reported $14 million paydays for Dylan, Paul McCartney, the Rolling Stones, Neil Young, the Who, and Roger Waters, with a pair of sold-out three-day October weekends in Indio, Calif., offering a pilgrimage to Mecca and perhaps a final farewell to rock's halcyon heyday.

There are many factors at work that impact this seeming parade of passing icons — from the inevitable aging of the audience that grew up on rock and roll and its media-spawned personalities to today's proliferation of internet coverage spreading the word — but the sobering bottom line is the next decade or so will exhibit more of the same, both expected and surprising.

Meanwhile, for the massive recording and live concert industries, which have been built on the back of these all-too-mortal stars and the legacies (not to mention the music) they leave behind, is there life after death?

Jeff Jampol's JAM Inc. has forged a successful business from handling the estates of deceased artists, including pioneers such as Muddy Waters and Otis Redding, '60s stalwarts the Doors and Janis Joplin, reggae star Peter Tosh and funkmeister Rick James, all the way to grunge-punk icons Kurt Cobain and the Ramones. In Jampol's world, brands will always outlive bands, just as John Branca and John McClain have managed to turn the Michael Jackson estate into a lucrative property by maximizing assets, including selling its share of Sony/ATV Music Publishing for $750 million earlier this year, with estimates of its post-death earnings at $2 billion.

For Jampol, preserving these legacies for future generations is his primary goal. "Who knew rock and roll would even last long enough to create estates?" he asks. "The younger audience is who we're after, and not just their ears, but their eyes, hearts, minds, and souls. That's why I want to expose my clients' art and brand to them in a way that's authentic and credible."

Similarly, reacting to the void in the concert business created by the potential death of some of its most lucrative attractions, industry veteran Abbey Konowitch, who has worked his marketing magic at Arista Records, MTV, Maverick Records, and Disney, has developed, with GRAMMY-winning producer Rob Cavallo, among others, a concept dubbed RockmaniaLive! The live event offers state-of-the-art theatrical recreations of classic rock albums by a band with a symphony orchestra, resulting in a combination of Cirque du Soleil, the Boston Pops and the Fab Faux.

"Albums like Houses Of The Holy, The Dark Side Of The Moon and Goodbye Yellow Brick Road have become global cultural brands, have built the largest touring business in history, have generated billions of dollars in merchandise, ticket and album sales," says Konowitch. "[RockmaniaLive!] is an opportunity for classic rock fans to continue to experience the 'soundtrack of their lives' and share it with their whole family in a unique, multimedia way."

But not all legacy artists are whistling past their graves, nor are they mourning the past. In his March 2014 article "Stay Forever Young: Deconstructing The Rock Star Myth," Psychology Today's Dr. Michael Friedman wrote: "Far from life being over at 30, aging rockers are having an absolute blast into their 40s, 50s, 60s, and even 70s, finding ongoing success in their music."

Some artists, such as 74-year-old Paul Simon, are arguably producing their best work at this advanced age. The GRAMMY winner's new album, Stranger To Stranger, has more than its fair share of meditations on mortality: "The fact is most obits are mixed reviews," he sings in "The Werewolf," a song about a mythical angel of death. ("Life is a lottery/A lot of people lose.")

The fact is old age can also bring hard-earned wisdom — not to mention Simon's way of incorporating elements of Brazilian, Afro-pop, folk, reggae, and experimental percussive and rhythmic elements from his entire career to bear in his latest.

"I do think about retirement," he confessed to Rolling Stone. "But I just don't know. Philip Glass is one of my role models and he just keeps going. He said to me, 'If you don't do it, who will write a Paul Simon song?'"

If the death of legacy music icons is cause to ponder our own short time on earth, the acknowledgement that rock and roll will never die is also, somehow, a comfort.

"These guys were my heroes," concludes Jampol, who recalled his own spiritual awakening seeing Bowie perform at the Santa Monica Civic Auditorium in 1972 as a "short, nonathletic Jewish weirdo."

"When he sang, 'You're not alone,' in 'Rock 'N' Roll Suicide,' I immediately felt part of this community of outsiders. I cried for three days when he died," says Jampol.

"My goal was to create something that helps preserve and make contemporary this art, these messages, that connection. Individuals may come and go, but the legacy, the passion, lives on."

(Roy Trakin is currently a senior news editor at All Access, a past contributor to a number of legendary rock magazines [remember those?] and a die-hard Cantonese Chinese food fanatic [love crispy noodles, duck sauce and hot mustard].)

Who Is Rhiannon Giddens? 3 Things To Know About The Banjoist & Violist On Beyoncé’s "Texas Hold ‘Em"
Rhiannon Giddens

Photo: Ebru Yildiz

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Who Is Rhiannon Giddens? 3 Things To Know About The Banjoist & Violist On Beyoncé’s "Texas Hold ‘Em"

Rhiannon Giddens has been esteemed in various folk circles for years — and her appearance on Beyoncé’s "TEXAS HOLD ‘EM" just broke her into the mainstream. Here are three things to know about the eclectic singer, songwriter and multi-instrumentalist.

GRAMMYs/Feb 13, 2024 - 06:40 pm

After the club-storming Renaissance, its Act II begins with an unexpected sound: a burble of banjo, later joined by flowing viola. Welcome to "TEXAS HOLD ‘EM," one of two advance singles from Beyoncé’s forthcoming album, along with "16 CARRIAGES."

Beyoncé’s recently announced Act II promises to be an immersion into country music — which is both a fresh aesthetic and one deeply rooted to her Texan upbringing. The 32-time GRAMMY Winner has spoken about the "overlooked history of the American Black cowboy" and nodded to the culture with a Western getup at the 2024 GRAMMYs.

All of this is a completely natural fit for Rhiannon Giddens, who played said fiddle and viola on "TEXAS HOLD ‘EM."

"The beginning is a solo riff on my minstrel banjo — and my only hope is that it might lead a few more intrepid folks into the exciting history of the banjo," Giddens explained on Instagram. "I used to say many times as soon as Beyoncé puts the banjo on a track my job is done.

"Well, I didn’t expect the banjo to be mine," she continued. "And I know darn well my job isn’t done, but today is a pretty good day."

The "job" defines Giddens. Sure, she may be completely new to certain contingents of the Beyhive, but the two-time GRAMMY winner and 10-time nominee’s been on the scene for almost two decades.

Since making her mark with the Carolina Chocolate Drops in the mid-aughts, Giddens has forged a singular legacy. She’s not only a purveyor of traditional musics, but as an investigator of the racial and cultural cross-currents that forged our modern-day understanding — and misunderstanding — of Americana.

At the 2024 GRAMMYs, Giddons was nominated for two golden gramophones — for Best Americana Album (You’re the One) and Best American Roots Performance ("You Louisiana Man"). You’re the One was her first album of all-original material; in that regard, these noms show that a new, exciting chapter for Giddens is just beginning.

Here are five things to know about the artist who just played "TEXAS HOLD ‘EM" with Queen Bee.

Her Interrogation Of Black Music History Is Indispensable

Giddens has worked in a diverse array of fields, including opera, documentary, ballet, podcasting, and more. Her mission? To explore "difficult and unknown chapters of American history" through musical lenses, like the evolution of the banjo from Africa to Appalachia.

"In order to understand the history of the banjo, and the history of bluegrass music, we need to move beyond the narrative we've inherited," she’s stated. Elsewhere, she noted, "People seem ready for a more in-depth idea of folk music, culture and history.

Which extends beyond merely other people’s stories — but to her own.

…And It Led Directly To You’re The One

Speaking to GRAMMY.com about her GRAMMY-nominated first album of original material, Giddens was quick to note that "autobiography" doesn’t hit the mark.

"It doesn't express how I feel… they're still songs, and it's still a performance," Giddens said. "I'd say I'm drawing a little bit more from my experience, but I had to draw from my experience to write other people's stories.

"There's emotions that I feel that I then translate into these other stories," she added, "so I don't think this record is completely different from that."

She’s Made Killer Appearances With Paul Simon

Paul Simon’s ended his touring years, but he does make sporadic appearances, including at 2022’s "Homeward Bound: A GRAMMY Salute to the Songs of Paul Simon."

There, they performed a version of his epochal "American Tune," where he changed the words in nuanced ways as relates to the American origin story — and he enlisted Giddens to sing it with him.

"He didn't have to do nothing but sit back and collect his checks," Giddens told GRAMMY.com. "He made a statement with that song, and I don't want to take that away from him. I didn't change those words; he changed those words."

Where will Giddens go from her star turn with Bey? Wherever it might be, we’ll feel — and learn — something profound, one banjo strum at a time.

On You’re The One, Rhiannon Giddens’ Craft Finds A Natural Outgrowth: Songwriting

GRAMMY Rewind: Lizzo Thanks Prince For His Influence After "About Damn Time" Wins Record Of The Year In 2023
Lizzo at the 2023 GRAMMYs

Photo: Kevin Mazur/Getty Images for The Recording Academy

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GRAMMY Rewind: Lizzo Thanks Prince For His Influence After "About Damn Time" Wins Record Of The Year In 2023

Watch Lizzo describe how Prince’s empowering sound led her to “dedicate my life to positive music” during her Record Of The Year acceptance speech for “About Damn Time” at the 2023 GRAMMYs.

GRAMMYs/Jan 19, 2024 - 06:00 pm

Since the start of her career, four-time GRAMMY winner Lizzo has been making music that radiates positive energy. Her Record Of The Year win for "About Damn Time" at the 2023 GRAMMYs proved that being true to yourself and kind to one another always wins.

Travel back to revisit the moment Lizzo won her award in the coveted category in this episode of GRAMMY Rewind. 

"Um, huh?" Lizzo exclaimed at the start of her acceptance speech. "Let me tell you something. Me and Adele are having a good time, just enjoying ourselves and rooting for our friends. So, this is an amazing night. This is so unexpected."

Lizzo kicked off her GRAMMY acceptance speech by acknowledging Prince's influence on her sound. "When we lost Prince, I decided to dedicate my life to making positive music," she said. "This was at a time when positive music and feel-good music wasn't mainstream at that point and I felt very misunderstood. I felt on the outside looking in. But I stayed true to myself because I wanted to make the world a better place so I had to be that change."

As tracks like "Good as Hell" and "Truth Hurts" scaled the charts, she noticed more body positivity and self-love anthems from other artists. "I'm just so proud to be a part of it," she cheered.

Most importantly, Lizzo credited staying true to herself despite the pushback for her win. "I promise that you will attract people in your life who believe in you and support you," she said in front of a tearful audience that included Beyoncé and Taylor Swift in standing ovation, before giving a shout-out to her team, family, partner and producers on the record, Blake Slatkin and Ricky Reed

Watch the video above for Lizzo's complete acceptance speech for Record Of The Year at the 2023 GRAMMYs. Check back to GRAMMY.com for more new episodes of GRAMMY Rewind, and be sure to tune into the 2024 GRAMMYs on Sunday, Feb. 4, airing live on the CBS Television Network (8-11:30 p.m. LIVE ET/5-8:30 p.m. LIVE PT) and streaming on Paramount+ (live and on-demand for Paramount+ with SHOWTIME subscribers, or on-demand for Paramount+ Essential subscribers the day after the special airs).

10 Must-See Moments From The 2023 GRAMMYs

21 Albums Turning 50 In 2024: 'Diamond Dogs,' 'Jolene,' 'Natty Dread' & More

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21 Albums Turning 50 In 2024: 'Diamond Dogs,' 'Jolene,' 'Natty Dread' & More

Dozens of albums were released in 1974 and, 50 years later, continue to stand the test of time. GRAMMY.com reflects on 21 records that demand another look and are guaranteed to hook first-time listeners.

GRAMMYs/Jan 5, 2024 - 04:08 pm

Despite claims by surveyed CNN readers, 1974 was not a year marked by bad music. The Ramones played their first gig. ABBA won Eurovision with the earworm "Waterloo," which became an international hit and launched the Swedes to stardom. Those 365 days were marked by chart-topping debuts, British bangers and prog-rock dystopian masterpieces. Disenchantment, southern pride, pencil thin mustaches and tongue-in-cheek warnings to "not eat yellow snow" filled the soundwaves.  

1974 was defined by uncertainty and chaos following a prolonged period of crisis. The ongoing OPEC oil embargo and the resulting energy shortage caused skyrocketing inflation, exacerbating the national turmoil that preceded President Nixon’s resignation following the Watergate scandal. Other major events also shaped the zeitgeist: Stephen King published his first novel, Carrie, Muhammad Ali and George Foreman slugged it out for the heavyweight title at "The Rumble in the Jungle," and People Magazine published its first issue. 

Musicians reflected a general malaise. Themes of imprisonment, disillusionment and depression — delivered with sardonic wit and sarcasm — found their way on many of the records released that year. The mood reflects a few of the many reasons these artistic works still resonate.  

From reggae to rock, cosmic country to folk fused with jazz, to the introduction of a new Afro-Trinidadian music style, take a trip back 18,262 days to recall 20 albums celebrating their 50th anniversaries in 2024. 

Joni Mitchell - Court & Spark

Joni Mitchell’s Court & Spark is often hailed as the pinnacle of her artistic career and highlights the singer/songwriter’s growing interest in jazz, backed by a who’s who of West Coast session musicians including members of the Crusaders and L.A. Express. 

As her most commercially successful record, the nine-time GRAMMY winner presents a mix of playful and somber songs. In an introspective tone, Mitchell searches for freedom from the shackles of big-city life and grapples with the complexities of love lost and found. The record went platinum — it hit No.1 on the Billboard charts in her native Canada and No. 2 in the U.S., received three GRAMMY nominations and featured a pair of hits: "Help Me" (her only career Top 10) and "Free Man in Paris," an autobiographical song about music mogul David Geffen.

Gordon Lightfoot - Sundown

In 2023 we lost legendary songwriter Gordon Lightfoot. He left behind a treasure trove of country-folk classics, several featured on his album Sundown. These songs resonated deeply with teenagers who came of age in the early to mid-1970s — many sang along in their bedrooms and learned to strum these storied songs on acoustic guitars. 

Recorded in Toronto, at Eastern Sound Studios, the album includes the only No.1 Billboard topper of the singer/songwriter’s career. The title cut, "Sundown," speaks of "a hard-loving woman, got me feeling mean" and hit No. 1 on both the pop and the adult contemporary charts. 

In Canada, the album hit No.1 on the RPM Top 100 in and stayed there for five consecutive weeks. A second single, "Carefree Highway," peaked at the tenth spot on the Billboard Hot 100, but hit No.1 on the Easy Listening charts.

Eric Clapton - 461 Ocean Boulevard

Eric Clapton’s 461 Ocean Boulevard sold more than two million copies worldwide. His second solo studio record followed a three-year absence while Clapton battled heroin addiction. The record’s title is the address where "Slowhand" stayed in the Sunshine State while recording this record at Miami’s Criteria Studios. 

A mix of blues, funk and soulful rock, only two of the 10 songs were penned by the Englishman. Clapton’s cover of Bob Marley’s "I Shot the Sheriff," was a massive hit for the 17-time GRAMMY winner and the only No.1 of his career, eclipsing the Top 10 in nine countries. In 2003, the guitar virtuoso’s version of the reggae song was inducted into the GRAMMY Hall of Fame

Lynyrd Skynyrd - Second Helping

No sophomore slump here. This "second helping" from these good ole boys is a serious serving of classic southern rock ‘n’ roll with cupfuls of soul. Following the commercial success of their debut the previous year, Lynyrd Skynyrd’s second studio album featured the band’s biggest hit: "Sweet Home Alabama." 

The anthem is a celebration of Southern pride; it was written in response to two Neil Young songs ("Alabama" and "Southern Man") that critiqued the land below the Mason-Dixon line. The song was the band’s only Top 10, peaking at No. 8 on the Billboard Top 100. Recorded primarily at the Record Plant in Los Angeles, other songs worth a second listen here include: the swampy cover of J.J. Cale's "Call Me The Breeze," the boogie-woogie foot-stomper "Don’t Ask Me No Questions" and the country-rocker "The Ballad of Curtis Loew." 

Bad Company - Bad Company

A little bit of blues, a token ballad, and plenty of hard-edged rock, Bad Company released a dazzling self-titled debut album. The English band formed from the crumbs left behind by a few other British groups: ex-Free band members including singer Paul Rodgers and drummer Simon Kirke, former King Crimson member bassist Boz Burrel, and guitarist Mick Ralphs from Mott the Hoople. 

Certified five-times platinum, Bad Company hit No.1 on the Billboard 200 and No. 3 in the UK, where it spent 25 weeks. Recorded at Ronnie Lane’s Mobile Studio, the album was the first record released on Led Zeppelin’s Swan Song label. Five of the eight tracks were in regular FM rotation throughout 1974; "Bad Company," "Can’t Get Enough" and "Ready for Love" remain staples of classic rock radio a half century later. 

Supertramp - Crime of the Century

"Dreamer, you know you are a dreamer …" sings Supertramp’s lead singer Roger Hodgson on the first single from their third studio album. The infectious B-side track "Bloody Well Right," became even more popular than fan favorite, "Dreamer." 

The British rockers' dreams of stardom beyond England materialized with Crime of the Century. The album fused prog-rock with pop and hit all the right notes leading to the band’s breakthrough in several countries — a Top 5 spot in the U.S. and a No.1 spot in Canada where it stayed for more than two years and sold more than two million copies. A live version of "Dreamer," released six years later, was a Top 20 hit in the U.S. 

Big Star - Radio City

As one of the year’s first releases, the reception for this sophomore effort from American band Big Star was praised by critics despite initial lukewarm sales (which were due largely to distribution problems). Today, the riveting record by these Memphis musicians is considered a touchstone of power pop; its melodic stylings influenced many indie rock bands in the 1980s and 1990s, including R.E.M. and the Replacements. One of Big Star’s biggest songs, "September Gurls," appears here and was later covered by The Bangles. 

In a review, American rock critic Robert Christgau, called the record "brilliant and addictive." He wrote: "The harmonies sound like the lead sheets are upside down and backwards, the guitar solos sound like screwball readymade pastiches, and the lyrics sound like love is strange, though maybe that's just the context." 

The Eagles - On the Border

The third studio record from California harmonizers, the Eagles, shows the band at a crossroads — evolving ever so slightly from acoustically-inclined country-folk to a more distinct rock ‘n’ roll sound. On the Border marks the studio debut for band member Don Felder. His contributions and influence are seen through his blistering guitar solos, especially in the chart-toppers "Already Gone" and "James Dean." 

On the Border sold two million copies, driven by the chart topping ballad "Best of My Love" — the Eagles first No.1 hit song. The irony: the song was one of only two singles Glyn Johns produced at Olympic Studios in London. Searching for that harder-edged sound, the band hired Bill Szymczyk to produce the rest of the record at the Record Plant in L.A. 

Jimmy Buffett - Livin’ and Dyin in ¾ Time & A1A

Back in 1974, 28-year-old Jimmy Buffett was just hitting his stride. Embracing the good life, Buffett released not just one, but two records that year. Don Grant produced both albums that were the final pair in what is dubbed Buffett’s "Key West phase" for the Florida island city where the artist hung his hat during these years.

The first album, Livin’ and Dyin’ in ¾ Time, was released in February and recorded at Woodland Sound Studio in Nashville, Tennessee. It featured the ballad "Come Monday," which hit No. 30 on the Hot 100 and "Pencil Thin Mustache," a concert staple and Parrothead favorite. A1A arrived in December and hit No. 25 on the Billboard 200 charts. The most beloved songs here are "A Pirate Looks at Forty" and "Trying to Reason with Hurricane Season." 

Buffett embarked on a tour and landed some plume gigs, including opening slots for two other artists on this list: Frank Zappa and Lynyrd Skynyrd. 

Genesis - The Lamb Lies Down on Broadway

Following a successful tour of Europe and North America for their 1973 album, Selling England by the Pound, Genesis booked a three-month stay at the historic Headley Grange in Hampshire, a former workhouse. In this bucolic setting, the band led by frontman Peter Gabriel, embarked on a spiritual journey of self discovery that evolved organically through improvisational jams and lyric-writing sessions. 

This period culminated in a rock opera and English prog-rockers’s magnum opus, a double concept album that follows the surreal story of a Puerto Rican con man named Rael. Songs are rich with American imagery, purposely placed to appeal to this growing and influential fan base across the pond. 

This album marked the final Genesis record with Gabriel at the helm. The divisiveness between the lyricist, Phil Collins, Mike Rutherford and Tony Banks came to a head during tense recording sessions and led to Gabriel’s departure from the band to pursue a solo career, following a 102-date tour to promote the record. The album reached tenth spot on the UK album charts and hit 41 in the U.S. 

David Bowie - Diamond Dogs

Is Ziggy Stardust truly gone? With David Bowie, the direction of his creative muse was always a mystery, as illustrated by his diverse musical legacy. What is clear is that Bowie’s biographers agree that this self-produced album is one of his finest works. 

At the point of producing Diamond Dogs, the musical chameleon and art-rock outsider had disbanded the band Spiders from Mars and was at a crossroads. His plans for a musical based on the Ziggy character and TV adaptation of George Orwell’s "1984" both fell through. In a place of uncertainty and disenchantment, Bowie creates a new persona: Halloween Jack. The record is lyrically bleak and evokes hopelessness. It marks the final chapter in his glam-rock period — "Rebel Rebel" is the swaggering single that hints at the coming punk-rock movement. 

Bob Marley - Natty Dread

Bob Marley’s album "Natty Dread," released first in Jamaica in October 1974 later globally in 1975, marked his first record without his Rastafari brethren in song Peter Tosh and Bunny Wailer. It also introduced the back-up vocal stylings of the I Threes (Rita Marley, Judy Mowatt and Marcia Griffiths.) 

The poet and the prophet Marley waxes on spiritual themes with songs like "So Jah Seh/Natty Dread'' and political commentary with tracks,"Them Belly Full (But We Hungry)" and "Rebel Music (3 O’clock Road Block)." The album also Includes one of the reggae legend’s best-loved songs, the ballad "No Woman No Cry," which paints a picture of "government yards in Trenchtown" where Marley’s feet are his "only carriage." 

Queen - Sheer Heart Attack

The third studio album released by the British rockers, Queen, is a killer. The first single, "Killer Queen," reached No. 2 on the British charts — and was the band’s first U.S. charting single. The record also peaked at No.12 in the U.S. Billboard albums charts. 

This record shows the four-time GRAMMY nominees evolving and shifting from progressive to glam rock. The album features one of the most legendary guitar solos and riffs in modern rock by Brian May on "Brighton Rock." Clocking in at three minutes, the noodling showcases the musician’s talent via his use of multi-tracking and delays to great effect. 

Randy Newman - Good Old Boys

Most recognize seven-time GRAMMY winner Randy Newman for his work on Hollywood blockbuster scores. But, in the decade before composing and scoring movie soundtracks, the songwriter wrote and recorded several albums. Good Old Boys was Newman’s fourth studio effort and his first commercial breakthrough, peaking at No. 36 on the Billboard charts. 

The concept record, rich in sarcasm and wit, requires a focused listen to grasp the nuances of Newman’s savvy political and social commentary. The album relies on a fictitious narrator, Johnny Cutler, to aid the songwriter in exploring themes like "Rednecks" and ingrained generational racism in the South. "Mr. President (Have Pity on the Working Man)" is as relevant today as when Newman penned it as a direct letter to Richard Nixon. Malcolm Gladwell described this record as "unsettling" and a "perplexing work of music." 

Frank Zappa - Apostrophe

Rolling Stone once hailed Frank Zappa’s Apostrophe as "truly a mother of an album." The album cover itself, featuring Zappa’s portrait, seems to challenge listeners to delve into his eccentric musical universe. Apostrophe was the sixth solo album and the 19th record of the musician’s prolific career. The album showcases Zappa’s tight and talented band, his trademark absurdist humor and what Hunter S. Thompson described as "bad craziness."  

Apostrophe was the biggest commercial success of Zappa’s career. The record peaked at No. 10 on the Billboard Top 200. The A-side leads off with a four-part suite of songs that begins with "Don’t Eat the Yellow Snow" and ends with "Father Oblivion," a tale of an Eskimo named Nanook. The track "Uncle Remus," tackles systemic racism in the U.S. with dripping irony. In less than three minutes, Zappa captures what many politicians can’t even begin to explain. Musically, Apostrophe is rich in riffs from the two-time GRAMMY winner that showcases his exceptional guitar skills in the title track that features nearly six minutes of noodling.

Gram Parsons - Grievous Angel

Grievous Angel can be summed up in one word: haunting. Recorded in 1973 during substance-fueled summer sessions in Hollywood, the album was released posthumously after Gram Parsons died of a drug overdose at 26. Grievous Angel featured only two new songs that Parsons’ penned hastily in the studio "In My Hour of Darkness" and "Return of the Grievous Angel." 

This final work by the cosmic cowboy comprises nine songs that have since come to define Parson’s short-lived legacy to the Americana canon. The angelic voice of Emmylou Harris looms large — the 13-time GRAMMY winner sings harmony and backup vocals throughout. Other guests include: guitarists James Burton and Bernie Leadon, along with Linda Ronstadt’s vocals on "In My Hour of Darkness." 

Neil Young - On The Beach

On the Beach, along with Tonight’s the Night (recorded in 1973, but not released until 1975) rank as Neil Young’s darkest records. Gone are the sunny sounds of Harvest, replaced with the singer/songwriter’s bleak and mellow meditations on being alone and alienated. 

"Ambulance Blues" is the centerpiece. The nine-minute track takes listeners on a journey back to Young’s "old folkie days" when the "Riverboat was rockin’ in the rain '' referencing lament and pining for time and things lost. The heaviness and gloom are palpable throughout the album, with the beach serving as an extended metaphor for Young’s malaise. 

Dolly Parton - Jolene

Imagine writing not just one, but two iconic classics in the same day. That’s exactly what Dolly Parton did with two tracks featured on this album. The first is the titular song, "Jolene," recorded  at RCA Studio B in Nashville. The song has been covered by more than a dozen artists. 

Released as the first single the previous fall, "Jolene," rocketed to No.1 on the U.S. country charts and garnered the 10-time GRAMMY winner her first Top 10 in the U.K. The song was nominated for a GRAMMY in 1975 and again in 1976 for Best Country Vocal Performance. However, it didn’t take home the golden gramophone until 2017, when a cover by the Pentatonix featuring Parton won a GRAMMY for Best Country Duo/Group Performance. 

Also included on this album is "I Will Always Love You," a song that Whitney Houston famously covered in 1992 for the soundtrack of the romantic thriller, The Bodyguard, earning Parton significant royalties. 

Barry White - Can’t Get Enough

The distinctive bass-baritone of two-time GRAMMY winner Barry White, is unmistakable. The singer/songwriter's sensual, deep vocal delivery is as loved today as it was then. On this record, White is backed by the 40-member strong Love Unlimited Orchestra, one of the best-selling artists of all-time. 

White wrote "Can’t Get Enough of Your Love, Babe," about his wife during a sleepless night. This song is still played everywhere — from bedrooms to bar rooms, even 50 years on. In the U.S., the record hit the top of the R&B pop charts and No.1 on the Billboard 200. Although the album features only seven songs, two of them, including "You’re the First, the Last, My Everything" reached the top spot on the R&B charts. 

Lord Shorty - Endless Vibrations

Lord Shorty, born Garfield Blackman, is considered the godfather and inventor of soca music. This Trindadian musician revolutionized his nation’s Calypso rhythms, creating a vibrant up-tempo style that became synonymous with their world-renowned Carnival. 

Fusing Indian percussion instrumentation with well-established African calypso rhythms, Lord Shorty created what he originally dubbed "sokah," meaning, "calypso soul." The term soca, as it’s known today, emerged because of a journalist’s altered writing of the word, which stuck. The success of this crossover hit made waves across North America and made the island vibrations more accessible outside the island nation. 

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Behind 'Diamonds and Pearls' Super Deluxe Edition: A Fresh Look At Prince & The New Power Generation’s Creative Process
Prince

© Paisley Park Enterprises | Photographer: Randee St. Nicholas

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Behind 'Diamonds and Pearls' Super Deluxe Edition: A Fresh Look At Prince & The New Power Generation’s Creative Process

With unreleased songs and a concert, a new series of box sets broadens the understanding of Prince's 'Diamonds and Pearls.' GRAMMY.com spoke with the New Power Generation's Tony Mosley about creating the 1991 release.

GRAMMYs/Oct 27, 2023 - 03:25 pm

When Prince released Diamonds and Pearls in October 1991, it represented both a sea change and return to form.

The 13th album since his 1978 debut, Diamonds and Pearls was Prince's first release with the New Power Generation — a band formed with several musicians who toured with him in the years since the Revolution. Where the Revolution, which disbanded in 1986, was synth-heavy, NPG were more guitar and percussion-centric. The new group was anchored by Rosie Gaines, a powerhouse vocalist and songwriter from the Bay Area, and rapper Tony M.

Aesthetically, the holographic album cover — which depicts Prince in close contact with two new faux girlfriends named Diamond and Pearl — reflected the sensuality and excess long associated with the Purple One. 

Fans devoured saucy singles such as the title track, "Gett Off," "Insatiable" and the Billboard Hot 100 No. 1, hit "Cream." The title track was nominated for Best Pop Performance By A Duo Or Group With Vocal at the 35th GRAMMY Awards; "Gett Off" was nominated for Best R&B Performance By A Duo Or Group With Vocal the previous year.

Thirty-two years later, on Oct. 27, Paisley Park Enterprises, Sony Music Entertainment and Warner Records will release remastered standard, deluxe and "super deluxe" versions of the album in digital and various physical formats on Sony’s Legacy Recordings. The latest of several posthumous album reissues, this new suite of Diamonds and Pearls releases include a variety of fresh amenities.

For example, the super deluxe edition includes 33 unreleased studio recordings, 14 live songs, 15 remastered singles (which include remixes and edits) and three hours of video, including a full live performance of the album at Glam Slam, Prince’s former Minneapolis nightclub. The album wasn’t accompanied by a tour in America, so it’s a show that Stateside fans never got to see.

"Prince collectors are excited about every release, though mileage varies," says Scott Woods, author of Prince and Little Weird Black Boy Gods. "The gold for collectors is really in unreleased material…. Even if you don't like Diamonds and Pearls, you have to love the dozens of unreleased tracks that come with it.

"I don't know most of the unreleased tracks, so it's about to be Christmas in October for me," Woods adds. 

The unreleased songs provide a gift of insight into some of Prince’s musical interests that he explored in the early '90s, including hard guitar-driven rock, house, hip-hop and New Jack Swing. Yet the original release of Diamonds and Pearls showcases Prince's experimental nature.

"He took some chances — especially on me, to bring me into the fold," admits Tony M, a.k.a. Tony Mosley, the New Power Generation’s rapper who was also a dancer and appeared in Purple Rain. The pop community felt like Prince had ditched them and his fan base didn't want to hear rap, Mosley shared. "So how are we going to bridge this gap? There were plenty of times I felt like I was swinging at both sides." 

Mosley co-wrote and/or appeared on several songs on Diamonds and Pearls, including "Gett Off," and he contributed heavily to several of the previously unreleased songs on the super deluxe edition. Many of the previously unreleased songs contain riffs and iterations of ideas that appear on the original album track listing, so listeners can get a notion of how he refined the known songs along the way.

Since Prince was notoriously guarded about all of the unreleased material in his vaunted Paisley Park vault, he may not have wanted his fans to hear some of the works in progress that are included in the super deluxe edition. But they offer a much-welcomed window into his creative processes that will strengthen a fan’s ardor for the artist.

"[Prince] was so protective and so reclusive on a lot of this stuff," Mosley says. 

"Some of [the tracks], we were like, ‘Man, this is it, you need to drop this now!’ But it would never see the light of day. I’m glad, in the same breath, that some of these things are coming out, because you see a different side to him… it gives the fans an opportunity to see how he progressed and began to put songs together."

While none of the tracks were finished, the foundation was there, Mosley explained. "Once he brought in the musicians to expand upon the original idea, you start to see it flourish and grow and bloom into something totally different."

"I remember being fascinated with the rapper on the album, Tony M," Public Enemy frontman Chuck D wrote in an essay that accompanies the super deluxe edition called "He Taught Everyone You Can Never Make Too Much Music." "I thought he was just dope, thought what they were doing was funkier and more on point than anything that was going on in the rap circles and R&B at that moment, and they were on it.

"Prince definitely used rap as an instrument. He kept the tempos up and strong, and the music was giving it air and space, and I don’t think a lot of rap records were doing that," he continued.

The beyond-prolific Prince didn’t exactly have patience for the long album cycles that were typical from major labels of the era. While he was touring the Diamonds and Pearls album, he was writing songs that would appear on 1992’s Love Symbol.

"By the time [Diamonds and Pearls] came out, we had three more albums in the can and he was ready for the next project," Mosley recalls, "and I just remember listening to the argument over and over and over again. You know, Warner Brothers looks at it from a business perspective — they’re, like, ‘Dude, there’s five more singles on this album, we need to work this.’ And Prince was like, ‘I’m done, I’m ready to drop the next one.’"

Remembered for its nakedly brazen jams (and the accompanying assless outfits) as well as its super sweet ballads, Diamonds and Pearls remains a highly listenable effort among Prince’s vast discography.

"It holds its value," Mosley says of hearing the album today. "We were moving so fast at the time and we were just constantly recording and you didn’t really have time to sit back and reflect on what you had just created because he had moved on. So you had to move at that pace. When I go back and I start to listen to a lot of that stuff, I say, man, we really did some different things, some creative things.

"It was frustrating at times. But, he had his vision, and one thing he always schooled me to do and taught me along the way, he said, ‘Tony, I don’t write for everybody else, I write for me and what I’m feeling," Mosley recalls. "So when you write, don’t write to impress a certain demographic or community, write what comes from you.’" 

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