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The Week In Music: Luther Campbell Is Dead Serious
Ex-2 Live Crew member announces his candidacy for Miami-Dade County mayor
The old cliché that music and politics don't mix doesn't necessarily ring true. Especially when you take into account successful forays into U.S. political offices by recording artists such as Sonny Bono, Orleans frontman John Hall and Martha Reeves of Martha And The Vandellas, among others. Ex-2 Live Crew rapper Luther Campbell is the latest to throw a musical hat into the political ring having announced his intention to run for mayor of Miami-Dade County. Of course, music fans will remember 2 Live Crew rising to hip-hop prominence in the late '80s on the strength of their notorious album As Nasty As They Want To Be, which contained suggestive cuts such as "Me So Horny, " "The F*** Shop" and "Dirty Nursery Rhymes." But X-rated song themes and past forays into the pornography industry aside, this is a new policy-minded Campbell. "I'm a changed man!" he exclaimed last Friday night at a Miami restaurant. Campbell plans to utilize his experience as a record label executive to help boost the county's economy with a fresh platform that includes imposing a tax on strippers. "I think we can stimulate the economy with a tax on strippers," said Campbell. "They make all this money and don't pay taxes." Campbell is one of 11 candidates (and we're betting the sole candidate with an idea for a stripper tax) running in the May 24 special election to replace recently ousted mayor Carlos Alvarez. And he's definitely not kidding, as his campaign flyers attest: "I'm dead serious. Are you?"
In more political news, Carla Bruni-Sarkozy, the model-turned-singer wife of French President Nicolas Sarkozy, is expecting. "It's wonderful news to see this baby coming," said Bernadette Chirac, wife of ex-French President Jacques Chirac. "It's a chance for France, absolutely." Romantically linked in the past to rock royalty such as Eric Clapton and Mick Jagger, Bruni-Sarkozy released her latest album, Comme Si De Rien N'était (which translates to As If Nothing Had Happened), in 2008, the same year she married the president. With less than a year to go before France's presidential election, some are theorizing that a baby could be a feather in the incumbent Sarkozy's cap given his reported waning popularity with voters. In other words, the baby could be a big something when it happens.
Following his pointed commentary on the wedding of Prince William and Kate Middleton last month, Morrissey has cast more stones at the royal family. This time taking aim at Queen Elizabeth II, Morrissey barked, "The very existence of the Queen and her now enormous family — all supported by the British taxpayer whether the British taxpayer likes it or not — is entirely against any notion of democracy, and is against freedom of speech. For a broad historical view of what the Queen is and how she 'rules,' examine Gaddafi or Mubarak, and see if you can spot any difference." While we believe this is the first time Morrissey has compared the Queen to Middle Eastern dictators, the Morrissey/Elizabeth row dates to the '80s when the former accused the latter of silently supporting Prime Minister Margaret Thatcher as she allowed Maze Prison hunger strikers to die. Morrissey's latest venom is chilling in any decade, but what can one expect from an artist with album titles such as Viva Hate, Maladjusted and Ringleader Of The Tormentors and songs such as "Margaret On The Guillotine"?
With the release of the highly anticipated Chinese Democracy in 2008, Guns N' Roses fans were finally satiated with a new studio album from their favorite rock band after an unprecedented 17-year wait. Could a boon of new GNR music be on the horizon? "Axl [Rose] has a lot of great songs up his sleeve," said guitarist DJ Ashba during a recent radio interview. "He probably has three albums worth of stuff recorded." While Ashba was quick to praise Rose's talents, he intimated that most of the songs in the enigmatic frontman's library will likely remain unreleased. "He's just got this gift that's very, very rare." From a fan perspective, it unfortunately seems to be a gift that doesn't keep on giving.
In more rock and roll book news, the Who's Pete Townshend is set to release his memoir in 2012. In the works since the '90s, the book will "at long last tell his dramatic story," according to publisher Harper Collins. Apparently there are still some finishing touches yet to be made, and it is unknown whether the book will touch on the author's run-in with British police in 2003 for accessing child pornography on the Internet, charges that were ultimately dropped. "I want to write a book that is enjoyable to read, but above all, I want it to be honest," said Townshend. However, the legendary guitarist cautioned, "I am not my favorite subject."
With frontman Steven Tyler participating as a judge on the current season of "American Idol," Aerosmith has been flying under the radar of late. In a recent interview, however, Tyler said the band would be revving up the engines for a performance on the show. "Oh, yeah, we're playing the last show of the season," said Tyler. "It was always my intention, always, to get Aerosmith on the show." In a series of recent postings on Facebook, guitarist Joe Perry contradicted Tyler's remarks. "[We're] not playing 'Idol' 'cause we were never asked by producers," wrote Perry. "Aerosmith's looking forward to playing 'American Idol' next season when our new CD is out and we can prepare [for] a kick-a** show if they ask us." Who's telling the kick-a** truth? Tune into the season finale of "American Idol" on May 25 to find out.
What have some of our favorite stars been up to this past week? The TWIM Twittertable reads: keshasuxx: Steve Carell is kinda sexy; SnoopDogg: flicc of me n tha UK ladies; ladygaga: I'm going sleepies now. Brooklyn Moon shining above. Have rehearsal 2moro for Saturday Night Live. May even have a dreamy co-star. Guesses?; justinbieber: just met some incredible kids who have been thru alot because of the devastation here in Japan. blessed to meet them and proud to know them; MileyCyrus: Next thing ya know Jesus is gonna start tweeting! wowwwwww. Twitter really is taking over the world!
Adele's "Rolling In The Deep" is once again No. 1 on the Billboard Hot 100 and iTunes singles charts.
Any news we've missed? Comment below.
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Photo: Kevin Winter/Getty Images for The Recording Academy
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Listen: Miley Cyrus & Pharrell Reunite For New Song "Doctor (Work It Out)"
Ten years after their first funky single, Miley Cyrus and Pharrell Williams strike again with "Doctor (Work It Out)," which arrived on March 1. Hear the new track and watch the spirited music video here.
On the heels of her first GRAMMY wins, Miley Cyrus is feeling good — and she's ready to be your cure.
The pop superstar unveiled her new single, a lustful, funky dance track titled "Doctor (Work It Out)," on March 1. The track is her latest collaboration with Pharrell, and their first in 10 years.
Over a pulsating bass guitar-driven beat, Cyrus opens with the punchy chorus (“I could be your doctor/ And I could be your nurse/ I think I see the problem/ It's only gon' get worse/ A midnight medication/ Just show me where it hurts," she sings) before erupting into a dance break as she declares, "Let me work it out… Imma work it out…”
So far, 2024 is feelin' fine for Cyrus. At the 2024 GRAMMYs, her 2023 smash, "Flowers," took home two awards, for Best Pop Solo Performance and Record Of The Year. Following her first win, she delivered a knockout performance featuring the unforgettable ad lib, "I started to cry and then I remembered I… just won my first GRAMMY!"
Less than a month later, "Doctor (Work It Out)" serves as another groovy celebration of Cyrus' achievements in life and music so far.
The song's music video is reminiscent of her 2024 GRAMMYs performance, too. Not only is she wearing a similar shimmery fringe dress, but the entire video is a jubilant, blissful solo dance party.
Though Cyrus first teased "Doctor (Work It Out)" just a few days before the song's arrival, Pharrell first gave a sneak peek in January, at his American Western themed Fall/Winter 2024 Louis Vuitton Men's fashion show in Paris. It was Pharrell's third collection for the luxury house, and the bouncy single served as a fitting soundtrack.
The song marks Cyrus' first release in 2024, and her first collab with Pharrell since 2014's "Come Get It Bae" from his album G I R L'; Pharrell also co-wrote and produced four tracks on the deluxe version of Cyrus' 2013 album, Bangerz.
Watch the "Doctor (Work It Out)" video above, and stay tuned to GRAMMY.com for more Miley Cyrus news.
Miley Cyrus' Big GRAMMYs Night: Why Her Two Wins Were Monumental
Photo: Emma McIntyre/Getty Images for The Recording Academy
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9 Essential K-Pop/Western Collabs: From BTS And Megan Thee Stallion, To IVE And Saweetie
From Jungkook and Usher's tribute to their shared musical idol, to BLACKPINK and Selena Gomez' sugary sweet collab, K-pop and Western artists of all genres are joining forces to create killer hits.
It’s impossible to ignore the growing global popularity of K-pop. Although Korean pop has been around for decades, the genre's meteoric worldwide success over the past 10 years is reminiscent of Beatlemania and the early 2000s American boy band craze. With a steady increase year-over-year in album sales and K-pop groups touring the U.S. and Europe, interest in K-pop shows no signs of slowing down.
Initially launched in South Korea as a music subgenre with Western pop, R&B and hip-hop influences in the '90s, the K-pop industry is valued at around $10 billion.
Given the worldwide appetite for K-pop, several Western musicians are keen to partner with K-pop acts crossing over into more international markets, often with songs sung partially or entirely in English. While K-pop artists do not need Western artists to be successful — BTS sold out London’s Wembley stadium in under 90 minutes back in 2019, and BLACKPINK made Coachella history twice with performances in 2019 and 2023 — K-pop's massive fanbase and multi-genre influence make it an ideal collaboration for everyone from rappers and singers to electronic DJs.
But don’t take our word for it. Here are nine of the most iconic K-Pop/Western collaborations (not in any order; they are all great songs!).
Usher and Jungkook - "Standing Next to You (Usher Remix)" (2024)
The maknae (the youngest member of the group) of global K-pop superstars BTS and the King of R&B are both having banner years: Jungkook released his debut solo album, and Usher just performed at the Super Bowl.
The Bangtan Boys have cited Usher as a significant influence (even singing a callback to his 2001 hit "U Got It Bad" in their No. 1 song, "Butter"), so BTS fans were delighted when the Jungkook tapped Usher for a remix of "Standing Next to You." The song marks the fourth single from his Billboard 200 chart-topping debut album, Golden.
Both singers count Michael Jackson as a major influence. In their collaboration video, Usher and Jungkook pay tribute to the King of Pop as they slide, pop, and lock across the slick floor of an abandoned warehouse.
John Legend and Wendy of Red Velvet - "Written in the Stars" (2018)
R&B singer/pianist John Legend was the perfect choice for an R&B ballad with Wendy, the main vocalist of K-pop quintet Red Velvet. The final song on the five-track SM Station x 0, a digital music project, "Written in the Stars," is a beautiful, mid-tempo love song. A bit of a departure from K-pop’s typical upbeat sound, Wendy and Legend are in perfect harmony over a warm yet melancholic rhythm.
As Red Velvet’s main vocalist, Wendy was the ideal voice for this collaboration. Additionally, she split her childhood between Canada and the U.S., and has been comfortable singing in English since Red Velvet debuted in 2014. This wasn't her first collab with a Western artist: In 2017, she released an English-language version of the pop ballad "Vente Pa’Ca" with Ricky Martin.
BLACKPINK and Selena Gomez - "Ice Cream" (2020)
A powerhouse debut single, BLACKPINK collaborated with pop royalty Selena Gomez on the massive 2020 hit "Ice Cream."
An electropop-bubblegum fusion filled with dairy double entendres, "Ice Cream" was an enormous success for both Gomez and the BLACKPINK girls. The track peaked at No. 13 on the Billboard Hot 100 and has racked up nearly 900 million YouTube views to date.
Written by a consortium of hitmakers, including Ariana Grande and BLACKPINK’s longtime songwriter and producer Teddy Park (a former K-pop idol himself), "Ice Cream" shows that YG Entertainment’s golden foursome and Gomez were the correct partnership for this track. The pop-trap bop marked the first time a K-pop girl group broke the Top 20 on the Billboard Hot 100 chart and immediately solidified BLACKPINK as global superstars.
Snoop Dogg and Monsta X - "How We Do" (2022)
West Coast rap godfather Snoop Dogg has quietly become one of the go-to Western acts for K-pop collabs, working with Psy, BTS, Girls’ Generation and 2NE1. K-pop is the Dogg Father's "guilty pleasure," and he performed at the Mnet Asian Music Awards with Dr. Dre in 2011. Without Snoop's love of K-pop, the world might not have gotten this fun and energetic collaboration with Snoop and Monsta X, a five-member boy group under Starship Entertainment.
The song appears in The Spongebob Movie: Sponge On The Run in a dance segment where Snoop, decked out in a pink and purple Western suit, is accompanied by zombie dancers. Though we do not see the members of Monsta X, their harmonious crooning is the perfect accent to Snoop Dogg’s trademark casual West Coast flow.
BTS and Steven Aoki - "MIC Drop (Steve Aoki remix)" (2017)
No K-pop list is complete with a nod to the magnificent seven, and "MIC Drop" is one of their catchiest Western collabs to date.
"Mic Drop" is quintessential BTS: a nod to hip-hop with a heavy bass line and fun choreography. While the original version of "MIC Drop" is excellent, the remix with EDM superstar DJ Steve Aoki and rapper Desiigner cracked the Top 40 on the Billboard Hot 100 — the first of many hits for the Bulletproof Boy Scouts.
Released at a time when BTS were just starting their ascent to chart-topping Western dominance, the track's boastful lyrics and tension-building electro-trap production offered an excellent introduction to the group that would soon become international superstars.
JYJ, Kanye West and Malik Yusef - "Ayyy Girl" (2010)
A truly deep K-pop cut, you’d be hard-pressed to find many people who know that Kanye West collaborated with a first-generation K-pop group over 13 years ago. Released as the lead single on JYJ’s English-language album The Beginning, West’s signature bravado and wordplay are on full display over a track that sounds like the Neptunes produced it.
The song garnered attention in the U.S., but after a string of bad luck (including a severely delayed U.S. visa process and issues with their management company, SM Entertainment), JYJ could not capitalize on their American success. The group continued to see success in Korea and Japan in the early 2010s but never made a splash in the Western market again.
IVE and Saweetie - "All Night" (2024)
A reimagining of Icona Pop’s 2013 song of the same name, "All Night," sees fourth-generation K-pop girl group IVE partner with rap’s resident glamor girl Saweetie for a funky, electronic-infused pop song that’s perfect for dancing from dusk till dawn.
"All Night" is the first English song for the Starship Entertainment-backed group. Interestingly, none of the members of IVE have individual lines in the song, choosing instead to sing the lyrics in a six-part harmony. This choice is exciting but fun, giving listeners the feeling that they are more than welcome to sing along.
The girl group embarked on their first 24-date world tour in January 2024, with stops in the U.S., Asia, Europe and South America. Given their quest for global dominance, there’s a good chance "All Night" won’t be IVE's last English-language release.
BTS and Megan Thee Stallion - "Butter (Remix)" (2021)
BTS’ "Butter" had already spent three weeks atop the Billboard charts and was declared the "song of the summer" when the group’s label announced Houston rapper Megan Thee Stallion as the guest star for the song’s remix in late August 2021. The GRAMMY-nominated septet is no stranger to collaborating with Western musicians, having worked with Halsey, Jason Derulo, and Coldplay.
Though only slightly altered from the original (Megan’s verse was added in place of the song’s second original verse, along with several ad-libs), the remix was praised by both fans and critics alike, catapulting the song’s return back to the No. 1. Although the collaborators did not release a new music video featuring the group and the self-proclaimed "Hot Girl Coach," three members of BTS’ "dance line" (members J-Hope, Jungkook and Jimin) released a specially choreographed dance video. Additionally, Megan was a surprise guest during BTS’ record-breaking Permission to Dance LA concert in November of the same year.
LE SSERAFIM and Niles Rodgers - "Unforgiven" (2023)
GRAMMY Lifetime Achievement Award recipient Nile Rodgers' first foray into K-pop was a partnership with LE SSERAFIM, a fourth-gen girl group from the same parent company behind BTS. "Unforgiven" was released earlier this year as the lead single from the group’s debut album of the same name.
A darker take on the familiar K-pop formula with A Western feel and look (the young quintuplet dons cowboy hats, boots and bolo ties in the song’s accompanying music video), "Unforgiven" is about rebellion and being a fierce, strong and independent risk taker. That riskiness drew Rodgers' ear.
"It seems like a lot of the K-pop that I'm hearing lately, the…chord changes are a lot more interesting than what's been happening [in other music fields] over the last few years," he told GRAMMY.com in 2023. "I come from a jazz background, so to hear chord changes like that is really cool. They’re not afraid, which is great to me."
15 K-Pop Songs That Took 2023 By Storm: From Seventeen’s "Super (손오공)" to NewJeans' "Super Shy"
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'The Smiths' At 40: How The Self-Titled Debut Fired An Opening Shot For Indie Rock
Released in 1984, the Smiths' self-titled debut showed that morose-yet-melodic Mancunians arrived fully formed — and laid the blueprint for decades of jangly, left-of-center visionaries.
In the annals of rock history, how many artists seem to foreshadow all of indie, in some way? One was Buddy Holly; from the glasses to the Strat to the attitude, his short career was like a split atom that produced nuclear fission. And, arguably, there was one other: the Smiths.
Their fey, idiosyncratic and devastatingly witty frontman, Morrissey — born Steven Patrick Morrissey — was fully himself right out of the box. From his baritone voice to his ambiguous sexuality, Moz set the prototype of unconventional, underdog frontmen for good.
His foil, Johnny Marr, played resplendent jangle guitar, with harmonic shades of light and shadow that played off Morrissey's sweet-and-sour musings. Their perennially underrated bassist, Andy Rourke, was supple and tensile. And rock-solid drummer Mike Joyce provided the tasteful foundation, with anthemic flourishes in his fills that made the tunes pop.
The world was introduced to the Smiths via, well, The Smiths — their debut album, released on Feb. 20, 1984 via Rough Trade Records.
Across their four-album discography — plus some must-have compilations, like Hatful of Hollow and Louder Than Bombs — the Manchester-based group would develop in a very short time — and split apart in short order, in 1987. But if, on Feb. 21, 1984, a double-decker bus crashed into the foursome, their role in rock history would still be ironclad.
From the gorgeous, sprawling "Reel Around the Fountain" to the sexually palpitating "This Charming Man" to the stony-yet-sparkling "What Difference Does It Make?", The Smiths paved the way for the Stone Roses, Radiohead, Oasis, and so many more Brits with a way with melody and a screw loose.
And their literary inspirations, melancholia and navel gazing also inspired a generation of emo and goth groups — including acts on the other side of the pond, like the National, Ryan Adams, Billie Eilish, and Low.
How did they accomplish this? Partly due to their visual aesthetic — simple, striking typography, against grayscale photography of anonymous figures, typically men. (Take a spin through Belle and Sebastian's discography, and you tell us whether they were influenced.)
The cover of The Smiths depicts gay sex symbol Joe Dallesandro; he's topless and a curtain of hair obscuring his face; his extremities are cut off by the camera, Venus de Milo-style. The image speaks to both the play with sex and gender in the lyrics, and the band's quotidian personae.
Despite its subject, the cover of The Smiths doesn't scream starpower; it looks ripped out of a moldering magazine. Which completely jibes with the music — glimmering yet murky, seemingly anti-produced in places. That vibe was the point from the beginning — hence their band name.
"It was the most ordinary name," Morrissey once said, "and I thought it was time that the ordinary folk of the world showed their faces." And throughout The Smiths, Moz sings about those ordinary folk — their traumas, their abuses, their sexual hangups.
The Smiths being the Smiths, well, it got dark. The gently unspooling opener "Reel Around the Fountain" is about a sexual experience with an older partner; tabloids wondered aloud if it was about pedophilia. "The Hand That Rocks the Cradle" connotes child murder. To say nothing of the knife-twisting closer "Suffer Little Children."
But despite their critical reputation as "miserablists," it's not all pitch-black. "Still Ill" addresses the decriminalization of gay sex in the United Kingdom — an early glimmer of political consciousness for the band that would go on to make Meat is Murder. And the gorgeous "Hand in Glove" — with haunting harmonica blowing through it — is about love slipping away, with a queer tint.
What also makes The Smiths resonate? Partly what they didn't do. In the most synth-choked era of pop/rock, at the tail end of the UK's new romantic movement, The Smiths' guitar-bass-drums starkness was like bare brick against gaudy wallpaper.
Unincumbered by overwrought sonic trappings, the Smiths' hilarious, harrowing vignettes stick with you from the first listen. Clearly, that unadorned aural aesthetic stuck for decades, with numberless acts — and to a great degree, you can thank Moz and company.
So many terrific artists take a few records to become themselves, but not the Smiths. No, with their classic debut, you get everything now — including the ocean of indie in its wake.
Photo: L.E. Baskow/Las Vegas Review-Journal/Tribune News Service via Getty Images
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17 Love Songs That Have Won GRAMMYs: "I Will Always Love You," "Drunk In Love" & More
Over the GRAMMYs' 66-year history, artists from Frank Sinatra to Ed Sheeran have taken home golden gramophones for their heartfelt tunes. Take a look at some of the love songs that have won GRAMMYs.
Editor's Note: This is an update to a story from 2017.
Without heart-bursting, world-shifting love songs, music wouldn't be the same. There are countless classic and chart-topping hits dedicated to love, and several of them have won GRAMMYs.
We're not looking at tunes that merely deal with shades of love or dwell in heartbreak. We're talking out-and-out, no-holds-barred musical expressions of affection — the kind of love that leaves you wobbly at the knees.
No matter how you're celebrating Valentine's Day (or not), take a look at 18 odes to that feel-good, mushy-gushy love that have taken home golden gramophones over the years.
Frank Sinatra, "Strangers In The Night"
Record Of The Year / Best Vocal Performance, Male, 1967
Ol' Blue Eyes offers but a glimmer of hope for the single crowd on Valentine's Day, gently ruminating about exchanging glances with a stranger and sharing love before the night is through.
Willie Nelson, "Always On My Mind"
Best Country Vocal Performance, Male, 1983
In this cover, Nelson sings to the woman in his life, lamenting over those small things he should have said and done, but never took the time. Don't find yourself in the same position this Valentine's Day.
Lionel Richie, "Truly"
Best Pop Vocal Performance, Male, 1983
"Truly" embodies true dedication to a loved one, and it's delivered with sincerity from the king of '80s romantic pop — who gave life to the timeless love-song classics "Endless Love," "Still" and "Three Times A Lady."
Roy Orbison, "Oh, Pretty Woman"
Best Pop Vocal Performance, Male, 1991
Orbison captures the essence of encountering a lovely woman for the first time, and offers helpful one-liners such as "No one could look as good as you" and "I couldn't help but see … you look as lovely as can be." Single men, take notes.
Whitney Houston, "I Will Always Love You"
Record Of The Year, Best Pop Vocal Performance, Female, 1994
Houston passionately delivers a message of love, remembrance and forgiveness on her version of this song, which was written by country sweetheart Dolly Parton and first nominated for a GRAMMY in 1982.
Celine Dion, "My Heart Will Go On (Love Theme From Titanic)"
Record Of The Year, Best Female Pop Vocal Performance, 1999
This omnipresent theme song from the 1997 film Titanic was propelled to the No. 1 spot on the Billboard Hot 100 as the story of Jack and Rose (played by Leonardo DiCaprio and GRAMMY winner Kate Winslet) swept the country.
Shania Twain, "You're Still The One"
Best Female Country Vocal Performance, Best Country Song, 1999
Co-written with producer and then-husband Mutt Lange, Twain speaks of beating the odds with love and perseverance in lyrics such as, "I'm so glad we made it/Look how far we've come my baby," offering a fresh coat of optimism for couples of all ages.
Usher & Alicia Keys, "My Boo"
Best R&B Performance By A Duo Or Group With Vocals, 2005
"There's always that one person that will always have your heart," sings Usher in this duet with Keys, taking the listener back to that special first love. The chemistry between the longtime friends makes this ode to “My Boo” even more heartfelt, and the love was still palpable even 20 years later when they performed it on the Super Bowl halftime show stage.
Bruno Mars, "Just The Way You Are"
Best Male Pop Vocal Performance, 2011
Dating advice from Bruno Mars: If you think someone is beautiful, you should tell them every day. Whether or not it got Mars a date for Valentine's Day, it did get him a No. 1 hit on the Billboard Hot 100.
Cee Lo Green & Melanie Fiona, "Fool For You"
Best Traditional R&B Performance, 2012
It's a far cry from his previous GRAMMY-winning song, "F*** You," but "Fool For You" had us yearning for "that deep, that burning/ That amazing unconditional, inseparable love."
Justin Timberlake, "Pusher Love Girl"
Best R&B Song, 2014
Timberlake is so high on the love drug he's "on the ceiling, baby." Timberlake co-wrote the track with James Fauntleroy, Jerome Harmon and Timbaland, and it's featured on his 2013 album The 20/20 Experience, which flew high to No. 1 on the Billboard 200.
Beyoncé & Jay-Z, "Drunk In Love"
Best R&B Performance / Best R&B Song, 2015
While "Drunk In Love" wasn't the first love song that won Beyoncé and Jay-Z a GRAMMY — they won two GRAMMYs for "Crazy In Love" in 2004 — it is certainly the sexiest. This quintessential 2010s bop from one of music's most formidable couples captures why their alliance set the world's hearts aflame (and so did their steamy GRAMMYs performance of it).
Ed Sheeran, "Thinking Out Loud"
Song Of The Year / Best Pop Solo Performance, 2016
Along with his abundant talent, Sheeran's boy-next-door charm is what rocketed him to the top of the pop ranks. And with swooning lyrics and a waltzing melody, "Thinking Out Loud" is proof that he's a modern-day monarch of the love song.
Lady Gaga & Bradley Cooper, "Shallow"
Best Pop Duo/Group Performance / Best Song Written For Visual Media, 2019
A Star is Born's cachet has gone up and down with its various remakes, but the 2018 iteration was a smash hit. Not only is that thanks to moving performances from Lady Gaga and Bradley Cooper, but particularly thanks to their impassioned, belt-along duet "Shallow."
H.E.R. & Daniel Caesar, "Best Part"
Best R&B Performance, 2019
"If life is a movie/ Know you're the best part." Who among us besotted hasn't felt their emotions so widescreen, so thunderous? Clearly, H.E.R. and Daniel Caesar have — and they poured that feeling into the GRAMMY-winning ballad "Best Part."
Kacey Musgraves, "Butterflies"
Best Country Solo Performance, 2019
As Musgraves' Album Of The Year-winning LP Golden Hour shows, the country-pop star can zoom in or out at will, capturing numberless truths about the human experience. With its starry-eyed lyrics and swirling production, "Butterflies" perfectly encapsulates the flutter in your stomach that love can often spark.
Dan + Shay & Justin Bieber, "10,000 Hours"
Best Country Duo/Group Performance, 2021
When country hook-meisters Dan + Shay teamed up with pop phenom Justin Bieber, their love song powers were unstoppable. With more than 1 billion Spotify streams alone, "10,000 Hours" has become far more than an ode to just their respective wives; it's an anthem for any lover.