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GRAMMYs

Coldplay in 2000

 

Photo: Benedict Johnson/Redferns

 
 
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Coldplay's 'Parachutes' Turns 20 how-coldplays-parachutes-ushered-new-wave-mild-mannered-guitar-bands

How Coldplay's 'Parachutes' Ushered In A New Wave Of Mild-Mannered Guitar Bands

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Celebrating its 20th anniversary this month, debut album 'Parachutes' remains Coldplay's most primitive work—but it remains by far and away their most influential
Jon O'Brien
GRAMMYs
Jul 10, 2020 - 6:29 am

The dazzling live shows filled with pyrotechnics, confetti cannons and synchronized LED wristbands. The collabs with everyone from the irreproachable Beyoncé to The Chainsmokers. The color co-ordinated outfits, environmental activism and unconscious couplings. It's now hard to imagine Coldplay as anything than other a well-oiled machine who have usurped U2 as the world’s most recognizable stadium band.  

Yet back at the turn of the century Chris Martin and Co. didn’t appear prime candidates for global domination. As this recently resurfaced photo shows, the quartet's unassuming fashion sense didn't extend beyond the student staple of hoodies and corduroys. And their sound was almost entirely free of the studio trickery that would permeate their future chart-topping singalongs.

Celebrating its 20th anniversary this month (July 10), debut album Parachutes remains Coldplay's most primitive work. Even its cover art—a $20 globe snapped on a disposable Kodak camera—retained the no-frills approach. But it remains by far and away their most influential, too.

Frontman Martin, guitarist Jonny Buckland, bassist Guy Berryman and drummer Will Champion headed into Wales' Rockford Studios to begin Parachutes' recording toward the end of 1999, an era where commercial British guitar music appeared slightly lost.

The heavyweights of the once-ubiquitous Cool Britannia movement had either gone AWOL (The Verve), drowned in their own hype (Oasis) or moved onto more challenging, sonically complex fare (Blur). And the post-Britpop bands that had emerged in their wake were struggling to make any lasting impression.

However, the slow-building success of Travis' The Man Who suggested that change was afoot. The Scots' perfectly timed rendition of "Why Does It Always Rain on Me" as the heavens opened at Glastonbury had become the defining moment of that summer's U.K. festival season. And Fran Healy’s boyish looks and willingness to wear his heart on his sleeve showed that loud and lairy didn’t have to be British indie's default mode.

1998's Safety EP, and closer "Such a Rush," in particular, proves Coldplay were already exploring their sensitive side before Travis' unlikely rise to headliner status. However, the Glaswegians' golden period may well have given Martin the impetus and the confidence to double down on all the melancholy.

Indeed, Parachutes is a far moodier and more atmospheric listen than The Man Who. Having watched their early performances supporting Gomez, the band whose Mercury Prize-winning debut he produced, Ken Nelson realized that Coldplay often left themselves little room to breathe. On his advice, the group slowed down things dramatically—you can almost hear a pin drop inbetween Martin's pleading melodies and Buckland's plaintive riffs on the acoustic balladry of "Sparks," for example.

As a result, Martin's ability to shift from solemn baritone to Jeff Buckley-esque falsetto within the same verse was often allowed to take center stage. So was his fondness for lyrical platitudes: "Yellow"—recently covered by the current Dr. Who, remarkably enough—has likely been belted out in unison at countless festivals over the past two decades, while its accompanying music video is surprisingly minimal, a black-and-white, drizzly long shot depicting a baby-faced Martin singing to the camera in a long walk on the chilly-looking U.K. shore.

Released in a year when Oasis were continuing to turn things up to eleven and Radiohead were turning experimental on Kid A, Parachutes’ spaciousness and simplicity was a unique selling point.

By the time "Trouble," a haunting piano-led lament to the band’s early behind-the-scenes tensions, became single number three in October, the record was already fast on its way to a million U.K. sales. Pretty soon, audiences stateside were also connecting with its themes—although Parachutes never peaked any higher than No.51 on the Billboard 200, it did reach double-platinum status and pick up a Best Alternative Music Album GRAMMY Award. 

Of course, not everyone was enamored with the group’s sentimental tendencies. The ever-forthright Noel Gallagher reportedly described Coldplay as "a bunch of f***in’ pansies," his Creation boss Alan McGee dismissed them as "bedwetters" and Pitchfork’s sniffy review simply opened with 19 synonyms for the word "inoffensive."

For Gallagher and McGee, in particular, Coldplay’s everyday demeanor and introspective sound were the complete antithesis of what an indie band should be. Martin was the kind of frontman you could take home to your mom for dinner without worrying about causing offense. And apart from the clattering drums and fuzzed-up guitars of "Shiver"—one of the heaviest moments in the group’s back catalog—Parachutes felt just as suited to the sophisticated dinner party as the teenage bedroom.

But Coldplay, and to a lesser extent Travis, helped to open the floodgates for those who didn’t subscribe to the Rock N’ Roll Star way of thinking. You never saw Martin stumbling out of a club at 4 a.m. with a glamor model, that’s for sure.

Starsailor, a band even more indebted to the swooping dramatics of Jeff Buckley, were one of the first to capitalize, with 2001 debut Love Is Here reaching at No. 2 in their native U.K. Fellow Northerners Elbow, who Martin would later admit to stealing from, heightened the emotions even further on the Mercury Prize-nominated Asleep in the Back later that same year. Turin Brakes, Thirteen Senses, Athlete and Aqualung were just a few of the other outfits who followed suit, while Keane, who briefly replaced Coldplay as the music press' whipping boys, put their own spin on things by eschewing guitars for the grand piano. 

Interestingly, several bands who'd formed before Coldplay ended up adopting their sad guitar template, too. Snow Patrol had plugged away to little avail for several years before "Run," a grandiose lighters-in-the-air anthem in the vein of "Yellow," helped 2004’s Final Straw shift five million copies. Feeder and Embrace had already achieved modest success in the 1990s but enjoyed a second wind with Coldplay-adjacent releases—the former’s Pushing the Senses was produced by Nelson, while the latter’s triumphant comeback single "Gravity" was written by Martin, et al.

And American bands weren’t immune to Parachutes’ power either. You can certainly hear its DNA in the sync license-friendly pop-rock of The Fray and the earlier work of hit machine Ryan Tedder’s OneRepublic, for example.

Eventually, following 2005’s aesthetically similar X&Y, the group began to distance themselves from their roots, embracing everything from experimental art rock to hands-in-the-air EDM. Even though the band went on to explore a multitude of new genres in the two decades since their studio debut, the 20-year-old Parachutes to this day sounds both timeless and, with the recent success of similarly earnest everymen Lewis Capaldi, George Ezra, surprisingly timely, too.

Phoebe Bridgers Talks 'Punisher,' Japanese Snacks & Introducing Conor Oberst To Memes

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Björk in The Netherlands in 1995

Björk in The Netherlands in 1995

Photo: Michel Linssen/Redferns

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'Post' at 25: Björk's Ageless Sophomore Album bjork-post-anniversary-25

'Post' at 25: How Björk Brought Her Ageless Sophomore Album To Life

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Released in June 1995, 'Post' remains a kinetic and exhilarating reflection of the experimental pop artist's London years
Jack Tregoning
GRAMMYs
Jul 12, 2020 - 3:00 am

The name Björk conjures some well-worn images. She's the otherworldly artist whose album rollouts resemble large-scale art projects. She's the avant-garde fashion maven who smiled serenely in the "swan dress" at the 2001 Oscars. And yes, she's the eternal kook selling a box set of 14 handmade bird-call flutes to complement her 2017 album, Utopia. 

But there's a relatable image often missed in all the mythmaking: Björk in her late-20s, a wide-eyed new arrival in London, still at the grimy nightclub when the lights come on. 

Born Björk Guðmundsdóttir, the singer moved from her native Iceland to London in the early '90s. Single in the big city with a young son, Sindri, the musician was eager for new experiences. London's sound clash of electronic music promised endless possibilities. 

Björk went headlong into the nighttime world of the city, sampling jungle, drum & bass, house and techno. Not all of it connected. "Ninety-five percent of the dance music you hear today is crap," she told Rolling Stone in 1993. "It's only that experimental five percent that I'm into — the records that get played in clubs after seven o'clock in the morning, when the DJs are playing stuff for themselves, rather than trying to please people." 

Gradually, Björk met her people. She found kindred spirits in Graham Massey, founding member of Manchester acid house innovators 808 State, and Nellee Hooper, a sound system veteran known for his work with Soul II Soul. Out of this creative awakening came Björk's Debut, in 1993, and its astonishing follow-up, Post, which turned 25 this June. 

In her formative years, Björk played in rock bands, but she was never a rock loyalist. Growing up in the Icelandic capital of Reykjavík, she learned the country's folk songs from her grandmother. After her parents divorced early in her life, Björk moved between the domains of her straight-laced electrician father and free-spirited activist mother. 

In spite of splitting her time between parents, she was always surrounded by music. Her mother couldn't afford an oboe, so Björk learned the flute instead. On the long walks to and from school, she honed her remarkable singing voice. She released an album at 11 years old and found success in the Icelandic alt-rock group, The Sugarcubes. (Her former husband and father to her son, Sindri, was the band's guitarist.)

But Björk was unfulfilled, and 808 State's Graham Massey represented a new path. On Björk's request, the pair met in London to discuss beats. She liked the uncommercial approach to electronic music he’d honed in Manchester’s acid house scene; he was floored by her spine-tingling voice. Björk had arrangements for two songs, "Army Of Me" and "The Modern Things," that needed some edge. They finished "Army Of Me" in an afternoon, with Björk tinkering on a pocket sequencer while Massey perfected a giant bass riff. (Meanwhile, Björk appeared as a vocalist on 808 State's 1991 album, ex:el, and brought the band to Reykjavík to play the songs live.)

Björk also found a creative groove with Nellee Hooper, a former member of the Bristol DJ collective The Wild Bunch turned GRAMMY-winning superproducer for the likes of U2, Sinead O'Connor and Gwen Stefani, among others. Björk and Hooper shared a vision for a complete concept, which would later become her aptly titled 1993 debut album, Debut. (The Massey-assisted "Army Of Me" and "The Modern Things" were shelved for later use.) Produced by Björk and Hooper alone, Debut cleanly broke ties with the singer's rock past and instead welcomed trip-hop, house and synth-pop into her sound.

In the afterglow of Debut, Björk went deeper into London club culture. She wanted her next album to reflect the restless pulse and possibilities of her newly adopted home. "Most acts were putting out seven-inches with throwaway lyrics like, 'Ooh, baby, baby,'" Massey told Paper Magazine in 1997. "But Björk took that culture and made an album with poetic lyrics. It blew everyone away. She never tried to fit in with any electronic movement, she just took the ideas and got personal with it." 

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That "poetic" album was Post. On its cover, Björk looks out from a heightened Piccadilly Circus in London's West End. Her jacket, designed by art world favorite Hussein Chalayan, resembles a U.K. Airmail envelope. (Björk, a frequent shopper at London's acid-house-inspired fashion store Sign Of The Times, already had designer cred.) 

On nights out, Björk had got to know Hooper's friends, including Massive Attack collaborator Tricky and Scottish producer Howie B. With input from her nocturnal cohort, Björk was determined to make Post much more riotous than Debut. 

Björk left the hustle of London to begin work on Post at Compass Point Studios in the Bahamas. The stories from those sessions are pure, uncut Björk excess. She used extra-long leads on her microphone and headphones to record at the ocean's edge. She sang "Cover Me" in a cave full of bats. On a side trip to Iceland, she swam in hot springs and admired glaciers with Tricky. (The pair briefly dated, but as Tricky put it bluntly to self-titled years later, "I wasn't a good boyfriend.") 

Back in London, Björk continued to hone Post, reaching for a balance between organic sounds and machine-made elements. In the final stretch, she coaxed Brazilian composer Eumir Deodato from semi-retirement to help fill out the sound. At last, Post was ready for the world. 

Albums often open with something moody and instrumental to set the tone. Post is not that kind of album. From the first moment, "Army Of Me" is all crunching propulsion, its shoulder-shaking lyrics sparked by Björk's sometimes-wayward younger brother. ("It's sort of a 'big sister telling little brother off' song," she told Stereogum in 2008.) 

From the jump, Post refuses to sit still. No two tracks can be easily grouped. "Hyperballad" is somehow a few songs in one five-minute package: equal parts acid house and Deodato's swelling strings, with a virtuoso vocal performance that combines innocent wonder and furious catharsis. 

There's no greater example of the album's tonal shifts than "It's Oh So Quiet" into "Enjoy." The former became the album’s biggest hit—its visual was nominated for Best Music Video, Short Form at the 1996 GRAMMYs, alongside a Best Alternative Music Performance nod for Post. But awards glory was never in the plan. "It was the last song we did,” Björk told Stereogum of "It's Oh So Quiet." "Just to make absolutely certain the album would be as schizophrenic as possible."

All these years later, "It's Oh So Quiet" remains an uninhibited thrill. While reverent to the 1951 version by Betty Hutton, itself a powerhouse, the song's ecstatic Björk-ness cuts through the throwback big-band sound, building from a whisper to gale-force theatrics. 

"Enjoy" then switches the setting from wartime revue to Bristol basement club. Created with Tricky—who released his masterful debut album, Maxinquaye, in the same year—"Enjoy" is scuffed and oppressive in the best way. In short: This ain't a show tune. 

On "Isobel," written with Icelandic poet Sjón, Björk reached for, as she later told Stereogum, a "heightened mythical state." The song sounds like scaling a glacier and singing to the stars. But Post never lets you pin Björk as an ethereal, unknowable pixie. She also does "normal people" things, like getting too drunk and staying out until sunrise. (Hungover Björk interviews were a theme of the mid-'90s. "I come from a country where from the age of 15 you drink one liter of vodka every Friday straight from the bottle," she told SPIN in 1997.)

She also knows a messy breakup as well as anyone. So from the astral plane of "Isobel" we go to "Possibly Maybe," a lovelorn, but still wry slowburner. You picture it sung late at night in a London apartment, far from the warmth of the Bahamas. 

"I Miss You," the final single released from Post, is the synthesis of all its wild instincts. There's so much here: horns, relentless percussion, a skittering, curving beat and Björk in blistering form. But the excess works. "Cover Me" and then "Headphones," written as an ode to Graham Massey's mixtapes, provide the album's gentle comedown. By the hushed final moments of Björk singing about sleep, you forget how furiously Post began. 

It's hard to pinpoint the exact influence of Björk's Post over the past 25 years. Forever on the move, the 15-time GRAMMY nominee has never been defined by one album alone. 

After a nightmarish 1996, which included a scuffle with a journalist and a bomb threat from a stalker, Björk decamped to Spain to record a follow-up to Post. Released in 1997, the brilliant Homogenic was more unified and consciously Icelandic than its predecessors. 

Homogenic set a precedent for an artistic reinvention by the singer every few years. As a result, other artists tend to credit the totality of Björk's output, rather than a single album, as inspirational. Most avoid her name at all: Citing a talent as vast and singular as Björk can only invite unfair comparisons. 

Over the decades since Post, Björk has made a habit of working with artists she's inspired. "That's the good thing with being so obsessed with music," she told the Evening Standard in 2016, "you've always got other nerds who are obsessing, too. It's kind of ageless." 

In recent years, those collaborators have included experimental electronic producers The Haxan Cloak and Arca as well as art-pop original ANOHNI. Throughout her many creative partnerships, Björk has battled sexist notions of authorship. "It's always like I'm this esoteric creature; that I just turn up and sing and go home," she vented to the Evening Standard. 

Contemporary singer-songwriters Jenny Hval and Mitski openly worship Björk, both jumping at the chance to interview their hero for a Dazed feature in 2017. Other parallels can be reductive. Shapeshifting singer FKA twigs, for one, is often cited as Björk-like. While the pair share a collaborator in music video visionary Andrew Thomas Huang, the comparison is a too-easy catch-all for women skirting traditional pop. 

In the 25 years since its release, Post has come to represent something wider than Björk's specific viewpoint. It's the best possible outcome of a timeless conceit: the transplant intoxicated by a new city, channeling their experiences and anxieties into art. In an era when cities are siloed and flights are grounded, Post feels impossibly romantic. 

Sparks' Russell Mael Talks 24th LP, 'A Steady Drip, Drip, Drip,' Adam Driver & That Time They Showed Up On 'Gilmore Girls'

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Chris Martin & Susanna Hoffs at "Let's Go Crazy: The GRAMMY Salute To Prince"

Chris Martin & Susanna Hoffs

Photo: Monty Brinton/CBS/Getty Images

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Here's Who Rocked The GRAMMY Tribute To Prince foo-fighters-her-chris-martin-mavis-staples-heres-who-rocked-grammy-prince-tribute

From Foo Fighters To H.E.R., Chris Martin To Mavis Staples, Here's Who Rocked The GRAMMY Prince Tribute

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Earth, Wind & Fire, St. Vincent, Beck, John Legend, Common, The Time, The Revolution and more also brought purple power to "Let's Go Crazy: The GRAMMY Salute To Prince"
Ana Monroy Yglesias
GRAMMYs
Apr 21, 2020 - 8:20 pm

"To me, Prince is music. To love Prince is to love music," "Let's Go Crazy: The GRAMMY Tribute To Prince" host Maya Rudolph said as the GRAMMY special aired on Tuesday, April 21. "He said so much, so well, for so long, and then was gone too soon."

On the fourth anniversary of the seven-time GRAMMY winner and cultural icon's death, the Recording Academy and some very special celebrity friends celebrated his life and musical treasure trove. The shimmering Prince tribute concert, "Let's Go Crazy: The GRAMMY Salute To Prince," featured powerhouse numbers from Foo Fighters, Beck, Common, Earth, Wind & Fire, H.E.R., Mavis Staples, St. Vincent, John Legend, Miguel, Coldplay's Chris Martin, the Bangles' Susanna Hoffs and many more. The latter pair sang a stripped-down piano rendition of "Manic Monday," the Bangles' hit penned by Prince, while Dave Grohl led the Foo Fighters in a rocked-up covers of "Pop Life" and "Darling Nikki," the latter complete with growls and shrieks.

GRAMMYs

Mavis Staples and The Revolution perform at "Let's Go Crazy: The GRAMMY Salute To Prince" | Photo: Monty Brinton/CBS/Getty Images

Jimmy Jam, Terry Lewis and Sheila E. served as musical directors for the show, and all performed during it. Jam and Lewis, who got their start as part of Prince-formed act the Time, brought the moves with that classic group, while Sheila served up her epic drumming during the majority of numbers, as the bandleader of the powerhouse backing band. Prince's very own GRAMMY-winning backing band The Revolution also served up major purple realness during the show, performing "Delirious" with Rudolph and her duo Princess, "Purple Rain" with Staples and a joyful, star-studded finale of "Baby I'm a Star."

Jimmy Jam & Terry Lewis Tease Morris Day & The Time's Prince Tribute Medley For "Let's Go Crazy"

In case you missed its airing on CBS/CBS All Access, or in case you couldn't Shazam some of the deeper cuts quickly enough, let's take a trip back to a time filled with "Purple Rain," before the coronavirus crisis stopped us all in our tracks (the show was safely and miraculously taped before the pandemic rocked the States).

H.E.R. Celebrates No. 1 Influence Prince

Opening the festivities were fellow GRAMMY winners and guitarists Gary Clark Jr. and H.E.R., who performed the night's titular bop, "Let's Go Crazy." The "Hard Place" singer rocked a fabulously shiny, iridescent white jumpsuit with a color-coordinating electric guitar, while the "This Land" artist stylishly contrasted her in a matte black suit and brown woodgrain guitar.

H.E.R. Celebrates Prince At "Let's Go Crazy" Tribute: "It's Gonna Be A Party!"

Miguel Honors Prince With "I Would Die 4 U"

Miguel Praises Prince, Talks About Performing "I Would Die 4 U" For "Let's Go Crazy: The GRAMMY Salute To Prince"

Next up was R&B angel Miguel, who brought sexy, Princely swagger—complete with white lace and eyeliner—to Purple Rain track "I Would Die 4 U."

John Legend Performs "Nothing Compares 2 U"

"He set the stage for all of us who follow," said EGOT-winner Legend, who wore a fierce, fitted dark grey suit. He sang a rousing rendition of "Nothing Compares 2 U," Prince's GRAMMY-nominated song originally performed by Sinead O'Connor.

GRAMMY-winning polymath St. Vincent followed, donning a lavender ruffled bodysuit and white go-go boots. Before she calmly slayed "Controversy," she told a story of Prince attending one of her shows, which "scared her to death." "Prince's music means so much to all of us," she added.

Juanes Takes Us Back To "1999" In Prince's Honor At "Let's Go Crazy: The GRAMMY Salute To Prince"

GRAMMY and Latin GRAMMY winner Juanes, wearing a maroon crushed velvet top, rocked out with a lively rendition of "1999." The Colombian rock star was introduced by the Purple One's longtime friend, Naomi Campbell. He was followed by another song from H.E.R., this time with dancer and Prince collaborator, Misty Copeland. Her gorgeous dance moves brought a powerful energy to H.E.R.'s electric performance of "The Beautiful Ones." Sitting at a space-age white Roland piano, H.E.R. hit alll the high notes with a commanding, graceful power.

Naomi Campbell On GRAMMY Salute To Prince: "I Really Wanted Him To Have The Celebration He Deserved"

Next on deck during the show was another act featuring beautifully articulated choreography, this time by FKA Twigs and Usher, from their slick 2020 GRAMMY performance (watch above) of "Little Red Corvette," When Doves Cry" and "Kiss." Martin and Hoffs brought us back down to earth with lovely duet of "Manic Monday," with Martin playing the piano.

GRAMMYs

The Time perform at "Let's Go Crazy: The GRAMMY Tribute To Prince" | Photo: Monty Brinton/CBS/Getty Images

Not wanting to keep the audience in their seats too long, Morris Day, Jam, Lewis and The Time brought the energy back up with a medley of some of The Time's biggest bops written by Prince: "Jungle Love," "Cool" and "The Bird." They all still dance like it's 1984 and Ice Cream Castle just hit the airwaves—apparently an active diet of Prince music keeps you young and fresh.

Morris Day Pays Tribute To His Friend Prince At "Let's Go Crazy: The GRAMMY Salute To Prince"

Dave Grohl Tells The Story Of Jamming With Prince

Dave Grohl, meanwhile, shared a story (watch the clip above) about the time he jammed with Prince in an empty L.A. Forum. He also spoke about how Foo Fighters used to perform "Darling Nikki" in their early days. Their hard-rocking slayage of the sexually explicit Purple Rain track was the first time they'd played it in over 20 years. Host Rudolph then kicked it over to the legendary GRAMMY winning-soul group Earth, Wind & Fire for a rolicking cover of Sign 'O the Times cut "Adore."

GRAMMY-winning rapper/actor/activist Common followed with a modern update on the 1987 album's socially charged title track, "Sign O' The Times."

Watch Common Perform "Sign 'O' The Times"

Next, GRAMMY-winning alt-rock stalwart Beck sang ubiquitous Prince catalog classic, "Raspberry Beret," complete with the music video's cartoon clouds dancing in the background. 

Beck Performs Prince's "Raspberry Beret"

Clark Jr. returned to the stage for a special duet with Sheila E., of another Sign 'O the Times deep cut, "The Cross."

Gary Clark Jr. On His Admiration For Prince: "He's The Best Guitar Player In The World"

Gary Clark Jr. Sings Prince Deep Cut "The Cross"

Comedian/actor/musician Fred Armisen then took the stage to introduce the evening's true star, Sheila E., who'd already changed into another bold ook. She then led a medley of "America," "Free" and "The Glamorous Life," tracks she recorded with the icon himself.

Sheila E. Honors Prince's Unmatched Musical Legacy: "There's Only One Prince"

Armisen returned to introduce one his "best friends," Maya Rudolph, who'd also changed into another look for her performance with her Prince cover band, Princess, who slayed "Delirious" with The Revolution, Prince's powerhouse backing band.

The Revolution stuck around to rock out with the one and only Staples for a incredibly moving rendition of "Purple Rain." Finally, they lead a packed stage for a very star-studded, lively take of "Baby I'm a Star," bringing out all the amazing performers who channeled Prince's royal energy during the show.

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Dave Grohl Tells The Story Of Jamming With Prince, Talks Growing Up To His Records

My Chemical Romance's 'Danger Days: The True Lives Of The Fabulous Killjoys' Album Cover

Danger Days Album Cover

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10 Years Of My Chemical Romance's 'Danger Days' my-chemical-romance-danger-days-10-year-anniversary

Look Alive, Sunshine: 10 Years Of My Chemical Romance's 'Danger Days: The True Lives Of The Fabulous Killjoys'

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Released in November 2010, the band's fourth and final studio album is a bold statement that pushed its creators, and their devotees, to new places
Jordan Blum
GRAMMYs
Nov 22, 2020 - 1:03 pm

Founded in Newark, N.J., in 2001, My Chemical Romance (MCR) were at the top of their game by the start of the 2010s. While their 2002 debut album, I Brought You My Bullets, You Brought Me Your Love, was a promising and successful fusion of gothic rock and post-hardcore, it was their two immediate follow-ups—Three Cheers For Sweet Revenge (2004) and The Black Parade (2006)—that turned them into full-blown emo emissaries. In fact, those album covers and concepts remain synonymous with the movement, gracing the walls of Hot Topic stores across the U.S. and being celebrated by virtually every genre fan.

Consequently, that also meant that My Chemical Romance's fourth and final studio album, Danger Days: The True Lives Of The Fabulous Killjoys, largely lived in the shadows of the band's two breakout releases—at least to an extent. Released November 22, 2010, the album evolved MCR's already-winning aesthetic narratively, structurally and musically, which understandably resulted in some polarization among listeners. Ultimately, that's a testament to the boldness and maturity of Danger Days, as it, like all worthwhile artistic endeavors, pushed its creators and their devotees to new places. As such, it's the group's most striving and sundry collection

MCR recorded Danger Days between June 2009 and July 2010. At first, the band worked with producer Brendan O'Brien (Pearl Jam, Bob Dylan, AC/DC) on their new material; however, those tracks were ultimately saved for a subsequent compilation,  Conventional Weapons (2013). The group enlisted The Black Parade producer Rob Cavallo once again. Likewise, drummer Bob Bryar—who took over for co-founder Matt Pelissier in 2004 immediately after the release of Three Cheers—officially left in March 2010. Interestingly, he's only credited with songwriting here, with John Miceli filling in on drums and percussion on all tracks except "Bulletproof Heart," which features Dorian Crozier. 

Read: Hayley Williams On Going Solo, Alanis Morissette & Trusting Her Intuition

Stylistically, MCR uphold their trademark alternative/punk/pop-rock foundation on Danger Days while also digging deeper into electronic, proto-punk and even psychedelic elements. According to Way, this was an attempt to offer a "stripped down" sound and pay homage to '60s and '70s icons like The Beatles, Queen and David Bowie. Therefore, Danger Days feels like a sibling to its precursors that also evokes the catchier, freer and brighter power/synth-pop vibes of Coheed and Cambria, Panic! at the Disco and modern Green Day.

Like its forebears, the record is a concept album: Danger Days takes place in a post-apocalyptic California in 2019 and follows The Killjoys, a quartet of rebellious reactionaries composed of Party Poison, The Kobra Kid, Jet-Star and Fun Ghoul, as they try to take down the nefarious Better Living Industries. Clearly, that Gorillaz-meets-Mad Max kind of colorful cataclysm is in stark contrast to MCR's previously bleaker storylines; the fact that the sequence is framed around broadcasts from a lively pirate radio host, Dr. Death Defying, adds to the friskiness. This technique also places Danger Days in the ever-expanding lineage of albums that unfold like live broadcasts: The Who Sell Out, Queens Of The Stone Age's Songs For The Deaf, Janelle Monáe's The Electric Lady, Vince Staples' FM. It's not surprise that Way sees the album as their "defining work."

Throughout the album's elaborately hyped marketing cycle, which included "secret shows" and a fanciful trailer, MCR released several singles and music videos; most of those showed up in other forms of pop culture, too, such as in the film Movie 43; TV shows like "Teen Wolf" and "The Voice"; and video games like "The Sims 3" and "Gran Turismo 5." There was also a corresponding 48-page book and a three-track EP, The Mad Gear And Missile Kid, the latter of which guitarist Frank Iero billed as being "what The Killjoys are listening to in the car as they're having those gun battles." (Way also created a comic book sequel, "The True Lives Of The Fabulous Killjoys," in 2013.)

Danger Days sold over 1 million copies worldwide within its first three months, peaking at No. 1 on Billboard's Top Rock Albums and Alternative Albums charts and securing gold certification by the RIAA. It became a Top 10 hit on the Billboard 200 chart and gained comparable chart placements in Japan, Mexico, New Zealand and Finland. True, The Black Parade fared much better—a No. 2 spot on the Billboard 200 chart and a triple-platinum certification by the RIAA—but Danger Days proved quite popular overall, with outlets like The Guardian, NME, Alternative Press, USA Today and Kerrang! praising it.

Overall, Danger Days is awesome. Dr. Death Defying kicks things off with a flashy introduction in "Look Alive, Sunshine," which is peppered with prophetic dissonance. It segues into the anthemic and spunky "Na Na Na (Na Na Na Na Na Na Na Na Na)," a stadium rock gem that embodies how Danger Days frequently repurposes MCR's beloved foundation into a glitzier and freer environment. Similarly, "Sing" places the group's recognizable antagonism beneath a sparser and lighter vibe. 

Afterward, "Planetary (GO!)" offers a bit of unabashed dance-punk that is irresistibly enjoyable. Meanwhile, "Party Poison" incorporates a glam rock edge into its celebratory ethos, whereas "S/C/A/R/E/C/R/O/W" is a shimmering ballad and "Summertime" is a synthy slice of impassioned romanticism. In general, these tracks, among others, do a pleasing and commendable job of infusing new timbres and styles into their formula.

In contrast, the angsty forcefulness and straightforward strength of "Bulletproof Heart," "Save Yourself, I'll Hold Them Back" and "The Only Hope For Me Is You" recall more of MCR's earlier DNA. There's even a touch of post-hardcore heaviness on "Destroya," as well as some requisite emo fatalism and hyperbolic sentimentality on "The Kids From Yesterday." Closer "Vampire Money," written in reaction to people wanting them to contribute a song to the Twilight films, evokes the British attitude of The Rolling Stones and The Kinks before oozing classic rock 'n' roll charm, albeit with far more sharpness.

Danger Days may have been the beginning of the end for My Chemical Romance—at least until the band's very public reunion last year. Still, it's surely MCR's artistic peak, with an expansively entertaining storyline, a wide breadth of stylistic approaches and clever promotional tactics leading to a cumulatively greater sense of purpose and imagination. Thus, Danger Days stands as both their swan song and superlative release—that is, until we finally get that fifth studio album. 

What It Meant To Me Will Eventually Be A Memory: Linkin Park's 'Hybrid Theory' Turns 20

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OutKast celebrate 'Stankonia' in 2000

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Which 2000 Album Do You Have On Repeat This Year? vote-now-which-2000-album-will-you-have-repeat-year

Vote Now: Which 2000 Album Will You Have On Repeat This Year?

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From OutKast's Atlanta hip-hop classic to Coldplay's debut alt-rock masterpiece to Britney Spears' bubblegum pop perfection, Y2K was filled with big albums. Which one will get you through the turn of the new decade?
Ana Monroy Yglesias
GRAMMYs
Mar 6, 2020 - 4:20 pm

Fortunately for us, the widely rumored Y2K computer meltdown never happened. Instead, in the year 2000, the world enjoyed an influx of now-classic albums that are—gasp—turning 20 this year. From D'Angelo's sultry sophomore effort, Voodoo, to OutKast's Atlanta hip-hop classic Stankonia to Coldplay's debut alt-rock masterpiece Parachutes and Britney Spears' bubblegum pop perfection of Oops!... I Did It Again, Y2K was filled with big albums turning 20 this year.

There was also Sleater-Kinney's socially charged All Hands On The Bad One, U2's anthemic, hit-filled All That You Can't Leave Behind and Nelly's fire debut, Country Grammar. British dance music icon Fatboy Slim also dropped his third studio album, Halfway Between The Gutter And The Stars, Radiohead got moody and ambient with Kid A and Madonna's Music, her eighth full-length, earned her another No. 1 album, among other albums we're still spinning.

We want to know: Which album will you be blasting to get you through the turn of this new decade? Let us know in the poll below, and read on to revisit each project.

Polls

Which 2000 album will you have on repeat this year?

 

All Hands On The Bad One was Washington riot grrrl group Sleater-Kinney's fifth album, filled with driving guitar licks and feminist power. They only released one of its 13 tracks as a single—"You're No Rock n' Roll Fun"—whose tongue-in-cheek lyrics are still to this day the ideal flip-off to any and all haters.

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Ahead of the iconic Irish rock act's 10th studio album, All That You Can't Leave Behind, U2 released the uplifting arena-ready (and triple GRAMMY-winning) "Beautiful Day." The lead single charted in multiple countries and got the music world excited for the album, including a new generation of fans. The album spawned more U2 classics, including "Stuck In A Moment You Can't Get Out Of," "Walk On" and "Elevation," the latter of which got new life—and harder guitar riffs—in 2002 in Lara Croft: Tomb Raider.

The successful LP earned the group a total of seven GRAMMY wins across the 43rd and 44th GRAMMY Awards, including Best Rock Album and Record Of The Year (for "Rock On").

In the summer of 2000, a young St. Louis rapper called Nelly dropped his epic debut album, Country Grammar. It was a huge success, hitting No. 1 on the Billboard 200, Top Rap Albums and Top R&B/Hip-Hop Albums charts. Months earlier, his first-ever single, the unforgettable, chart-topping "Country Grammar (Hot Sh*t)" took the world by storm, setting the album drop up well. Interspersed with skits featuring Cedric the Entertainer, the LP also touted another instant classic hit single, "Ride Wit Me."

Both of the singles were nominated for Best Rap Solo Performance at the 43rd and 44th GRAMMY Awards, respectively. The project also earned him his first Best Rap Album nod.

In the heyday of the VH1 and MTV music video cycle, Christopher Walken was a regular, as the star of U.K. electro king Fatboy Slim's irreverent "Weapon Of Choice" visual. The GRAMMY-winning, Spike Jonze-directed music video technically came out in 2001 as the third single from his third studio album, Halfway Between The Gutter And The Stars. That song features vocals from funk legend Bootsy Collins, while "Love Life" and "Demons" feature neo-soul powerhouse Macy Gray. The album is also rich with samples, from Bill Withers, James Brown, KRS-One and more, mixing vintage vinyl soul with dancefloor-ready flourishes and break-beats.

"Weapon Of Choice" took home Best Short Form Music Video at the 2002 GRAMMYS, the LP earned a nod for Best Alternative Music Album, as no dance/electronic album category existed yet.

After the massive success of 1997's GRAMMY-winning OK Computer and its single "Karma Police," Thom Yorke and the motley British rock band known as Radiohead did things a little differently on Kid A. As with the prior album, they once again co-produced it with Nigel Godrich, this time adding glitchy synths and dark, emotive electronic drums. Instead of promoting the project with singles or videos, the album was made available to stream online—pre-streaming services—three weeks before its release, earning over 400,000 streams and later debuting at No. 1.

Their innovation paid off, as the album would win them their second golden gramophone, for Best Alternative Music Album. Standout tracks from Kid A include "Everything In Its Right Place," How To Disappear Completely" and "Idioteque."

By 2000, Madonna was already a pop and fashion icon several times over, first making her mark with her self-titled 1983 debut album, spawning hits "Lucky Star," "Borderline," "Burning Up" and "Holiday." On Music, her eighth LP, she earned her fourth No. 1 album on the Billboard 200, 11 years since her last (1989's Like A Prayer). The catchy title track and lead single also earned her No. Ones across the globe on both pop and dance charts. The album art and music video's glamorous cowboy chic gave the world another shade of Madonna, with outfits we still want to rock today.

The album and title track earned the Queen Of Pop three more GRAMMY nominations at the 2001 show (she already had five wins by then), including Best Pop Vocal Album and Record Of The Year. One of its other singles, "Don't Tell Me," snagged another nod the following year, for Best Music Video.

On Oops!... I Did It Again, an 18-year-old Britney Spears had solidified her role as reigning pop princess. Her confident sophomore album followed in the bubblegum pop perfection of her hit debut the year prior, spawning more hits with "Oops!... I Did It Again," "Stronger" and "Lucky." She also served up a breathy cover of Rolling Stones' "(I Can't Get No) Satisfaction" on the album, which gave her a second No. 1 album on the Billboard 200.

Both the album and the title track earned Spears two more GRAMMY nominations at the 2001 GRAMMYs (she snagged her first two the year before, including for Best New Artist). She was up against Madonna in both categories in 2001, Best Pop Vocal Album and Best Female Pop Vocal Performance.

Back in the early 2000s, British pop/rock juggernauts Coldplay were an alt-rock favorite. With the release of their haunting debut album, Parachutes, in 2000 their acclaim and fan-base swiftly grew. Full of atmospheric instrumentation pierced by Chris Martin's rich vocals, the album features classic singles "Don't Panic," "Shiver," "Yellow" and "Trouble."

With the successful debut, they earned their first two GRAMMYs nominations at the 44th GRAMMYs, one of which resulted in a Best Alternative Music Album win.

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On Halloween 2000, Atlanta hip-hop heroes OutKast released their majorly ice-cool fourth album, Stankonia. The sprawling, funky album from the powerhouse duo comprising Big Boi and Andre 3000 included massive hits/hip-hop classics "So Fresh, So Clean," "Ms. Jackson" and "B.O.B." It saw success on both the all-genre and hip-hop charts, hitting No. 2 on both the Billboard 200 and Top R&B/Hip-Hop Albums.

The iconic album earned the pair five GRAMMY nominations at the 2002 GRAMMYs, two of which resulted in golden gramophones: Best Rap Album and Best Rap Performance By A Duo Or Group for "Ms. Jackson."

Read: OutKast Examine Their Southern Experience On 'Southernplayalisticadillacmuzik'

Five years after his 1995 debut album, Brown Sugar, D'Angelo gave the world the gift of the sultry, funky Voodoo. Recording in the famed Electric Lady Studios in New York, the powerhouse vocalist collaborated with a cast of fellow soulful musicians including Lauryn Hill, Raphael Saadiq and Questlove. The 12th track on the sexy, expansive sophomore effort, "Untitled (How Does It Feel)" saw success as a single, partly thanks to its steamy video. The album debuted at No. 1 on the Billboard 200, knocking Santana's Supernatural from the top spot.

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