"Welcome to 'Solid Gold!' Starting right now and for every week to come, we're gonna bring you the biggest hit records in the country, some by the people that made them famous. So get ready for a lot of comedy, some real hot dancing and many surprises," host Dionne Warwick said during its debut episode on Sept. 15, 1980. The GRAMMY-winning singer hosted the entire first season, after which would go on to be hosted by Andy Gibb, comedian Arsenio Hall and others for the remaining seven seasons.

We celebrate the 40th anniversary of the launch of the shimmering '80s music TV show in our third-ever episode of the one-minute History Of video series, which you can watch below.

Learn About The U.S.' First Integrated Nightclub In 60 Seconds | The History Of

During that lively first show, Irene Cara performed (most numbers were lip-synched) her GRAMMY-nominated hit "Fame" and Chuck Berry rocked the crowd with a live rendition of "Johnny B Goode," both backed by the amazing in-house dance squad known as the Solid Gold Dancers. To add excitement to the countdown of the week's top hits, the crew served up energetic choreography for each song.

Other legendary musical guests included GRAMMY winners Rolling Stones, Bon Jovi, James Brown, Madonna, the Pointer Sisters and Rod Stewart, as well as Hall & Oates, a-ha and many others.

The incomparable Cher had already achieved iconic status long before she dropped the title track from her 22nd studio effort, Believe, at the tail end of 1998. After all, this was an artist who'd forged one of the most successful pop duos of the '60s, scored a record-breaking trio of number ones in the '70s, and reinvented herself as an MTV goddess in the '80s. Not to mention her contributions outside of music: the hit variety shows, Broadway runs, and Hollywood moonlighting — the latter of which saw her win an Oscar.

But the success of "Believe" was still unlike anything else Cher had achieved during her illustrious 35 years in the business. It reached No. 1 in 21 different countries across the globe (including a four-week stint at the top of the Billboard Hot 100 in the U.S.), sold 11 million copies, and cleaned up at everything from the International Dance Music Awards to the Ivor Novellos. For a good 12 months, it was practically impossible to avoid hearing its dance-pop beats, lovelorn lyrics and, of course, that famous robotic vocal effect.

But "Believe" didn't just significantly impact Cher's already glittering career — it also changed the face of pop music as we know it. From inspiring other divas to get their groove on to pioneering a piece of now-ubiquitous studio technique, take a look at 10 ways "Believe" impacted pop.

It Smashed Multiple Chart Records 

It would almost be quicker to list which chart records "Believe" didn't completely obliterate. The song spent 21 weeks atop Billboard's Hot Dance Singles Sales, and was still in the Top 10 a full year later. It was also crowned the year-end No. 1 on both the Dance Club Songs and Hot 100 charts. And it produced the longest-ever gap between chart-toppers on the latter — 33 years and seven months, to be exact — as Cher's first No. 1 on the chart came in 1965 with her Sonny Bono duet "I Got You Babe."

"Believe" was just as successful across the pond, beating George Michael, U2, Culture Club, and Alanis Morisette in a famous five-way battle for No. 1. And with 1.8 million copies sold, it's still the U.K.'s highest-selling single by a female performer.

It Inspired Several Divas To Dance 

Cher had initially resisted Warner UK label boss Rob Dickins' idea to pursue a dance direction, reportedly arguing that the genre wasn't conducive to "real songs." It's unlikely many of her peers took much persuading, however, after witnessing the monumental success of "Believe."

In fact, pretty much every pop diva on the other side of 50 seemed to take to the dance floor over the following 12 months: see Diana Ross' "Not Over You Yet," Tina Turner's "When the Heartache Is Over," and Donna Summer's "I Will Go With You (Con Te Partiro)." Madonna (Confessions on a Dancefloor), Kylie Minogue (Tension), and Cyndi Lauper (Bring Ya to the Brink) have all since proved middle age and dance music needn't be mutually exclusive terms with entire albums tailor-made for the clubs.

It Finally Gave Cher A Grammy 

It seems hard to believe that Cher had to wait until the turn of the millennium to pick up her first GRAMMY. The pop veteran had previously been nominated alongside then-husband Sonny Bono in the Best New Artist category in 1966. The pair also received a nod in the Best Pop Performance by a Duo or Group in 1972 for "All I Ever Need Is You," the same year Cher was recognized as a solo artist with a Best Female Pop Vocal Performance nomination for "Gypsys, Tramps and Thieves." But on all three occasions, Cher went home empty-handed.

The star finally emerged victorious in 2000, however, when "Believe" won Best Dance Recording. (The song and same-named parent LP had picked up nods for Record of the Year and Best Pop Vocal Album, respectively, too). Peter Rauhofer was also crowned Best Remixer of the Year for his work on the track under the guise of Club 69.

It Paved The Way For An Exciting '00s Hit Factory 

Nine different people, including Cher herself, are given songwriting/production credits on "Believe." But the most interesting behind-the-scenes name is Brian Higgins, the man who penned an early version of the track a full eight years before it was released. A virtual unknown when the finished product finally arrived, Higgins would go on to shape the following decade of British pop music thanks to his pioneering work as part of the production powerhouse known as Xenomania.

Best-known for guiding the career of their ultimate muses, Girls Aloud, the team also carved out weird and wonderful singles for Sugababes, The Saturdays, and Alesha Dixon.Pet Shop Boys, Kylie Minogue, and Saint Etienne were just a few of the more established names who turned to Xenomania for hit-making assistance, too.

It Made Cher Relevant Again 

Cher looked to have been consigned to heritage act status before "Believe" came to the rescue. She'd only scored one U.S. Top 10 hit in the 1990s ("Just Like Jesse James") and that was at the very start of the decade; her last studio effort, covers album It's A Man's World, had peaked at a lowly No. 64 on the Billboard 200. But Cher isn't known as a comeback queen for nothing. The Believe campaign not only saved her from the musical wilderness, but it also kickstarted the most consistent, if undoubtedly sporadic, chapter of her career.

Indeed, although "Strong Enough" and "Song for the Lonely" are her only Hot 100 entries since (No. 57 and 85, respectively), 2001's Living Proof, 2013's Closer to the Truth, and 2018's ABBA tribute Dancing Queen have all reached the top 10 of the Billboard 200. And while Cher was always a powerful live draw, the Believe era took things to new heights: 2002's long-running (and misleadingly-named) The Farewell Tour, grossed $200 million across a whopping 325 dates to become the highest-grossing concert series by a female artist at the time.

It Proved Age Ain't Nothin' But A Number 

Bette Midler, Aretha Franklin, and Tina Turner had all previously reached the top of the Hot 100 in their forties. But no female artist had ever achieved such a feat until "Believe" came along. Cher was aged 52 years and nine months when the dance-pop anthem took her number one tally to four in March 1999. And while the annual return of "All I Want for Christmas Is You" saw a 53-year-old Mariah Carey surpass this milestone in 2022, Cher can still lay claim to being the oldest chart-topping woman with a newly released song.

The star will have to score a fifth, however, if she's to break the all-time record: Louis Armstrong was three months shy of his 63rd birthday when he knocked The Beatles off pole position with 1963's "Hello Dolly."

It Introduced The World To Auto-Tune 

According to Pitchfork, a remarkable 99 percent of all contemporary pop music utilizes the pitch-altering recording technique known as Auto-Tune. And that's pretty much all down to The Cher Effect. Although designed to subtly correct a wayward vocal, the producers of "Believe" decided to make it blatantly obvious that studio trickery had been at play, transforming one of pop's most easily identifiable voices into that of a wobbly android.

Cher had to fight to keep the song's unique selling point, telling unconvinced label bosses they'd have to remove it "over my dead body." And her instinct proved to be right. The pioneering use of Auto-Tune was undoubtedly the catalyst for the song's phenomenal success, ultimately paving the way for everyone fromLil Wayne andT-Pain toDaft Punk andBlack Eyed Peas.

It Became A Pop Culture Fixture

You know a song has entered the nation's consciousness when it's been parodied by Matt Stone and Trey Parker. But South Park's incomprehensible version of "Believe," which appeared in season 3 episode "Two Guys Naked in a Hot Tub," isn't the only way in which the chart-topper has permeated pop culture over the past 25 years.

It was also given the spoof treatment by MADtv, has become a lip-sync battle regular, and featured in the star-studded medley in Eurovision: The Story of Fire Saga. More recently, it was mashed up with "The Muffin Man" by Adam Lambert for a That's My Jam performance that went viral.

It Brought Back Crying At The Disco 

Cher had asked many questions through the medium of pop during her illustrious career: "Am I Blue?" "Does Anybody Really Fall in Love Anymore?" "How Can You Mend a Broken Heart?" But it was undoubtedly "Believe" on which she posed her most pressing. "Do you believe in life after love?," she sings in the famously Auto-Tuned chorus, a clever turn of phrase which set the song up as the '90s answer to "I Will Survive"; follow-up single "Strong Enough" would go even further by essentially borrowing its string section.

The "crying at the disco" anthem had largely fallen out of favor since Gloria Gaynor's heyday. But "Believe" proved once again it was possible to pour your heart out and throw some shapes at the same time. Robyn ("Dancing On My Own"), Pussycat Dolls ("Hush, Hush"), and Madonna ("Sorry") are just a few of the artists who appeared to be taking note.

It's Become A Part Of The Modern American Songbook 

What do tween collective Kidz Bop, punk rock supergroup Me First and the Gimme Gimmes, and Swedish synth-pop songstress Anna of the North all have in common? They've all put their own spin on the dance-pop masterpiece that is Cher's "Believe." And they're not the only ones, either.

In 2023, DMA's rendition wascrowned the all-time best cover to emerge from Aussie radio station Triple J's feature Like a Version.Manchester Orchestra,Lucy Dacus, and Jessie Ware have all interpreted the smash hit in their own distinctive ways over the past 18 months, too. And it's become a talent show staple thanks to ballad versions by the likes ofAdam Lambert,Jeffery Austin, andSheldon Riley. Should the Great American Songbook ever get modernized, then "Believe" is a shoo-in.

Songbook: How Madonna Became The Queen Of Pop & Reinvention, From Her 'Boy Toy' Era To The Celebration Tour

A lavender haze has descended upon movie theaters across America. 

Taylor Swift’s filmed version of her historic Eras tour is the movie-music event of the year, dominating the box office becoming highest grossing dometic concert film in Hollywood history after a single weekend. Byt the time the Eras credits roll, you know all too well that you’re going to want to keep the party going.

Luckily, there are a breadth of artists whose musical singularity is reflected on the silver screen. Swift's major influence notwithstanding, the concert film seems to be having a moment in recent years: Pop stars such as Lizzo (Live in Concert), Selena Gomez (My Mind and Me) and Lewis Capaldi have released popular concert films.

From Beyoncé’s stunning Homecoming, to acclaimed concert films from Queen to Talking Heads and new entries like from the boys in BTS, read on for 11 excellent concert film experiences.

Homecoming: A Film by Beyonce (2019)

When Beyoncé headlined the Coachella Music and Arts Festival — the first Black woman to do so — in 2018, she didn’t just perform; she delivered a tour de force extravaganza that spurred a whole new moniker: Beychella. 

Shot over two nights, the Netflix film Homecoming includes a discography-spanning retrospective and memorable performances of "Run the World," "Single Ladies" and "Formation." Layered in ware nods to the Historically Black College and University experience, legends like Nina Simone and dazzling array of choreography, wardrobe and vocal chops. 

The New Yorker later hailed it a "triumphant self portrait" and "a spectacle of soul." Directed by Queen Bey herself, Homecoming took home the golden gramophone for Best Music Film at hte 62nd GRAMMYs. 

Stop Making Sense (1984)

The filmmaker Jonathan Demme is known for classics like Silence of the Lambs and Philadelphia, but he was also a major force in concert films. Among his achievements in this field is Stop Making Sense, his 1984 portrait of David Byrne and his Talking Heads.

Filmed at the peak of the band's popularity and following the release of Speaking in Tongues (which featured "This Must Be The Place" and "Burning Down the House,"), Stop Making Sense  is a cult classic, from its array of hits to the band’s massive suits which became their calling card. 

The film was re-released in theaters last month. "I'm kind of looking at it and thinking, who is that guy?," said David Byrne in a recent interview with NPR about watching his younger self. "I'm impressed with the film and impressed with our performance. But I'm also having this really jarring experience of thinking, ‘He's so serious.’" 

BTS: Yet to Come in Cinemas (2023)

While the GRAMMY-nominated South Korean superstars BTS may be on a break — Jung Kook recently announced that he will release his debut solo full-length- bask in the glow of the K-pop and their rollicking concert film earlier this year. In the film, Jung Kook alongside Jin, RM, Jimin, V, J-Hope as they smoothly perform their calvadace of hits, including "Butter" and"Dynamite" in a 2022 performance for Busan, South Korea’s rally to host the 2030 World Expo. 

The boys are actually no stranger to the genre, with Yet To Come marking their fifth concert film in addition to BTS Permission to Dance on Stage — Seoul: Live Viewing and 2020’s Break the Silence: The Movie among others. 

Madonna: Truth or Dare (1991)

With off-stage footage shot in black and white and performances in vivid color, this early '90s classic depicts Queen Madge at the height of her power. Taken from an actual game Madonna and friends play towards the end of the film (to scandalous results), Truth or Dare showcases the breadth of Madonna’s superstardom up until that point with performances of classics like "Holiday" and "Like a Virgin" with its artfully-shot juxtaposition of performance and documentary footage a trailblazer in the concert film genre. 

"The surprise of Truth or Dare is just what a blast Madonna is," wrote the Guardian on the occasion of the film’s 30th anniversary. "Nastily funny, openly horny, undisguised in her contempt for anyone she deems less fabulous than herself and her blessed collaborators." 

Justin Bieber: Never Say Never (2011)

Way before Swiftmania, there was Bieber Fever. In the wake of Justin Bieber’s explosive rise, Never Say Never interspersed performances with snapshots of his journey from humble Canadian roots to global pop force to be reckoned with. 

Helmed by Jon M. Chu (who’d go onto direct blockbusters like Crazy Rich Asians and In the Heights), Never Say Never is a time capsule of a younger, more innocent Bieber and his early earworm bubblegum hits. Until Swift's Eras is tallied it’s the top-grossing concert movie ever released in the USA. 

Prince: Sign o’ the Times (1987)

This iconic concert film was once hard to come by; after its theatrical run, Sign o’ the Times was only issued on VHS and eventually went out of print. But thanks to the magic of streaming, one can now easily transport oneself back to the '80s and enjoy the magic that is Prince. 

Directed by the artist and using his acclaimed 1987 album Sign o’ the Times as a jumping off point (the album itself was a 2017 inductee into the GRAMMY Hall of Fame), the film reminds viewers of the Purple One's magnetism. Under an array of colorful lights and performing to a raucous crowd, the icon may have died in 2016, but Sign o’ the Times serves as a deft time capsule of his royal talent. 

Katy Perry: Part of Me (2012)

As Katy Perry was in the midst of releasing her acclaimed album Teenage Dream, the pop singer had the foresight to chronicle the ensuing pandemonium.

 "I feel like it was, like, a big wave coming," she told ABC upon the release of Katy Perry: Part of Me, the 2012 concert film that documented her blockbuster California Dreams tour. "I thought to myself, 'Well, I think this is going to be a moment. Maybe I should catch it on tape. I'm either going to go completely mental, completely bankrupt, or have the best success of my life." 

Fortunately the later wound up occurring, with the subsequent film a celebrity-packed (featuring everyone from Lady Gaga to Adele) hit-filled ("Teenage Dream" and "California Girls") look into the life, times and music of the star. 

Queen: Live at Wembley ‘86 (1986)

Freddie Mercury and Queen were staples of London's Wembley Stadium, performing many memorable shows, including an iconic turn at Live Aid in the early '80s and a Mercury tribute show in the '90s. 

Songs like "We Will Rock You" and "We Are the Champions" fit right in on Wembley's massive stage, with the concert film depicting the thundering live versions of those classics. Relive those heady days with this film which showcases just what made Mercury and his band rock icons, and huge ones at that. 

"Mercury was indeed a born ringmaster," wrote CNN in a piece about their status as stadium savants. "There was no alienating affectation, no wallowing in sentiment... Queen consciously wrote their songs as vehicles for theatrics."

Summer of Soul (2021)

Back in 1969, Stevie Wonder, Gladys Knight, Nina Simone and B.B. King joined forces for the Harlem Cultural Festival, a mostly forgotten multi-week legendary summit. That all changed when Roots frontman Ahmir "Questlove" Thompson obtained a treasure trove worth of footage and directed this stunning film, aptly dubbed Summer of Soul, which brought the event back to vivid life and subsequent acclaim including a GRAMMY Award for Best Music Film. 

"It was gold," Thompson told Pitchfork of his process of sifting through the footage to create what would become a passion project. "If anything, it was an embarrassment of riches. It was too much. I kept this on a 24-hour loop for about six months straight. Slept to it. Traveled to it. It was the only thing I consumed."

Justin Timberlake + The Tennessee Kids (2016)

Also directed by Jonathan Demme and released before his 2017 death, Justin Timberlake + The Tennessee Kids showcases Timberlake's  popular 20/20 Experience World Tour and litany of solo hits including "Sexyback" and "Suit & Tie."  

"I don’t think anything can compete with live performance," admitted Demme to Rolling Stone before his death in 2017. "You can’t beat it. But we strive to provide the most exciting interpretation of that feeling, as filmmakers. We can provide a roving best seat in the house. We can linger on closeups. We can follow the dynamics of the music. I love shooting music." 

The Last Waltz (1978)

One of the earliest projects of director Martin Scorsese’s career was helping edit the monumental film version of Woodstock in 1970. But as that decade progressed and the auteur became known for narrative features including Mean Streets, he revisited his roots by directing The Last Waltz. A trailblazer in the genre, the film captures the last performance of The Band featuring frontman Robbie Robertson alongside a range of guests including Bob Dylan, Ringo Starr and Eric Clapton. Filmed on Thanksgiving Day in 1976, it’s a time capsule of the day’s biggest acts at the height of their artistry. 

"It's a picture that kind of saved my life at the time," Scorsese told an audience at the Toronto International Film Festival during a 2019 screening. "It's very special to me. Forty years on, it's very special to a great number of us."

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Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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As we close out the month, this New Music Friday has loads of fresh beginnings and highly anticipated reunions.

Several big-name collaborations dropped on Sept. 29, from an electric team-up of the Rolling Stones and Lady Gaga to an R&B and rap fusion from Jungkook and Jack Harlow. 

Two nostalgic releases arrived as well, with Lil Wayne's new album Tha Fix Before Tha Vi continuing his "Tha Carter" series, while *NSYNC fans were treated to the boy band's first new song in 20 years with "Better Place."

Dive into these seven new releases that blend the old generation with the new. 

Jungkook ft. Jack Harlow — "3D"

BTS singer Jungkook takes us through a nostalgic journey with "3D," a song reminiscent of an early 2000s boy band hit. The hypnotizing lyrics illustrate his close connection to someone he can't reach, so he'll watch them in 3D.

"So if you're ready (So if you're ready)/ And if you'll let me (And if you'll let me)/ I wanna see it in motion/ In 3D (Uh-uh)," he sings in the chorus. 

Jack Harlow pops in, dropping a few verses boasting about his global attraction with women. "Mr. First Class" claims he can "fly you from Korea to Kentucky," as he closes out the song.

With an addictive chorus and groovy baseline, this track has a different vibe from his "Seven" collaboration with Latto. The song marks Jungkook's seventh solo single and second of 2023.

Rolling Stones & Lady Gaga ft. Stevie Wonder — "Sweet Sounds of Heaven"

The Rolling Stones, Lady Gaga and Stevie Wonder blended their talents, to create a harmonic symphony of a song that lives up to its heavenly title. Seven minutes of gospel- and blues-inspired rhythms, enriched by Gaga and Mick Jagger's distinct riffs, make this collaboration an immersive experience. Stevie Wonder grounds the track with his command of piano and melodic tempo.

The track is the second peek of the Rolling Stones' upcoming album, Hackney Diamonds, their first LP release in 18 years; their first release, "Angry," arrived Sept. 6. With production from GRAMMY-winning Andrew Watt, the soulful essence makes "Sweet Sounds of Heaven" an exciting taste of the long-overdue album.

*NSYNC — "Better Place"

Yes, you read correctly. After two decades and a recent reunion at the 2023 MTV Video Music awards, <em>NSYNC is back with a new single, "Better Place," appearing in the new animated Trolls* movie (due Nov. 17). With a nostalgic dance-pop beat, familiar production and breezy lyrics, this single is a remarkable comeback.

"Just let me take you to a better place/ I'm gonna make you kiss the sky tonight," they sing in the chorus. 

The reunion was first teased Sept. 14, through a video of the group's emotional studio session, as Justin Timberlake shared on Instagram. "When the stars align… got my brothers back together in the studio to work on something fun and the energy was special," he wrote in the post. 

PinkPantheress — "Mosquito"

Dive into this musical daydream as PinkPantheress serenades us on her new single, "Mosquito," a dreamy, lucid song reminiscent of old-school R&B. After recently hopping on the energetic remix of Troye Sivan's "Rush" and teaming up with Destroy Lonely on "Turn Your Phone Off," PinkPantheress is transporting us through a new era, full of charm and surprises.

"Cause I just had a dream I was dead/ And I only cared 'cause I was taken from you/ You're the only thing that I own/ I hear my bell ring, I'd only answer for you," she sings in the chorus. 

Co-crafted by GRAMMY-winning producer Greg Kurstin, this song is a transcending, surreal experience. This single isn't about romance, instead she takes us through her entanglements with treasures and money. That's further portrayed in the lavish video, which features a European shopping spree starring "Bridgerton" stars Charithra Chandran, India Amarteifio and "Grown-ish" star Yara Shahidi.

Ed Sheeran — Autumn Variations

The era of mathematical-themed albums seems to be over, as Ed Sheeran has entered a new chapter with Autumn Variations, his second project this year. Sheeran is singing from his heart, sharing soulful tales from emotional events in his life including the death of his dearest friend Jamal Edwards and his wife's health challenges during pregnancy — an extension of the stories he told with May's Subtract.

Autumn Variations is very raw, stripped down and authentic as he takes us through his personal journey. Amidst this, Sheeran still brings in some buzzing tracks including catchy songs like "American Town," "Paper Bag" and "Amazing."

Lil Wayne — Tha Fix Before Tha Vi

Lil Wayne celebrated his 41st birthday with a special present to his fans: the release of a new album two days later. The alluring 10-track project,"Tha Fix Before Tha Vi" dives into past vibes with songs like "Tity Boi," a reference to 2 Chainz's initial stage name, which may be a reference to the upcoming joint album between the two. Each song has a different feel including "Tuxedo," which features a more punk-rock melody and "Chanel No.5 ft. Foushee," which features a sensational beat.

His first album since 2020, Tha Fix Before Tha Vi features rather unexpected collaborators, including Jon Batiste, Fousheé and euro. With different sounds and features than past projects, we could possibly be entering a new Weezy era. 

Thomas Rhett & Morgan Wallen — "Mamaw's House"

Country superstars Morgan Wallen and Thomas Rhett unite for "Mamaw's House," a country-folk track relishing the memories of their grandparents' home and cozy fireplace tales. 

"It's where I spent my summers and she put me to work/ Shellin' peas and shuckin' corn until my fingers hurt/ No tellin' who I'da been without Mamaw's house," Rhett sings in the second verse. 

Rhett said the duo decided to write about their small-town culture — Rhett is from Valdosta, Georgia, while Wallen hails from Sneedville, Tennessee — and the significant presence of grandparents brought to their upbringings. 

"This song just kind of brings up how our mamaws used to act when we were little kids," Rhett told Audacy.. "It's an ode to all the grandmas out there."

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