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Get To Know The 2020 Latin GRAMMYs Album Of The Year Nominees | 2020 Latin GRAMMY Awards

Photo: Frederick M. Brown/Getty Images

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Get To Know The 2020 Latin GRAMMYs Album Of The Year Nominees | 2020 Latin GRAMMY Awards

We are days away from the Biggest Night in Latin Music. See who's up for one of the most coveted awards of the night

GRAMMYs/Nov 7, 2020 - 05:06 am

The 2020 Latin GRAMMYs are less than two weeks away and that means we are only days away from knowing who will take the coveted Album of the Year honor. While we'll have to wait until the 21st Latin GRAMMY Awards air on Univision on Nov. 19 to find out who will win, let's take a look at which albums have been nominated for one of the most anticipated Latin GRAMMY Awards each year.

YHLQMDLG - Bad Bunny

This is one of two Latin GRAMMY nominations for Bad Bunny in the Album of the Year category. For his second solo album, YHLQMDLG (short-hand for "Yo Hago Lo Que Me Da La Gana," or "I Do What I Want"), the Puerto Rican rapper revisited reggaeton's Puerto Rican 2000s breakthrough sound, paying ode to its makers, while also taking the genre to new places. The album's most ambitious song "Safaera" is a party anthem beast that samples and blends Alexis & Fido's 2005 track "El Tiburón" along with Missy Elliott's 2001 massive hit "Get Ur Freak On." The album's Record of the Year nominee, "Yo Perreo Sola," is a perreo-de-résistance tribute to women and their space on the dance floor. Ultimately, Bad Bunny stays true to the album title and the result is a sprawling collection of reggaeton that sound familiar yet fresh.

Oasis - J Balvin & Bad Bunny

A reggaeton equivalent of Jay-Z and Kanye West's Watch the Throne, J Balvin and Bad Bunny joined forces for their collaborative album Oasis. Two of the most electifying producers of the moment, Marco "Tainy" Masís, one of the genre's pioneers, and Alejandro "Sky" Ramírez, the future of the reggaeton sound, are at the helm of the album. Factor in all those heavy-hitters and you get an album of epic proportions. The rappers from Colombia and Puerto Rico are a dynamic duo throughout the album, whether they are celebrating life without an ex on "Qué Pretendes" or missing that loved one dearly on the haunting "La Canción." Oasis is a refreshing approach to reggaeton by two of the genre's biggest personalities.

Colores - J Balvin

Following Oasis, Colores, or "Colors," marks J Balvin's second nomination in the Album of the Year category this year. For his fifth solo album, J Balvin tackled a chromatic theme with each song reflecting different shades of emotions. On Colores' Record of the Year nominee "Rojo," he longs for a lover who is no longer there while on "Morado," he tells the story of an independent woman who is living her best life in the club. Alongside longtime producer and fellow Colombian Alejandro "Sky" Ramírez, J Balvin also collaborated with DJ Snake, who produced "Amarillo," and Diplo, who produced "Rosa."  Balvin, undoiubtedly the most colorful character in reggaeton, took the genre to the next level with 10 tracks. With 13 overall nominations, Balvin broke the record for the most nominations for an artist in a single year.

Por Primera Vez - Camilo

Camilo took some time away from the industry to pen hits for other artists including Becky G and Natti Natasha on their 13-times platinum "Sin Pijama." This year he found his voice again and marked his return as a singer/songwriting artist with Por Primera Vez, or "For the First Time." Although it's the Colombian singer's third album, he's often remarked that it feels like his debut. In a Latin music scene dominated by reggaeton, Camilo has found his niche, blending that sound with his quirky pop edge. That's apparent on his infectious single "Tutu" with Latin GRAMMY winner Pedro Capó, which is nominated for both Record and Song of the Year. There's no doubt, when Camilo is writing for himself, his honesty shines through. The bright artist is also nominated in the Song of the Year category for a second time in his career for the haunting "El Mismo Aire."

Mesa Para Dos - Kany García

Since winning Best New Artist at the 9th annual Latin GRAMMYs, Kany García has remained a constant force at the awards and in Latin music in general. For her seventh album Mesa Para Dos, or "Table for Two," she shares her moving lyrics in duets with artists like Mexican pop star Carlos Rivera on "Cobardes" and Colombian singer Camilo on "Titanic." The album's most beautiful moment, "Lo Que En Ti Veo" with Argentine musician Nahuel Pennisi, is nominated for both Record and Song of the Year. With five nominations overall, Garcia is the most nominated female artist at this year's Latin GRAMMYs.

Aire (Versión Día) - Jesse & Joy

Like García, Mexican sibling act Jesse & Joy are past Best New Artist winners—they won the award at the 8th annual Latin GRAMMYs, just a year prior to Garcia. Not only have they won several Latin GRAMMYs over the years, but the duo also won a GRAMMY at the 59th annual awards for Best Latin Pop Album. Jesse & Joy's fifth album Aire (Versión Día), or "Air (Day Version)," marks their most personal release to date, especially for Joy. In April 2019, Joy revealed that she married her wife, Diana Atri. In May of that year, the couple revealed the birth of their daughter, Noah, who inspired the album's opening song "Noah's Intro." Jesse & Joy celebrate the LGBTQ+ community with the empowering anthem "Love (Es Nuestro Idioma)." They remain a breath of fresh air in Latin pop music.

Un Canto Por México, Vol. 1 - Natalia Lafourcade

Since the first time she was nominated at the 4th annual Latin GRAMMY Awards, alternative singer-songwriter Natalia Lafourcade has won several Latin GRAMMYs. Lafourcade also has one GRAMMY under her belt after winning Best Latin Rock, Urban, or Alternative Album at the 59th GRAMMY Awards. A Latin music shape-shifter, she has tackled many genres, but embraced the music of her country, Mexico, for her ninth album, Un Canto por México, Vol. 1, or "A Song for Mexico." On the album, she pays tribute to several Mexican sounds, including son jarocho and mariachi—she put her heart in mariachi music for "Mi Religión," a 2020 nominee for Best Regional Song. Lafourcade also put a proud Mexican spin of a few of her classics on the album like "Hasta La Raíz" and "Nunca Es Suficiente." 

Pausa - Ricky Martin

Over his illustrious career, Ricky Martin has won three Latin GRAMMYs and two GRAMMYs. This year, he could earn one more Latin GRAMMY with his first album since 2015's A Quien Quiera Escuchar. After the COVID-19 pandemic slowed down the world earlier this year, the Puerto Rican superstar split a project he was working on into two EPs and thus Pausa was born. On Pausa, or "Pause," Martin recorded ballads to inspire hope in these challenging times and he brings huge names in English and Spanish language music. British legend Sting sings in Spanish on their duet "Simple." It's also his most proud Boricua release with the standout "Cántalo" featuring Residente and Bad Bunny that celebrates their homeland. With García, Joy Huerta, and Martin nominated, it's a banner year for artists in the LGBTQ+ community in the Album of the Year category.

La Conquista Del Espacio - Fito Páez

Fito Páez is a Latin music legend whose music career long precedes the inception of the first Latin GRAMMY Awards in 2000. It's only fitting that the Argentine rock star has been recognized by his peers over the years with several Latin GRAMMY awards. La Conquista Del Espacio, or "The Conquest of Space," marks Páez's 20th studio album. This year, Paez is also up for Best Pop/Rock Album. But that's not all, Páez's soaring centerpiece "La Canción De Las Bestias" is nominated for Best Pop/Rock Song.

Cumbiana - Carlos Vives

Carlos Vives is another Latin music legend who has multiple Latin GRAMMYs and two GRAMMYs to his name. For his 14th studio album, Cumbiana, the Colombian singer-songwriter celebrates the cumbia music rooted in his country. He gives the genre a fresh spin on "Hechicera" featuring rising GRAMMY-nominated Canadian-Colombian singer Jessie Reyez. Vives is also up for Song of the Year for "For Sale," his creative collaboration with Spanish GRAMMY-winning singer Alejandro Sanz.

Don't forget to tune in to all the excitement on Univision on Thurs., Nov. 19 at 8:00 p.m. ET/PT (7:00 p.m. CT). The broadcast will also air on TNT (cable) at 7:00 p.m. (MEX) / 8:00 p.m. (COL) / 10:00 p.m. (ARG/CHI) and on Televisa on Channel 5.

Learn more about the 2020 Latin GRAMMY Awards via the Latin Recording Academy's official website.

2020 Latin GRAMMY Awards Nominees Announced: See The Complete List

A Look At 2022 Nominees For Best Música Urbana Album At The 2023 GRAMMY Awards

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A Look At 2022 Nominees For Best Música Urbana Album At The 2023 GRAMMY Awards

The 2022 Best Música Urbana Album Nominees at the 2023 GRAMMYs come from some of the biggest names in Latin music, each of whom have fused a unique sensibility and a variety of influences into their records.

GRAMMYs/Nov 16, 2022 - 02:38 pm

Perhaps because in its current incarnation música urbana tackles such a wide array of influences — from the expected bounce of reggaetón to ominous trap moods, frantic dembow and a cool dash of Latin pop — the genre has become a hub for freshness and creativity.

All five 2022 nominees for Best Música Urbana Album at the 65th GRAMMY Awards are international stars, but none of them allowed fame to lead into stagnation. On the contrary, their albums are defined by cutting edge innovation and challenging new sounds. Read on to learn more about offerings from Bad Bunny, Daddy Yankee, Farruko, Maluma and Rauw Alejandro.

View the complete list of nominees for the 2023 GRAMMY Awards here.

Rauw Alejandro — TRAP CAKE, VOL. 2

Released in 2019, the first volume of Trap Cake served as a laboratory where the Puerto Rican singer experimented with unusual textures. Vol. 2 marches on the same avant-garde principles, serving as a provocative bridge between Rauw’s genre-defining smash Vice Versa and his restless third album Saturno.

The production is slick and airy on this sumptuous mini-album seeped in a hazy cloud of melancholy nostalgia. The music box-like opening strains of "MUSEO" hint at the precious ambient sonics at hand, whereas the distorted electric guitar and aggressive downbeat of "GRACIAS POR TODO" opens up an intriguing window to the quirks of Rauw as potential rock’n’roller. Co-produced by Jamaican helmer Rvssian, the darkly hued "Caprichoso" features contributions by the singer’s romantic partner — the one and only Rosalía.

Bad Bunny — Un Verano Sin Ti

How do you celebrate the confirmation of your status as a young global pop star? In the case of Bad Bunny, he released the ultimate summer album — an imaginary mixtape, meant to be booming in the background as the poolside party rages on.

The Puerto Rican phenomenon focuses on his usual preoccupations — erotic foreplay, desire as transcendent lifeforce, the stinging aftertaste of romantic separation — but the beats and layers of atmospherics are more abstract and psychedelic than on previous releases. Even though Un Verano Sin Ti boasts stellar collaborations with the likes of Tainy, Rauw Alejandro and Chencho Corleone, the album finds some of its most compelling passages in the stylistic detours of "Ojitos Lindos" — with Colombia’s Bomba Estéreo — and the alternative tropi-rock of "Otro Atardecer," with the Marias.

Daddy Yankee — LEGENDADDY

2022 was the year when the "Gasolina" pioneer shocked the Latin music establishment by announcing his retirement at age 46. Fortunately, Daddy Yankee’s farewell came in the shape of a sprawling party record. LEGENDADDY feels like a passionate, and occasionally wistful, love letter to the limitless variety that has always defined Afro-Caribbean music.

Yankee’s rapid-fire delivery and reggaetón riddims are ever-present, of course, but the menu also includes some wacky dembow ("BOMBÓN," with Lil Jon and Dominican hitmaker El Alfa), and the truly wondrous fusion of salsa, reggaetón and spidery bachata lines on the kinetic "RUMBATÓN." On "AGUA," Yankee is joined by Rauw Alejandro and guitar god Nile Rodgers for a jam infused with post-disco zest. Yankee’s electrifying live performances will be missed, but this emotional swan song delivers an fitting epic finale to a remarkable career.

Farruko — La 167

A seasoned veteran of the urbano landscape, Farruko has always been progressive in his mission to expand stylistic boundaries. The title of his seventh studio album is a reference to the singer/songwriter’s childhood memories: the 167 highway in the Bayamón area of Puerto Rico where he grew up.

At the same time, the album also reflects Farruko’s extensive travels across Latin America. "Pepas," the collection’s bonafide hit, is an anthemic electro-guaracha that stays close to the genre’s roots in Colombia. "Baja Cali" mixes Latin rap with the young generation of corridos that defines the present of música mexicana, and the breezy "W.F.M." (featuring Jamaican vocalist Mavado) delves into sweet dancehall vibes. On "Jíbaro," Farruko cherishes his boricua origins alongside bolero revivalist Pedro Capó. A man of the world, he sounds the happiest when he returns home.

Maluma — The Love & Sex Tape

In 2021, Maluma surprised fans by releasing #7DJ (7 Días En Jamaica), a refreshing EP of reggae infused tracks. A silky mini-album made up of eight new songs, The Love & Sex Tape finds the Medellín native delving back into the sensuous reggaetón narratives that made him famous.

A duet with fellow Colombian Feid, "Mojando Asientos" is appropriately frisky, and the self-explanatory "Nos Comemos Vivos" gains in intensity thanks to the streetwise attitude of the ubiquitous Chencho Corleone. Maluma surrenders to hedonism with abandon, reaching the natural conclusion that life is, indeed, quite beautiful ("La Vida Es Bella.") A classy ending, "Happy Birthday" incorporates the soulful groove of Afrobeats, hinting that Maluma’s brilliant creative detours will surface again in subsequent works.

2023 GRAMMY Nominations: See The Complete Nominees List

Jennifer Lopez, Ricky Martin To Headline 2018 Calibash Las Vegas

Jennifer Lopez

Photo: Barcroft Images/Barcroft Media/Getty Images

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Jennifer Lopez, Ricky Martin To Headline 2018 Calibash Las Vegas

Maluma, Ozuna, Bad Bunny, and Farruko also slated to perform at the second annual Sin City concert on Jan. 27; L.A. concert slated for Jan. 20

GRAMMYs/Jan 11, 2018 - 12:28 am

Get ready for the second annual Calibash Las Vegas, one of the hottest concert events of the year celebrating Latin urban music.

The 2018 installment of the Sin City show will be headlined by Jennifer Lopez and Ricky Martin, with Maluma, Ozuna, Bad Bunny, and Farruko also slated to perform. It will be held at T-Mobile Arena on Jan. 27, just one week after the Los Angeles event.

"Undoubtedly, this is the best opportunity to enjoy with your loved ones this first-class show, in Las Vegas and as the official Latin party of the beginning of the year," said Lucas Piña, senior vice president of SBS Entertainment, according to Billboard.

The week prior, Los Angeles' 11th annual Calibash will be held at Staples Center on Jan. 20. The L.A. lineup will feature J Balvin, Lopez, Wisin Y Yandel, Bad Bunny, Ozuna, Becky G, Natti Natasha, and French Montana.

Tickets for both the Los Angeles and Las Vegas concerts are on sale now vis AXS.

11 Must-Attend 2018 Music Festivals: SXSW, Coachella, Lollapalooza & More

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The Making Of Daft Punk's Random Access Memories

GRAMMY winner Paul Williams details his trip into the beyond on Daft Punk's Album Of The Year-winning Random Access Memories

GRAMMYs/Dec 3, 2014 - 05:06 am

(The Making Of GRAMMY-Winning Recordings … series presents firsthand accounts of the creative process behind some of music's biggest recordings. The series' current installments present in-depth insight and details about recordings that won 56th GRAMMY Awards.)

(As told to Roy Trakin)

For a 73-year-old, the GRAMMYs was more than a helluva evening … it was a bloody miracle. Daft Punk asked me to write lyrics for the album because of a movie I made in 1974, Brian De Palma's Phantom Of The Paradise. They saw it more than 20 times in Paris, one of only two cities — the other was Winnipeg — where it was a hit. It played there for years.

What I loved about [Random Access Memories] was they didn't come with a finished house and ask if I'd put up some wallpaper. [Producer] Thomas [Bangalter] handed me a book that was probably 20–30 years old, on life after death experiences — people who had died and come back. I had read it maybe 15 years ago. We never identified the person who would be singing "Touch." Is it somebody coming out of a coma? The lyrics are almost childlike: "Kiss, suddenly alive/Happiness arrive." Not "arrives." It sounds like somebody who isn't familiar with the language. Maybe a space traveler who's been in an induced cybersleep so they can be awakened upon landing, or even a robot who longs to be touched.

The task was organic. What did I hear in the music? They played these two beautiful melodies that I wrote lyrics for, and then surprised me by asking if I'd sing "Touch." "Beyond" talks about these accelerated emotions: "Dream beyond dreams/Beyond life/You will find your song."

In many ways, the lyrical content of the album is very spiritual and celebratory of that fact. In the old days, we used to listen to records from beginning to end, pointing the speakers at our ears. It's a wonder I can even hear at this point. From the very start, this album is like a time-travel trip back to the '70s. But then they do things that project into the future: "You are the end and the beginning/A world where time is not allowed."

Compound that with the fact [we were] in studio A at what was A&M Records, listening to my singing on an album produced by two robots. I turned to the guys and pointed out a second-story office. "That's where I wrote 'We've Only Just Begun,' 'An Old Fashioned Love Song' and 'Rainy Days And Mondays.' Over there is Brian Henson's office, where I met with him for The Muppet Christmas Carol movie." It was a physical location that had been a part of my life two or three different times. Listening to the album was almost like the ending of 2001: A Space Odyssey, where Keir Dullea looks at an older version of himself, and becomes that version. For me, the album was like that, but in reverse. It was a wonderful, creative experience.

One of the things I love about Daft Punk is their anonymity; what they do is more important than having the audience recognize and become enraptured with who they are. They took a chance to sail into waters with a little more emotional depth on this album. I can't say enough about their generosity of spirit.

(At the 56th GRAMMY Awards, Paul Williams won for Album Of The Year as a featured artist on Daft Punk's Random Access Memories. Williams co-wrote two tracks on the album, "Touch" and “Beyond," in addition to singing vocals on the former. Williams won two prior GRAMMYs, including Song Of The Year with Barbra Streisand in 1977 for "Love Theme From A Star Is Born (Evergreen)." He is the current president and chairman of the board of ASCAP.)

(Roy Trakin, a senior editor for HITS magazine, has written for every rock publication that ever mattered, some that didn't, and got paid by most of them.)

 

GRAMMY Rewind: Watch U2 Win Album Of The Year At The 2006 GRAMMY Awards

U2 at 2006 GRAMMYs

U2 at 2006 GRAMMYs

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GRAMMY Rewind: Watch U2 Win Album Of The Year At The 2006 GRAMMY Awards

Watch U2 accept the high honor of Album Of The Year for 'How To Dismantle An Atomic Bomb' at the 48th GRAMMY Awards in 2006

GRAMMYs/Mar 14, 2020 - 12:25 am

For the latest episode of GRAMMY Rewind, please join us in celebrating U2 bassist Adam Clayton's 60th birthday today, March 13, with this look back at one of the legendary rock band's GRAMMY highlights. At the 48th GRAMMY Awards in 2006, the Irish rock legends took home five golden gramophones, including for the high honors of Song Of The Year and Album Of The Year.

Below, watch U2 accept the Album Of The Year GRAMMY for their 11th studio album, How To Dismantle An Atomic Bomb, with a charming speech where Bono shouts out fellow Album Of The Year nominees Kanye West (Late Registration), Mariah Carey (The Emancipation of Mimi) and Gwen Stefani (Love. Angel. Music. Baby.).

Watch More: GRAMMY Rewind: Watch Luther Vandross Perform "Give Me The Reason" At The 1987 GRAMMYs

As Bono, Clayton, The Edge and Larry Mullen Jr. approach the stage to accept the award, fellow Album Of The Year nominees Paul McCartney (Chaos and Creation In The Backyard) and West, dressed in a fierce lavender tux, congratulate the band.

"This is our second Album Of The Year, but we've lost two, Achtung Baby and All That You Can't Leave Behind, so now it feels that Kanye, you're next. [He's] a great artist that's been on the road with us [on the Vertigo Tour], [he's] extraordinary," Bono said on stage, rocking his signature tinted rimless shades with a cowboy hat and leather jacket. After also sharing complements for Carey and Stefani, he adds: "This is really a big, big night for our band."

More U2: Vote Now: Which 2000 Album Will You Have On Repeat This Year?

"If ever there should have been a record called 'Sometimes You Can't Make It On Your Own,' it should've been this one," Clayton added. "We had a lot of producers; Danny Lanois, Brian Eno, Flood, Nellee Hooper, Jacknife Lee, Carl Glanville, Chris Tomas and our friend Steve Lillywhite."

The GRAMMY-winning album was released on Nov. 22, 2004, including classic hits "Vertigo," "Sometimes You Can't Make It On Your Own" and "City Of Blinding Lights." The five GRAMMYs it helped the band win include Best Rock Album and Song Of The Year and Best Rock Performance By A Duo Or Group With Vocal for "Sometimes You Can't Make It On Your Own."

Producer Nigel Godrich On The "Quite Absurd" Six-Year Road To Ultraísta's New LP 'Sister'