Risk-free pop

Grammy's top musical artists stayed in the comfort zone last year, giving listeners what they wanted: a safe place to soothe their souls.


By Rashod D. Ollison
Sun Pop Music Critic
Originally published February 13, 2005
Pop stars seemed to grow up last year, putting on fancy clothes and singing melodies so nostalgic you expected to hear the hiss and scratch of worn vinyl as their music played on the radio.

Jay-Z, one of hip-hop's pre-eminent rhyme slingers, hung up the jerseys and donned button-up shirts, finely tailored suits and, in December, took an office job as president of Def Jam Records. Alicia Keys softened her hard-edged, slightly butch look of three years ago - taking down the beads and cornrows, straightening her hair and showing off her curvy figure in slinky outfits and smart pant suits. Rapper-producer Kanye West, perhaps the year's biggest breakout artist, rocked the mike in khakis, collegiate sweaters or a white suit. Usher spun around in sports jackets.

The young artists' conservative, and perhaps more reflective, mood permeated their music. The steely, jagged, futuristic productions of urban-pop a few years ago gave way to lush, retro arrangements warmed by old soul samples. Rock became less bloated and more accessible, even danceable. The overall look and sound of last year's most successful artists seemed decidedly more mature than the flashy, hot-sex-on-a-platter songs and antics of a few years back.

So when the 47th Grammy Awards airs tonight, the ceremony - though featuring the most popular acts of 2004, including West, Keys and Usher - will be far from cutting edge. (In contrast to the youngsters, at least one veteran, Loretta Lynn, looked to the future and, with help from a garage punk rocker out of Detroit, freshened her sound.)

"You can say America desired a simpler time with all that was going on with the war, the election. On a daily basis, our senses are being assaulted and you can put on The Diary of Alicia Keys and be taken to another time," says Michael Paoletta, senior writer and reviews editor at Billboard magazine.

"Look at the success of Ray Charles' record, Genius Loves Company: That music was comfort food. You can say people wanted to be taken away, like (the music was their) Calgon."

Last year, the Grammys for the first time recognized the vast popularity of hip-hop and R&B. Acts such as OutKast and Beyonce in 2003 had ruled the airwaves, selling truckloads of albums. Their music mingled disparate styles and offered sounds that crackled with energy: OutKast vibrantly blended Beatles-inspired rock with Prince-like pop; Beyonce shook up go-go music with Stax-inspired horns. Both acts received multiple nominations from the Recording Academy, the organization behind the Grammys, and went home with several gleaming gramophones.

Following convention

In 2004, many of the hot pop acts also looked to the past for inspiration - but with a less adventurous spirit.

West, who is nominated for 10 Grammys - the most this year - made a hit about religion called, "Jesus Walks," in which he extols the power of faith of any kind. The 27-year-old, Atlanta-born, Chicago-raised artist sold more than 2 million copies of his debut, College Dropout, which is up for album of the year.

Keys, who is tied with Usher with eight nominations, drew on a bygone era for her sophomore CD, The Diary of Alicia Keys, which also is up for album of the year. The New York-born artist scaled the charts with a sound reminiscent of '70s soul replete with ebbing horns, lush strings, flashy piano runs and doo-wop-style harmonies. Lyrically, that set and its biggest singles - "You Don't Know My Name" and "If I Ain't Got You" - centered on matters of the heart.

Pop-soul veteran Al Green, whose hit CD I Can't Stop is nominated for best R&B album, tried to re-create his glory days of the '70s. He hooked up with his original producer, Willie Mitchell. The two men returned to Royal Studios in Memphis - where they had spun magic more than 30 years ago with such classics as "Love and Happiness," "Let's Stay Together" and others - to produce a well-received throwback to those good old days.

Even Prince, one of pop's most restless style-pushers, went old school on his biggest album in years, the funk-fueled Musicology, also up for best R&B album.

In rock, some artists managed to follow convention - and still produce exciting work. Green Day, for instance, recharged its creative batteries and came up with a brilliant, sprawling rock opera called American Idiot. The album's riveting music and fluidly expressed lyrics centered on the fear, anger and disillusionment that followed 9/11. An artistic triumph for the formerly derivative punk-pop band, American Idiot rocketed to No. 1 on the charts.

The year offered "a nice return to rock, more of it based on classic alternative sounds, not hard-edged or heavy metal," says Rick Krim, executive vice president of music and talent at VH1. "Green Day was the comeback of the year."

More mainstream rap

Even rap, a genre that usually jars listeners with its tense sound and slap-in-the-face lyrics, relaxed a bit. Nominated for best rap/song collaboration, Twista's No. 1, West-produced smash, "Slow Jamz," rode on a creamy beat and a speeded-up sample of "A House Is Not a Home" by Luther Vandross. Oscar-nominated actor-singer Jamie Foxx crooned the melodic chorus as the lyrics referred to artists from the past ("She said she want some Ready For the World, some New Edition, some Minnie Riperton..."). Twista's ultra-quick rapping zipped over it all.

The rap genre now appeals to a wider audience, says Kid Kelly, senior director of music programming at Sirius satellite radio. "It's more mainstream to the point where it's real and about the art and not the caricature aspect. That whole perception of rappers as thugs has splintered off."

The public apparently liked the year's more focused, easy-on-the-ears pop. According to Nielsen SoundScan, CD sales, which had been declining steadily since 2000, totaled 651.1 million units last year, up nearly three percent from 2003.

"The return to something familiar and comfortable is a good thing. There's a place for it," VH1's Krim says. "There's a big part of the country that grew up with real musicianship. I thought it was a good year for pop. From the urban side, especially, the crossover was enormous."

While younger artists found success by playing it safe, 50-year music veteran Loretta Lynn looked forward and revived her sound by collaborating with garage-punk star Jack White of the White Stripes.

The result was Lynn's most acclaimed album in years: Van Lear Rose, a sterling collection of self-penned, straight-no-chaser tunes couched in edgy, rock-suffused arrangements. The country legend received a Grammy nomination in the best country album slot and two in the best country song category for "Miss Being Mrs." and "Portland, Oregon," a duet with White.

"If you listen to the lyrics on (Lynn's) record, those songs could have been done 30 years ago," Paoletta says. "But Jack White's production is not traditional. That kind of collaboration could have been disastrous, but it really worked."


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Meanwhile, out on the edge

Not all successful pop artists clung to convention last year. At least a few acts pushed the groove musically - or otherwise.

Crunk, the riotous style pioneered by rapper Lil' Jon, was the salty antithesis to Kanye West's sweet approach. With its shrill synths and rattling beat, crunk - a Southern slang word meaning "crazy and drunk" - was 2004's breakout genre. The sound, which sprang from Southern clubs, was honed and best showcased on last year's most ubiquitous hit, Usher's "Yeah!," and Ciara's thrilling "Goodies," another heavily played smash.

Jon, a short, dreadlocked Atlanta resident and former DJ, produced both records. Crunk Juice, his latest album with the East Side Boyz, has sold nearly 2 million units.

The Neptunes - Pharrell Williams and Chad Hugo, two Virginia Beach-based musician/songsmiths who last year at the Grammys won producer of the year award - offered one of the year's most innovative singles. Performed by Snoop Dogg, the No. 1 smash "Drop It Like It's Hot," nominated for best rap song, featured nothing more than a droning bass line and some mouth percussion.

And in country music, which last year saw 12 percent increases in sales over 2003, newcomer Gretchen Wilson stood out simply for being a down-home chick. In her hit single, "Redneck Woman," the 30-year-old Illinois native, who's nominated for best new artist, defied the slick, "cover girl" image that recently has dominated the genre. "Well, I ain't never been the Barbie doll type," she sang. And the public appreciated her honesty. Her glowing debut album, Here for the Party, sold 3 million copies.

Go Green Day!!!

Lets Go Black Eyed Peas!!!

I almost forgot these were on tonite

Sooooo happy I logged onto the Org

They're really scraping the bottom of the barrell when a song like that is nominated for Song of The Year.

Bjork doesn't have a shot in hell. Gwen will probabaly win that one....or Norah Jones. I like Gwen and all, but she doesn't compare to Bjork.

add-on
[Edited 2/13/05 16:19pm]

I am rooting for N.E.R.D. for best urban alternative performance.
I love "She Wants To Move"

dreamfactory313 said:

Fuck The Grammys! I'll read about it tomorrow. I am worn out with Award shows besides Prince isn't performing. Is he?

New "Simpsons" tonight and I've really been digging the show lately (not the latest episodes, but syndicated reruns and the Season 4 DVD set has got me interested again). I think I'll pass and somebody and I'll check here for any interesting detials. Doesn't sound like there will be anything memorable happening.