TOP FIVE 'R&B' ALBUMS OF THE DECADE

20. Musiq - Soulstar
19. Jill Scott - Who Is Jill Scott?
18. The-Dream - LoveHate
17. Faith Evans - The First Lady
17. Corrine Bailey Rae - Corrine Bailey Rae
16. Keyshia Cole - The Way It Is
15. Ne-Yo - Because of You
14. Mary J. Blige - No More Drama
13. Musiq - Juslisen
12. Amerie - All I Have
11. Destiny's Child - Destiny Fulfilled
10. Alicia Keys - Songs In A Minor
9. Ashanti - Ashanti
8. Andre 3000 - The Love Below (of Outkast's Speakerboxx/The Love Below)
7. Aaliyah - Aaliyah
6. Mary J. Blige - The Breakthrough

5. Brandy - Afrodisiac

Brandy's 2004 LP "Afrodisiac rounds out the top 5 albums of the decade because it shows her true growth and evolution as an artist. The album is sleek and hard-hitting at times. Though a slow-burner and almost obscure, each track is hot in production and vocal performance. Comfortably singing in a velvety seasoned alto nowadays, Brandy really stepped her game up for sure.

4. Mariah Carey - The Emancipation of Mimi

The Voice returned on this commercial blockbuster of mid-tempo and ballad joints. After years of singing in a whispery falsetto, Mariah stepped her vocal game up singing a majority of the her songs with powerful full voice, displaying range and expertise, with some critics even accusing her of over-singing. Nonetheless, Emancipation was just impressive as it was original and commercially appealing.

3. Angie Stone - Mahogany Soul

With Mahogany Soul, Angie showed neo-soul does not have to be an elites sub-genre that had to overtly distance itself from mainstream R&B. Instead, the album has an organic flow that is just Angie and her old soul. Her vocals are in sync and very commanding a la Gladys Knight, and each song has something real to say. Though this album did not do astronomical numbers, its one of the decades best, hands down!

2. Teedra Moses - Complex Simplicity

Although most people may not never know who Teedra Moses may be, the album Complex Simplicity is one of the best debut albums an artist could possibly create. Each track has an original, contemporary sound, with strong melodies, and Teedra's peculiar vocals only add to the madness. Perhaps, Teedra will catch on to the masses with her follow-up album (if ever comes).

1. Usher - Confessions

Perhaps the only diamond album certified by the RIAA in the United States of the decade? With sales exceeding 10+ million copies sold in the age of heavy piracy, Usher's Confessions had the impact of Marvin Gaye's What's Going On? The
set exemplified creative freedom, vision, and artistic growth for Usher. The album incorporated a variety of R&B trends and with each track adding to Usher's definition as an artist. Confessions was no less than a masterpiece.

"MOST ANTICIPATED" OF 2010

5. Dave Young

Dave Young's powerful vocals were first heard on "Alone," a dope album cut from Mary J. Blige's "comeback LP" The Breakthrough. Since 2005, Dave Young has been signed to the Queen's imprint Matriarch Records, and Mary released two studio albums since then, and Dave has released none. Sooner than later, a debut LP should surface.

4. Marsha Ambrosius

After news circulated about Dr. Dre singing Marsha to his label, Floetry split-up immediately. Since then, Marsha has made her rounds as a featured vocalist, songwriter, producer, and even vocal producer on some of the decades' biggest R&B albums. Marsha's impressive vocals and delivery made Floetry hot, so her solo debut is certainly long overdue.

3. Johnta Austin

Producer/songwriter Johnta Austin penned some of the greatest R&B records of all time (i.e. Mariah Carey's "We Belong Together, Mary J. Blige's "Be Without You," etc.) working under super producers Jermaine Dupri and Bryan-Michael Cox. Since 2006, Johnta has been trying to bring his own project to light, and finally, his debut set Ocean Drive is slated for a tentative release. With impressive vocal chops, and an innate hit-making ability, Austin could make a strong impression amongst the masses, while music lovers and critics will be pleased with any outcome.

2. Erykah Badu

2008's New Amerykah Part One (4th World War) may have been too militant for the masses, but was a dope album nonetheless. Erykah recently disclosed in an interview that her new album New Amerykah Part Two: The Ankh is slated for a 2010 release, with a sound reminiscent of her debut set. Last time around, Erykah claims she was in a different place and very unhappy. Now things have changed for her and the joy she once had while recording her new album has been rejuvenated.

1. Fantasia

After the disappointment of her last studio effort and some personal and financial trials and tribulations, Fantasia is ready for a comeback and slated to release her third studio album in 2010. Reports suggest that Fantasia initially wanted to take a stab at recording "the vintage soul album," famously done by the likes of Amy Winehouse, Joss Stone, and most impressively Raphael Saadiq. Hopefully, she sticks with that motif. If done right, I'm imagining Fantasia giving us the 2009 version of Aretha Franklin's 1968 Lady Soul LP, or something darker in the vein of Nina Simone's civil rights period pieces.

TOP TEN ALBUMS OF 2009

10. Maxwell - Blacksummer's Night

It had been 8 years since Maxwell had released any material, and shockingly enough an Al Green tribute performance at the BET Awards reintroduced Maxwell to the world. Several months later, Maxwell took the music world by storm with the release of his break-up anthem "Pretty Wings" preceding the release of his 4th studio album, Blacksummer's Night, a throwback masterpiece embodying the elements of a classic Marvin Gaye or Curtis Mayfield classic.

9. Wale - Attention: Deficit

D.C. is finally on the map with the release of this LP. Newcomer Wale first garnered attention on the mixtape scene; with time, Hip-Hop heavyweights such as Jay-Z and Kanye West began to take notice. Without resting on their coat tails, Wale used their association to put out his almost classic debut Attention: Deficit, a unique blend of conscious rhymes fused with dope beats that incorporate a multitude of different genres, coming across as eclectic and fresh!

8. LeToya - Lady Love

Despite weak sales due to lack of promotion and support from Capitol Record's urban division, LeToya Luckett brought the heat with her sophomore LP, Lady Love. The 17 track set is one of the year's most cohesive R&B albums, and definitely doesn't fall into the sophomore slump as the album shows LeToya's growth as an artist and vocalist.

7. Ryan Leslie - Ryan Leslie

Producer and songwriter Ryan Leslie had already made a name for himself throughout the music industry for his signature production style in which he created exotic, pulsating, and cosmic songs with mass appeal. After a few set backs, He finally released his debut album during the 1st quarter of the year. Despite weak sales and lack of promotion from his label, the 12 track set is undeniably great, and further exemplifies Ryan's genius and unique approach at music. Each record has its own identity, yet still maintain the Leslie signature. Check it out!


6. The-Dream - Love V/S Money

Although The-Dream usually creates larger hits for other music heavy-hitters, he still manages to create cohesive R&B albums that keep commercial appeal, without sacrificing creative ingenuity. Some listeners and critics fault The-Dream for his limited vocal abilities and overt commercialism, no one can deny this amazing set. Dream does not despite listeners from his debut set by continuing where he left off. Lyrics filled with drama and beats heavy on synths and keys fill this cohesive set that really shows The-Dreams growth as an artist and signature style.

5. Amerie - In Love and War

As an artist, Amerie has had a few big singles like 2002 "Why Don't We Fall In Love," and the 2005 smash "1 Thing," but she always manages to fall into obscurity shortly after for no apparent reason. There is no doubt that Amerie has legit vocal chops and a great presence, key superstar attributes;yet Amerie always manages to float under the radar. In Love & War is arguably one of the best R&B albums of the year for its sheer cohesive and progressive sound, yet know one really knows that. Hopefully, Def Jam will realize this set is a true gem and really pack some might behind their promotional efforts for this album.

4. Trey Songz - Ready

Single after Single, Trey Songz has presented variety and a new confidence with his third LP, Ready. With impressive sales and increased notoriety in both the R&B world and Hip-Hop world, Trey is really transitioning into a superstar. Every rapper wants a Trey hook, and every diva with careers almost older than Trey himself (i.e. Toni Braxton, Mariah Carey, Mary J. Blige, etc.) have summoned the singer for duets. As the new decade approaches, Trey could seemingly dethrone Usher as the new R&B king-pin.

3. Electrik Red - How to Be a Lady Vol. 1

Who would have thought that The-Dream's group would release a debut album that was better than his sophomore effort in the same year? Manifested from an 80's sound reminiscent of girl groups such as Prince's Vanity 6 and Rick James' Mary Jane Girls, Electrik Red emerges as an auxiliary group with potential to stay. Their songs are catchy, fun, edgy, and fearless, touching on subjects that definitely push the envelope in a manner that does not beat around the bush, just like TLC in previous years. Vocalist Naomi Allen grunts most of the vocal work on this album with her smooth, controlled alto, giving the group's music a unique sound on every record, especially the slow jams.

2. Alicia Keys - The Element of Freedom

Just when the music world least expected, Alicia Keys dropped her fourth studio LP, The Element of Freedom, arguably the best R&B album of 2009, hands down! Alicia Keys was in love when she recording this album, without a doubt, and finally she commits 100% to every song and every lyric. In addition, her musical make-up has changed as well, sounding less urban and more alternative, creating an album that could c0-exist as the updated version of a Roberta Flack or Carol King masterpiece album from the 70's.

1. Jay-Z - The Blueprint 3

HOVA has did it once again, and cements himself as the "Greatest Rapper Alive" without fail. Few artist can deliver time and time again, and manage to keep their brand alive without conforming to every new musical trend. As Mary J. Blige has said in many interviews, "Jay-Z is truly like the Marvin Gaye of Hip-Hop." The Blueprint 3 is fresh, but still gives listeners a nostalgic feeling. Every track stands on its own as a potential single, as the album plays out in sheer cohesiveness.

ALBUM REVIEW: MARY J. BLIGE

After hearing snippets from the ninth studio album "Stronger withEach Tear" by the Queen of Hip-Hop Soul Mary J. Blige, I was almost certain that Mary was committing career suicide with its release. However, the 12-track album in sequence and entirety is not bad, not bad at all, but not great due to length and focus. The album seems like it plays out in three acts.

Act one has a very progressive R&B sound with strong New York Hip-Hop and dance elements. "Tonight" features production from The Runners, and serves as a subdue, mellow intro for "Stronger..." It almost sounds like an ode to the Trackmasters R&B work, and the vocal stylings and lyrics sound like Mary circa 1997. The album's lead single "The One" featuring Drake and production from Rodney Jerkin follows, validating the heavy New York sound. "Said and Done," featuring production from Ryan Leslie is a real banger with a unique blend of chords and synths. The vocals are classic Mary, and the record sounds like a potential single. "Good Love" featuring T.I. and production from the Stereotypes has a feel-good 80's sound with strong horn rifts and heavy instrumentation.

"I Feel Good" transitions the album as the first of a series of song created by Stargate and Ne-Yo, which just don't fit Mary aesthetically. The album's second single "I Am" with lyrics from Johnta Austin sounds like another "Be Without You." "Each Tear" has a heavy alternative pop sound, sounding more in tune with Alicia Keys new album.

"I Love You (Yes I Du)" featuring production from Polow Da Don jump starts the third wave of songs from the album. The record is fire and could easily serve as a future single for the project. It features a cosmic synth acting as a bass line with some strong percussive pairings and a great vocal performance from Mary as well. The long awaited Johnta Austin duet with Mary entitled "Hood Love" follows, however Johnta's vocals are replaced with those of R&B crooner Trey Songz. The song is just amazing. The-Dream and Tricky Stewart make an appearance on the album with just one offering "Kitchen" which takes a page from R. Kelly's book on how to create a drama filled song with a heavy piano accompaniment. Nonetheless, the record is impeccable, yet not consistent with Mary's "musical image." "In the Morning" featuring production from newcomer D. Mile and the track certainly stands out as one of the album's highlights. The track continues off where there latter portion of "The Breakthrough" left off, putting Mary back on track. And Lastly, the album's gem "I Can See In Color" featuring production from Raphael Saadiq closes the album and represents the Mary we expect to hear 100% of the time now. The track sounds like an ode to everything Mary is based from. The track is straight vocal and very vintage in all aspects.

Despite this album having some great song's appropriate for Mary, her "musical image" seems inconsistent and its very much in question in my opinion down to the title of the album. Quite frankly, the Stargate and Ne-Yo songs need to go. And the musical inconsistency of this album is the antithesis of a true Mary album. All of her previous sets have been longer in length and mesh together much better musically in terms of production. The album's earlier songs allude to the "What's the 411?" or the "No More Drama" album while the album's later songs allude more closely to the "Mary" album in song content and production style. Either musical direction would have been cool, but I wish Mary would have just stuck to one motif instead of trying to sequence randomness and give the album some arbitrary title with songs that do not associate lyrically with the title or proposed album concept. "Technical Difficulty" would have been a much better choice, of course if all the songs fit with the first portion of the album. All in all, the album has some nice album cuts and it will be interesting to see how well the album performs overall, and which tracks will be selected as future singles.

Album highlights: "Said and Done," "I Feel Good," "I Love You (Yes I Du)," "Kitchen," "In the Morning," and "I Can See In Color"

MUSIC NEWS: MARIAH CAREY REMIXING "MEMOIRS..." FOR NEW ALBUM

Several reports suggest that Mariah Carey is moving along with efforts of creating a remix album of "Memoirs of an Imperfect Angel," as it has received an official release date in the new year (February 23, 2010), and stills of remix video footage surface. Neither Mariah nor her label should be content with the commercial performance of the album, so its apparent that Mariah is trying to rectify the situation with the new remix project. She is slated to work with other producers for the project such as Jermaine Dupri and his clan, Ne-Yo, and collaborations from the likes of R&B and Hip-Hop's finest such as Trey Songz, R. Kelly, Fabolous, Snoop Dogg, KC & JoJo, Nicki Minaj, and even the Queen of Hip Hop Soul - Mary J. Blige.

The "Angels Cry Remix" featuring Ne-Yo and The "Up Out My Face Remix" featuring Nicki Minaj will be future singles. Currently, Mariah is promoting her fourth single "It's A Wrap" rather quietly.

It seems like "Memoirs..." failed because of bad decisions in single choice and lackluster promotion. "Obsessed" was the perfect summer record and it really got the ball rolling for this project. "I Want To Know What Love Is" was the worst possible lead single follow-up choice. "H.A.T.E.U" should have been the second single, as the album's buzz song it would have been huge following a smash such as "Obsessed." "It's A Wrap" could have very well been released as the album's third single or along with "H.A.T.E.U" as the song's have two very different aura, appealing to opposite audiences. Then, there would not be a need or push for a remix album, although the collaborations Mariah has set up will make for good music.

There has been word that fans blame the exclusive production motif from the-Dream and Tricky Stewart for the album's failure. However, i feel that is not why the album failed. The-Dream and Tricky did their thing for the most part with this album. Mariah clearly wanted another "Butterfly," and the duo gave her the 2009 version. I will admit, some of the songs could have been omitted from the album, and there should have been contributions from other productions outside of the The-Dream and Tricky Stewart's clan. Missy Elliott, Diddy, and Jermaine Dupri were contributors to the original "Butterfly" so I cannot understand why Mariah would not enlist their help, which would have made a lot of sense.

NEW MUSIC: MONICA DUAL FIRST SINGLES

After months and months (wait years and years) Monica and J Records have finally found the "single" and have come to terms on the release of a new Monica album due out in March 2010. Via twitter, Monica has announced plans of a dual lead single release. The first single "Once In a Lifetime" is a mid tempo track with heavy synths with a very trendy feel which leads me to believe it will be a commercial hit. The other lead single "Love All Over Me" is a beautifully melodic ballad produced by longtime Monica contributor Jermaine Dupri that is reminiscent of Monica from her classic early days. Both songs are amazing (although i prefer "Love All Over Me"), and I really hope fans and the music public alike send these records to number one on the charts.

If you have been keeping up with the Monica show on BET, J Records had seemed to be giving Monica a really hard time. Watching the show, it seemed like Monica was not being treated like a priority act at all. They only want her album to be a measly ten tracks, and it seems like they only want a three single release. Perhaps the release of two lead singles, simultaneously, means the label will release five or six singles pending albums sales and reception. In addition, according to the show, the song "Betcha" and some Ne-Yo track were heavy contenders for the lead single treatment. Although, all the Monica tracks were on the show and on-line are decent, I would just release all of Monica's tracks separately, beginning with "Once In a Lifetime," because Monica's sound is not so varied that she needs to do a dual release unless one song were super uptempo and the other song were super demure, or very pop versus very soulful in other words where each song caters to two different musical audience. J Records must know the same audience is going to enjoy all of her singles so it makes no sense. If anything, Monica is just going to be competing with herself for impressions on radio. Nonetheless, I hope this dual release just means there will be several Monica singles and they give this album the red carpet treatment in terms of promotion and marketing for longevity because I am a firm believer that great albums can produce a strong number of singles (ie. Michael and Janet Jackson albums with six and seven single releases).

ALBUM REVIEW: ALICIA KEYS

With a subtle, under-performing lead single such as "Doesn't Mean Anything," the prospects for Alicia Key's fourth studio album, "The Element of Freedom" seemed bleak. However, the new set could arguably contend for Best Album of 09' in the R&B World. If Key's previous set "As I Am" was any indication of a new musical direction, creating a heavily produced archetype of soul by infusing indie and pop with urban music, "...Freedom" confirms the transition. Despite collaborations with Jay-Z, Drake, and Beyonce, Alicia transitions her music, delivering it to a new, non-traditional place as if she is trying to create her own R&B sub-genre. Though, some of the tracks give off a heavy Prince vibe ("This Bed" and "Trouble Sleeping With a Broken Heart"), a majority of the album is more reminiscent of imaginable modern-day creations from 70's singer-songwriters such as Carol King and Roberta Flack.

All in all, musically Alicia Keys has really released a revolution by reinventing her sound. Her lyrics have become more personal, and less trite. This album is entirely about love - her love for new collaborator Swizz Beatz. Rumors suggest Keys is the cause of Swizz's divorce from wife Mashonda. Many of the set's song titles hint towards' Alicia's lust for the married man, and their decision to act on their emotions (ie. "Love Is Blind" "Pray for Forgiveness" and "Unthinkable (I'm Ready)" - "moment of honesty... i was wondering baby, could i make you my baby, could we do the unthinkable...if you ask me, i'm ready"). Nevertheless, Alicia's subtle inclusion of personal trials really worked for her with this album. Instead of her trying to plaster herself as a fool by defending the drama, the album subtlety does so for her in a beautiful, non-aggressive and inadvertent manner.

The Album's Main highlights: "Love Is Blind," "Trouble Sleeping With a Broken Heart," "Unthinkable (I'm Ready)," and "This Bed"

INDUSTRY NEWS: AND THE GRAMMY CONTENDERS ARE...

General Field

Category 1

Record Of The Year
(Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s), if other than the artist.)

* Halo
Beyoncé
Beyoncé Knowles & Ryan Tedder, producers; Jim Caruana, Mark "Spike" Stent & Ryan Tedder, engineers/mixers
Track from: I Am... Sasha Fierce
[Music World Music / Columbia]

* I Gotta Feeling
The Black Eyed Peas
David Guetta & Frederick Riesterer, producers; will.i.am, Dylan "3-D" Dresdow & Padraic "Padlock" Kerin, engineers/mixers
[Interscope]

* Use Somebody
Kings Of Leon
Jacquire King & Angelo Petraglia, producers; Jacquire King, engineer/mixer
[RCA Records]

* Poker Face
Lady Gaga
RedOne, producer; Robert Orton, RedOne & Dave Russell, engineers/mixers
Track from: The Fame
[Streamline/Interscope/Konlive/Cherrytree]

* You Belong With Me
Taylor Swift
Nathan Chapman & Taylor Swift, producers; Chad Carlson & Justin Niebank, engineers/mixers
[Big Machine Records]

Category 2

Album Of The Year
(Award to the Artist(s) and to the Album Producer(s), Recording Engineer(s)/Mixer(s) & Mastering Engineer(s), if other than the artist.)

* I Am... Sasha Fierce
Beyoncé
Shondrae "Mr. Bangledesh" Crawford, Ian Dench, D-Town, Toby Gad, Sean "The Pen" Garrett, Amanda Ghost, Jim Jonsin, Beyoncé Knowles, Rico Love, Dave McCracken, Terius "The Dream" Nash, Radio Killa, Stargate, Christopher "Tricky" Stewart, Ryan Tedder & Wayne Wilkins, producers; Jim Caruana, Mikkel S. Eriksen, Toby Gad, Kuk Harrell, Jim Jonsin, Jaycen Joshua, Dave Pensado, Radio Killa, Mark "Spike" Stent, Ryan Tedder, Brian "B-LUV" Thomas, Marcos Tovar, Miles Walker & Wayne Wilkins, engineers/mixers; Tom Coyne, mastering engineer
[Music World Music / Columbia]

* The E.N.D.
The Black Eyed Peas
Apl.de.ap, Jean Baptiste, Printz Board, DJ Replay, Funkagenda, David Guetta, Keith Harris, Mark Knight, Poet Name Life, Frederick Riesterer & will.i.am, producers; Dylan "3D" Dresdow, Padraic "Padlock" Kerin & will.i.am, engineers/mixers; Chris Bellman, mastering engineer
[Interscope Records]

* The Fame
Lady Gaga
Flo Rida, Colby O'Donis & Space Cowboy, featured artists; Brian & Josh, Rob Fusari, Martin Kierszenbaum, RedOne & Space Cowboy, producers; 4Mil, Robert Orton, RedOne, Dave Russell & Tony Ugval, engineers/mixers; Gene Grimaldi, mastering engineer
[Streamline/Interscope/Konlive/Cherrytree]

* Big Whiskey And The Groogrux King
Dave Matthews Band
Rob Cavallo, producer; Chris Lord-Alge & Doug McKean, engineers/mixers; Ted Jensen, mastering engineer
[RCA Records / Bama Rags Recordings, LLC.]

* Fearless
Taylor Swift
Colbie Caillat, featured artist; Nathan Chapman & Taylor Swift, producers; Chad Carlson, Nathan Chapman & Justin Niebank, engineers/mixers; Hank Williams, mastering engineer
[Big Machine Records]

Category 3

Song Of The Year
(A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.)

* Poker Face
Lady Gaga & RedOne, songwriters (Lady Gaga)
Track from: The Fame
[Streamline/Interscope/Konlive/Cherrytree; Publishers: Stefani Germanotta p/k/a Lady Gaga, Sony/ATV Songs/House of Gaga Publishing/GloJoe Music, Sony/ATV Songs/RedOne Productions.]

* Pretty Wings
Hod David & Musze, songwriters (Maxwell)
Track from: Blacksummers' Night
[Columbia; Publishers: Sony/ATV Tunes/Muszewell, EMI April Music, Ben Ami Music.]

* Single Ladies (Put A Ring On It)
Thaddis Harrell, Beyoncé Knowles, Terius Nash & Christopher Stewart, songwriters (Beyoncé)
Track from: I Am... Sasha Fierce
[Music World Music / Columbia; Publishers: Songs of Peer/March 9th Publishing, 2082 Music/WB Music Publishing, Sony/ATV Tunes, Suga Wuga Music, B-Day Publishing/EMI April Music.]

* Use Somebody
Caleb Followill, Jared Followill, Matthew Followill & Nathan Followill, songwriters (Kings Of Leon)
[RCA Records; Publishers: Martha Street Music/Songs of Combustion Music/Music of Windswept, Followill Music/Songs of Combustion Music/Music of Windswept, McFearless Music/Bug Music, Coffee, Tea or Me Publishing/Bug Music.]

* You Belong With Me
Liz Rose & Taylor Swift, songwriters (Taylor Swift)
Track from: Fearless
[Big Machine Records; Publishers: Sony/ATV Tree Publishing, Taylor Swift Music/Potting Shed Music, Barbara Orbison World Publishing.]

Category 4

Best New Artist
(For a new artist who releases, during the Eligibility Year, the first recording which establishes the public identity of that artist.)

* Zac Brown Band

* Keri Hilson

* MGMT

* Silversun Pickups

* The Ting Tings

Field 1 — Pop



Category 5

Best Female Pop Vocal Performance
(For a solo vocal performance. Singles or Tracks only.)

* Hometown Glory
Adele
Track from: 19
[XL/Columbia]

* Halo
Beyoncé
Track from: I Am... Sasha Fierce
[Music World Music / Columbia]

* Hot N Cold
Katy Perry
[Capitol]

* Sober
Pink
Track from: Funhouse
[LaFace Records]

* You Belong With Me
Taylor Swift
Track from: Fearless
[Big Machine Records]

Category 6

Best Male Pop Vocal Performance
(For a solo vocal performance. Singles or Tracks only.)

* This Time
John Legend
Track from: Evolver
[G.O.O.D. Music/Columbia]

* Love You
Maxwell
Track from: Blacksummers' Night
[Columbia]

* Make It Mine
Jason Mraz
Track from: We Sing. We Dance. We Steal Things.
[Atlantic]

* If You Don't Know Me By Now
Seal
Track from: Soul
[143/Warner Bros.]

* All About The Love Again
Stevie Wonder
[Hidden Beach Records]


Category 7

Best Pop Performance By A Duo Or Group With Vocals
(For established duos or groups, with vocals. Singles or Tracks only.)

* I Gotta Feeling
The Black Eyed Peas
Track from: The E.N.D.
[Interscope Records]

* We Weren't Born To Follow
Bon Jovi
[Island]

* Never Say Never
The Fray
Track from: The Fray
[Epic]

* Sara Smile
Daryl Hall & John Oates
Track from: Live At The Troubadour
[Shout! Factory]

* Kids
MGMT
Track from: Oracular Spectacular
[Columbia]

Category 8

Best Pop Collaboration With Vocals
(For a collaborative performance, with vocals, by artists who do not normally perform together. Singles or Tracks only.)

* Sea Of Heartbreak
Rosanne Cash & Bruce Springsteen
[Manhattan]

* Love Sex Magic
Ciara & Justin Timberlake
Track from: Fantasy Ride
[LaFace Records]

* Lucky
Jason Mraz & Colbie Caillat
Track from: We Sing. We Dance. We Steal Things.
[Atlantic]

* Baby, It's Cold Outside
Willie Nelson & Norah Jones
Track from: American Classic
[Blue Note]

* Breathe
Taylor Swift & Colbie Caillat
Track from: Fearless
[Big Machine Records]

Category 11

Best Pop Vocal Album
(For albums containing 51% or more playing time of VOCAL tracks.)

* The E.N.D.
The Black Eyed Peas
[Interscope Records]

* Breakthrough
Colbie Caillat
[Universal Republic Records]

* All I Ever Wanted
Kelly Clarkson
[RCA Records / 19 Recordings LLC./ S Records]

* The Fray
The Fray
[Epic]

* Funhouse
Pink
[LaFace Records]

Field 2 — Dance

Category 12

Best Dance Recording
(For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.)

* Boom Boom Pow
The Black Eyed Peas
will.i.am & Jean Baptiste, producers; Dylan Dresdow, mixer
Track from: The E.N.D.
[Interscope Records]

* When Love Takes Over
David Guetta & Kelly Rowland
David Guetta & Frederic Riesterer, producers; Veronica Ferraro, mixer
Track from: One Love
[Astralwerks]

* Poker Face
Lady Gaga
RedOne, producer; Robert Orton, RedOne & Dave Russell, mixers
Track from: The Fame
[Streamline/Interscope/Konlive/Cherrytree]

* Celebration
Madonna
[Warner Bros.]

* Womanizer
Britney Spears
K. Briscoe, producer; Serban Ghenea, mixer
Track from: Circus
[Jive/Zomba]

Category 13

Best Electronic/Dance Album
(For vocal or instrumental albums. Albums only.)

* Divided By Night
The Crystal Method
[Tiny E Records]

* One Love
David Guetta
[Astralwerks]

* The Fame
Lady Gaga
[Streamline/Interscope/Konlive/Cherrytree]

* Party Rock
LMFAO
[Party Rock/Will.i.am/Cherrytree/Interscope]

* Yes
Pet Shop Boys
[Astralwerks]

Field 6 — R&B


Category 23

Best Female R&B Vocal Performance
(For a solo vocal performance. Singles or Tracks only.)

* Single Ladies (Put A Ring On It)
Beyoncé
Track from: I Am... Sasha Fierce
[Music World Music/Columbia]

* It Kills Me
Melanie Fiona
[SRC/Universal Motown]

* That Was Then
Lalah Hathaway
Track from: Self Portrait
[Stax Records/Concord Music Group]

* Goin' Thru Changes
Ledisi
Track from: Turn Me Loose
[Verve Forecast]

* Lions, Tigers & Bears
Jazmine Sullivan
[J Records]

Category 24

Best Male R&B Vocal Performance
(For a solo vocal performance. Singles or Tracks only.)

* The Point Of It All
Anthony Hamilton
Track from: The Point Of It All
[So So Def]

* Pretty Wings
Maxwell
Track from: Blacksummers' Night
[Columbia]

* Sobeautiful
Musiq Soulchild
Track from: OnMyRadio
[Atlantic]

* Under
Pleasure P
Track from: The Introduction Of Marcus Cooper
[Swagga Ent./Atlantic]

* There Goes My Baby
Charlie Wilson
Track from: Uncle Charlie
[Jive Records]

Category 25

Best R&B Performance By A Duo Or Group With Vocals
(For duo, group or collaborative performances, with vocals. Singles or Tracks only.)

* Blame It
Jamie Foxx & T-Pain
[J Records]

* Chocolate High
India.Arie & Musiq Soulchild
Track from: Testimony: Vol. 2, Love & Politics
[Soulbird/Universal Republic]

* Ifuleave
Musiq Soulchild & Mary J. Blige
Track from: OnMyRadio
[Atlantic]

* Higher Ground
Robert Randolph & The Clark Sisters
Track from: Oh Happy Day
[EMI Gospel]

* Love Has Finally Come At Last
Calvin Richardson & Ann Nesby
Track from: Facts Of Life The Soul Of Bobby Womack
[Shanachie Entertainment Corp.]

Category 26

Best Traditional R&B Vocal Performance
(For solo, duo, group or collaborative performances, with vocals. Singles or Tracks only.)

* At Last
Beyoncé
Track from: Cadillac Records Music From The Motion Picture
[Music World Music/Columbia]

* Soul Music
Anthony Hamilton
Track from: Soul Men Original Motion Picture Soundtrack
[Stax/Concord]

* Don't Let Me Be Lonely Tonight
Boney James & Quinn
Track from: Send One Your Love
[Concord Records]

* Slow Love
Ann Nesby
Track from: The Lula Lee Project
[It's Time Child Records/Tyscot]

* Woman Gotta Have It
Calvin Richardson
Track from: Facts Of Life The Soul Of Bobby Womack
[Shanachie Entertainment Corp.]

Category 27

Best Urban/Alternative Performance
(For solo, duo, group or collaborative performances, with vocals. Singles or Tracks only.)

* Daykeeper
The Foreign Exchange
Track from: Leave It All Behind
[Hard Boiled Records]

* All Matter
Robert Glasper & Bilal
Track from: Double Booked
[Blue Note]

* Pearls
India.Arie & Dobet Gnahore
Track from: Testimony: Vol. 2, Love & Politics
[Soulbird/Universal Republic]

* A Tale Of Two
Eric Roberson, Ben O'Neill & Michelle Thompson
Track from: Music Fan First
[Blue Erro Soul]

* Blend
Tonex
Track from: Unspoken
[Battery Records]

Category 28

Best R&B Song
(A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.)

* Blame It
James T. Brown, John Conte, Jr., Jamie Foxx, Christopher Henderson, Brandon R. Melanchon, Breyon Prescott, T-Pain & Nathan L. Walker, songwriters (Jamie Foxx & T-Pain)
[J Records; Publishers: Sly As A Foxx Music/Bug Music, Gifted Source Music/EMI April Music, It's N8 Publishing, James T. Brown, Brandon R. Melanchon, John Conte, Jr., Nappypub Music/Universal Music Z Songs, Chameleon Publishing.]

* Lions, Tigers & Bears
Salaam Remi & Jazmine Sullivan, songwriters (Jazmine Sullivan)
[J Records; Publishers: Nappy Puddy Music/Universal Music-Z Tunes, Salaam Remi Music/EMI April Music.]

* Pretty Wings
Hod David & Musze, songwriters (Maxwell)
Track from: Blacksummers' Night
[Columbia; Publishers: Sony/ATV Tunes/Muszewell, EMI April Music, Ben Ami Music.]

* Single Ladies (Put A Ring On It)
Thaddis Harrell, Beyoncé Knowles, Terius Nash & Christopher Stewart, songwriters (Beyoncé)
Track from: I Am... Sasha Fierce
[Music World Music / Columbia; Publishers: Songs of Peer/March 9th Publishing, 2082 Music/WB Music Publishing, Sony/ATV Tunes, Suga Wuga Music, B-Day Publishing/EMI April Music.]

* Under
D. Babbs, L. Bereal, M. Cooper, A. Dixon, J. Franklin, T. Jones, R. New & K. Stephens, songwriters (Pleasure P)
Track from: The Introduction Of Marcus Cooper
[Swagga Ent./Atlantic; Publishers: Tank1176Music/Blackfountain/Antonio Dixon's Muzik/EMI April Music/Notting Dale Songs/Lonnalistic/Songs4ronnie/Doverland 301 Music/Thailand Music/K.Stephens Music/Warner-Tamerlane Publishing, Silverplatinumy2k.]


Category 29

Best R&B Album
(For albums containing 51% or more playing time of VOCAL tracks.)

* The Point Of It All
Anthony Hamilton
[So So Def]

* Testimony: Vol. 2, Love & Politics
India.Arie
[Soulbird/Universal Republic]

* Turn Me Loose
Ledisi
[Verve Forecast]

* Blacksummers' Night
Maxwell
[Columbia]

* Uncle Charlie
Charlie Wilson
[Jive Records]

Category 30

Best Contemporary R&B Album
(For albums containing 51% or more playing time of VOCAL tracks.)

* I Am... Sasha Fierce
Beyoncé
[Music World Music/Columbia]

* Intuition
Jamie Foxx
[J Records]

* The Introduction Of Marcus Cooper
Pleasure P
[Swagga Ent./Atlantic]

* Ready
Trey Songz
[Songbook/Atlantic]

* Thr33 Ringz
T-Pain
[Jive Records]

Field 7 — Rap

Category 31

Best Rap Solo Performance
(For a solo Rap performance. Singles or Tracks only.)

* Best I Ever Had
Drake
[Young Money/Cash Money/Universal Motown]

* Beautiful
Eminem
Track from: Relapse
[Aftermath/Interscope Records]

* D.O.A. (Death Of Auto-Tune)
Jay-Z
[Roc Nation]

* Day 'N' Nite
Kid Cudi
[Universal Motown/Good/Fool's Gold]

* Casa Bey
Mos Def
Track from: The Ecstatic
[Downtown Records]


Category 32

Best Rap Performance By A Duo Or Group
(For duo, group or collaborative performances of Rap only. Singles or Tracks only.)

* Too Many Rappers
Beastie Boys & Nas
[Capitol]

* Crack A Bottle
Eminem, Dr. Dre & 50 Cent
Track from: Relapse
[Aftermath/Interscope]

* Money Goes, Honey Stay
Fabolous & Jay-Z
Track from: Loso's Way
[Def Jam]

* Make Her Say
Kid Cudi, Kanye West & Common
[Universal Motown/GOOD Music]

* Amazing
Kanye West & Young Jeezy
Track from: 808s & Heartbreak
[Roc-A-Fella]

Category 33

Best Rap/Sung Collaboration
(For a Rap/Sung collaborative performance by artists who do not normally perform together. Singles or Tracks only.)

* Ego
Beyoncé & Kanye West
[Music World Music/Columbia]

* Knock You Down
Keri Hilson, Kanye West & Ne-Yo
Track from: In A Perfect World...
[MMG/Zone 4/Interscope Records]

* Run This Town
Jay-Z, Rihanna & Kanye West
[Roc Nation]

* I'm On A Boat
The Lonely Island & T-Pain
Track from: Incredibad
[Universal Republic Records]

* Dead And Gone
T.I. & Justin Timberlake
Track from: Paper Trail
[Grand Hustle/Atlantic]

Category 34

Best Rap Song
(A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.)

* Best I Ever Had
Aubrey Drake Graham, D. Hamilton & M. Samuels, songwriters (Drake)
[Aspire/Young Money/Cash Money; Publisher: Sony/ATV Tunes.]

* Day 'N' Nite
S. Mescudi & O. Omishore, songwriters (Kid Cudi)
[Universal Motown/Good/Fool's Gold; Publishers: Elsie's Baby Boy, Owo Olorun, Universal Music Publishing.]

* Dead And Gone
C. Harris, R. Tadross & J. Timberlake, songwriters (T.I. & Justin Timberlake)
Track from: Paper Trail
[Grand Hustle/Atlantic; Publishers: Crown Club Publishing/Warner-Tamerlane Publishing/Tenman Tunes/Universal Z Tunes/Cleopatra's Sons Music/EMI April Music.]

* D.O.A. (Death Of Auto-Tune)
Shawn Carter & Ernest Wilson, songwriters (Gary DeCarlo, Dale Frashuer, Paul Leka, Janko Nilovic & Dave Sucky, songwriters) (Jay-Z)
[Atlantic; Publishers: EMI April Music, Carter Boys Music/Chrysalis Songs/No ID Music, Unichappell Music, APM Music.]

* Run This Town
Shawn Carter, R. Fenty, M. Riddick, Kanye West & E. Wilson, songwriters (Athanasios Alatas, songwriter) (Jay-Z, Rihanna & Kanye West)
[Roc Nation; Publishers: EMI April Music, Carter Boys Music/Please Gimme My Publishing/EMI Blackwood/Chrysalis Songs/No ID Music/All The Above Publishing/Sony ATV/Annauhi Music/Athanasios Alatas Publishing.]


Category 35

Best Rap Album
(For albums containing 51% or more playing time of VOCAL tracks.)

* Universal Mind Control
Common
[Geffen]

* Relapse
Eminem
[Aftermath/Interscope]

* R.O.O.T.S.
Flo Rida
[Poe Boy/Atlantic]

* The Ecstatic
Mos Def
[Downtown Records]

* The Renaissance
Q-Tip
[Universal Motown]

Category 83

Best Song Written For Motion Picture, Television Or Other Visual Media
(A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.)

* The Climb (From Hannah Montana: The Movie)
Jessi Alexander & Jon Mabe, songwriters (Miley Cyrus)
[Walt Disney Records; Publishers: Vistaville Music, Hopeless Rose Music, Music Of Stage Three, Mabe It Big Music.]

* Decode (From Twilight)
Josh Farro, Hayley Williams & Taylor York, songwriters (Paramore)
[Summit Ent./Chop Shop/Atlantic; Publishers: WB Music Corp/But Father, I Just Want To Sing Music/Josh's Music/FBR Music, Meaux Hits/Hunterboro Music, Rimutaka Music.]

* Jai Ho (From Slumdog Millionaire)
Gulzar, A.R. Rahman & Tanvi Shah, songwriters (A.R. Rahman, Sukhvinder Singh, Tanvi Shah, Mahalaxmi Iyer & Vijay Prakash)
[N.E.E.T./Interscope Records; Publisher: KM Musiq.]

* Once In A Lifetime (From Cadillac Records)
Ian Dench, James Dring, Amanda Ghost, Beyoncé Knowles, Scott McFarnon & Jody Street, songwriters (Beyoncé)
[Music World Music/Columbia; Publishers: B-Day Publishing/EMI April Music, Amanda Ghost Bucks Music Group Ltd./EMI Blackwood, Red Ink Music Ltd., Ian Dench Music/Songs of Kobalt Music, Chrysalis Music.]

* The Wrestler (From The Wrestler)
Bruce Springsteen, songwriter (Bruce Springsteen)
[Columbia; Publisher: Bruce Springsteen.]

Category 93

Best Remixed Recording, Non-Classical
(A Remixer's Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.)

* Don't Believe In Love (Dennis Ferrer Objektivity Mix)
Dennis Ferrer, remixer (Dido)
[Arista]

* The Girl And The Robot (Jean Elan Remix)
Jean Elan, remixer (Röyksopp)
[Astralwerks]

* I Want You (Dave Aude Remix)
Dave Aude, remixer (Dean Coleman Featuring DCLA)
Track from: I Want You
[Yoshitoshi Recordings]

* No You Girls (Trentemøller Remix)
Anders Trentemøller, remixer (Franz Ferdinand)
Track from: Blood: Franz Ferdinand
[Domino]

* When Love Takes Over (Electro Extended Remix)
David Guetta, remixer (David Guetta Featuring Kelly Rowland)
[Astralwerks]

NEW VIDEO: DIRTY MONEY

Here is the long-awaited video for Dirty Money's song "Love Come Down." This is just dope!

NEW MUSIC: MARY J. BLIGE

Visit the pre-site to Mary's website for an exclusive listen: www.mjblige.com

Here is the official second single from Mary J. Blige's new album "Stronger" set for a December 22nd release just in time for the Holiday Season. The new record "I Am," is produced by Stargate and features lyrics from Johnta Austin. The song fits into the category of her "Be Without You"-type songs, but I must say I like this one. The piano rifts and vibrant strings really make this song fly. Although I prefer her track for the film "Precious," "I Can See In Color," the new single could possibly resonate with fans and become a hit amongst all formats.

INDUSTRY NEWS: JANET JACKSON READY FOR COMEBACK

Miss Jackson is ready to make her comeback. She has her "Number Ones" compilation set for a November 17th release. It will include all of her singles since 1986, and features her new single "Make Me," featuring production from super producer Rodney Jerkins. Rodney also leaked to the public that Janet will be releasing a new album in 2010. The album will be very dance-driven (could that be a challenge to Lady GaGa?). Additionally, Janet has gone back to her original label A&M.

For some odd reason, I think Janet is going to take 2010 by storm. I think her album is gonna be dope. If her songs don't focus on having a pop appeal, nor overly urban appeal, she will be great. Honestly, if she wants to really make a huge dance album, she should go atypical and look to the "Control" album for inspiration, yet pair it with strong hip-hop elements of the 90's.

Here is Janet's new single "Make Me." It's dope!

ALBUM REVIEW: AMERIE

With a new label home, Amerie really set fourth to put together a great album that was progressive to prove her growth as an artist and musical ear and with the release of her Island Def Jam debut, "In Love & War" Amerie really sticks to that sentiment. All the songs are brilliant. They explore different musical genres such as Funk, Rock, and old school Hip-Hop, and adult contemporary creating a R&B sound that is atypical, yet commercially appealing at the same time; however not Pop. Her vocals are beautiful as usual. She sticks with her spinto technique, and strains a lot more than before on hooks and harmonizes some of her lead vocals which adds a soulful depth to her music.

I recommend the entire thing, and really hope people support Amerie, because poor sales will definitely mean she gets dropped despite poor promotion on Island Def Jam's end. She definitely falls into the same boat as Letoya Luckett where much of her album does not necessarily have standout, radio singles, though it is still a decent, cohesive, and solid effort. This set could definitely win a Grammy for Best Contemporary R&B Album in 2011. It's funny how people embrace some artists music over others. It's crazy how people like Keri Hilson or a Trey Songz has blown up all of a sudden. His music, for instance, has not really changed radically, and radio is even accepting unconventional ballads from him. If the right Amerie track is released, she could blow up like Trey, but that would also mean she would need to do some good hook work for the likes of Gucci Mane, Lil' Wayne, and Drake. However, another option for boosting Amerie's appeal could include remakes. I know she could put out a nice remake of Whitney Houston's "Saving All My Love." I hope Island pushes to release "Pretty Brown" as a single since Trey is really hot right now with R&B's leading vets duet-ting with him like Toni Braxton, Mariah Carey, and even Mary J. Blige.

Standout Tracks: Why R U, Pretty Brown, More Than Love, The Flowers, Red Eye, and Different People

ALBUM REVIEW: RYAN LESLIE

After Ryan Leslie hit the head on the nail with his self-titled debut album, Ryan Leslie returns with his new album "Transition," which proves to be a big disappointment. Much of the album sounds the same in the tradition of the album's lead single "You're Not My Girl." Although, I applaud Ryan for staying in his own lane, keeping his signature sound of heavy synths and even heavier bass lines, he needs to evolve because all the songs on his album sound the same, which is all that needs to be mentioned. Standout tracks include "Guardian Angel" and "All My Love" and bonus tracks "Promise Not 2 Call" and "Rescue U." I would say Ryan's sound would improve if he went back to his jazz roots and created some slick work in the vain of Marvin Gaye during the 70's or perhaps began to let others produce him. A Ryan Leslie and Pharrell collaboration or Ryan Leslie and Timbaland collaboration would be dope.

NEW MUSIC: ALICIA KEYS

Here is a snipped of a new Alicia Keys song entitled "Dreaming" which will more than likely be included on her new album "The Element of Freedom" set for a December 14th release.

This song is dope. It has a laidback, 70's cosmic feel that makes me think of the work of Norman Conners and Roberta Flack during that period. Why didn't Alicia put this out! Her first and second singles are kind of whack just because the instrumentals seem discombobulated, and off with the vocal part. Yet "Dreaming" is jazzy and very much a movement. I hope the rest of "The Element of Freedom" follows this motif, and the single choices thus far released are not indicative of the the main feel of the album.

INDUSTRY NEWS: MARY J. BLIGE PUSHES BACK ALBUM

It's offical! Mary J. Blige new album, "Stronger" is set for a December 22nd release date. It was originally slated for a November release, then pushed back to December 15, and now the 22nd to capitalize on Holiday sales more than likely.

This is just not a good look on so many levels. I'm personally glad the album is coming out, but Geffen is just not doing a good job on this project in terms of A&R and Promotions. Mary certainly didn't do too great with "The One." It's crazy how the song had a lot of steam when it originally hit the net, then got even bigger when the Drake version surfaced, and now the video, which was great, came out super late, and the second official single has just been decided, very sloppy... What is even more sloppy is outside music confusing the fans like her contributions to the "More than A Game" soundtrack and her song for "Precious." Mary is clearly receiving the Mariah treatment with the first hit being a big deal, then the label scrambling to maintain its heat. Universal as a whole is really slipping with its major artists, and Mary needs to consider jumping ship.

And if Mary is looking to secure a #1 debut, she may have trouble because she tried this stunt with her last album, and despite selling 600K+ in the first week she still debuted at #2 because people buy Christmas music during the holidays. And of course the team is not going to have her release her album the week before against Rihanna and Alicia Keys. I say Mary should push her album back into the new year when she could definitely secure a #1 debut.

INDUSTRY NEWS: SOLANGE GETS DROPPED!

Recently it has been reported that Geffen Records recording artist Solange Knowles has been dropped from the label more than likely for poor album sales. Despite producing a critically acclaimed set, "Sol-Angel & the Hadley Street Dreams," the label still decided to part ways with Ms. Knowles. She is still signed to her father Matthew Knowles imprint Music World Music, and will most likely sign a deal with Epic Records, a rumor that was started months ago since the confirmation that Solange had either been dropped/left Geffen Records was still up in the air.

I'm not surprised Solange got dropped, but at the same time this chick did produce a critically acclaimed set with lots of potential for appeal in all markets. The album's first single "I Decided" was genius, and the album's third single "T.O.N.Y." was definitely one of the best songs I had heard in a long time, in all areas from its song-writing to throwback instrumental.

It seems to me that Geffen just never put in the promotional effort for Solange as some of their other artists like Keyshia Cole because they figured people would automatically check out her music because she is simply Beyonce's sister.

Another problem, with the situation is Solange's vocals. Her voice just is not up to par so maybe this why she got dropped. She has limited range, and her tone isn't so sweet or crisp. Her voice works at times for fun songs like "I Decided," but in the end its not enjoyable to hear if she performed an a capella song.

CLASSIC ALBUM: WATCHOUT!

Martha & the Vandellas' 1966 album "Watchout!" captures the final farewell of Holland-Dozier-Holland and Martha and the Vandellas working relationship. Back in 63', the new writing threesome of HDH first hit big with Martha and her girls on hits such as "Heatwave" and "Quicksand," but with the emergence of other songwriters producing hits like "Dancing In the Streets" for Martha, and the mandated pairing of HDH with other Motown groups like The Four Tops, and most notably The Supremes, the two units simply went separate ways.

This "Watchout!" LP features material that some deem as work that should have been performed by the Supremes like the first single "I'm Ready for Love," which was rumored to be a Supreme throwaway (However, I disagree because the sound of this record sounds way too progressive for anything the Supremes released even "I Hear a Symphony"). And furthermore, The non-hitless Supremes are just a product of the Martha & the Vandellas blueprint that was just toned down, and in fact, originally envisioned for the revitalization of the Marvettes. As i digress, Yes, Martha & the Vandellas are identified as strictly R&B, and Yes the album has pop, middle of the road material (definitely a switch from The Vandellas previous album "Dance Party," where hits such as "Dancing in the Street" and "Nowhere to Run" were straight-forward R&B dance anthems where Martha's voice soars), but on this album The Vandellas merge both avenues. This can be seen with Martha's vocals. Her voice is tender and sweet, i.e. ("No More Tearstained Make-Up" and "Tell Me I'll Never Be Alone"), But then her gospel background still transcends in the areas that count, especially on "Go Ahead and Laugh" and "What Am I Going To Do Without Your Love."

More interestingly, I feel like this album, primarily produced by HDH of course, represents the prototype for later Supremes records like "Reflections" and the ever more pop-like song "Love Is Here And Now You're Gone." It's really messed up how pressure from Berry Gordy to make The Supremes number one on the Motown roster really hurt some of the acts, especially Martha & the Vandellas because they also seemed like America's second favorite girl group, and no one pays attention to the runner-up.

Nonetheless, the album is on point, and definitely shows potential for 1966, when albums were merely just a set of songs thrown together to exploit artists considering single sales served as the focal point of the industry at the time. But, it can be noted that the release of cohesive albums such as "Watchout!" and the Vandellas previous hit album "Dance Party" led to a shift in the industry's regard for releasing and promoting solid studio albums.

NEW MUSIC: USHER

So Usher goes euro-electro pop with this garbage entitled "RockBand," that features production from Lady GaGa's producer RedOne. I would go in, but what's the point. All i have to say is what's with R&B vets loosing their integrity and putting out garbage that is not true to their roots, roots that made them famous and loved by their fans first and foremost... first Beyonce, Mariah Carey, even Alicia Keys and now Usher. It's one thing to evolve but to conform to Pop music standards just to make executives happy is crazy. Artists are the reason why music executives have jobs, so artist need to retain their artistic freedom!

NEW MUSIC: MARY J. BLIGE

The real "Mary J. Blige" is back with new cut from the soundtrack to Lee Daniels film "Precious," based from the Novel Push by Sapphire. The new song is entitled "I Can See In Color," and Mary has really reverted back to her old self with this one, sounding as if She is Al Green's daughter or niece. She does sing on key, but the refinement and other bullshit is all thrown out the window with this one. The track is straight up blues with organ rifts and light percussion straddling in the background. Some background vocals are present on the track to help build the melody, but Ms. Blige's voice is the focal point of the record. The lyrics are deep and very Mary-esque. There is no word if she wrote the song, but many people already feel that this record could be a contender for the Oscar for Best Original Music Composition at this year's Academy Awards.

Download "I Can See In Color" here: http://limelinx.com/files/c17a6dea3ca91b23dd6abd7c5f233c7b

*Courtesy of Rap-Up Magazine

PLAYLIST OF THE DAY

Here is a new trend that I'm starting for the blog. Anyone who knows me knows I like to create playlist, but not just for the sake of creating a playlist cause it must have a musical theme. The first one will be Quiet Storm, the late 70's, smooth jazz-infused quiet storm that could be mistaken for mid to late 80's work.

The Smooth Quiet Storm Mix

1. Teena Marie - Aladdin's Lamp
   
2. Earth Wind & Fire - All About Love
   
3. Phyllis Hyman - The Answer Is You
4. Teena Marie - Deja Vu (I've Been Here Before)
5. Peabo Bryson - I'm So Into You
   
6. Major Harris - Love Won't Let Me Wait
7. Roberta Flack & Donny Hathaway - The Closer I Get to You
   
8. Phyllis Hyman - Betcha By Golly Wow
9. Norman Conners - You Are My Starship
10. Heatwave - Sho'nuff Must Be Love
11. Brainstorm - This Must Be Heaven
12. Denice Williams - If You Don't Believe
13. The Emotions - Key to My Heart
14. Chaka Khan - Roll Me Though the Rushes
15. Labelle - Isn't It A Shame
16. The O' Jays - Lovin' You
    
17. Debra Laws - Very Special
    

ALBUM REVIEW: MARIAH CAREY

Here is an usual album review (in that it's structure is more of an editorial work) that I did a few weeks back for a university publication I write for...


With worldwide sales at approximately 175 million units, Eighteen Billboard number ones, and five Grammys, What more success is there for one to obtain? Apparently, Mariah Carey has something to prove with the release of her twelfth studio album, “Memoirs of an Imperfect Angel,” in response to the lack-luster success of her 2008 album, “E=MC2.” Her new album boasts seventeen original tracks with production exclusively from The-Dream and Tricky Stewart, who helped Mariah achieve her goal of creating an album with a “classic” Mariah sound (i.e. “Butterfly” and older albums) while trying to remain contemporary, artistic, and commercial.

“Memoirs…” is a definite improvement over “E=MC2.” The new album is mostly filled with slow jams and low-key mid-tempo jams. The album’s lead single, “Obsessed” is the only up-tempo track on the album, and one of its cheesiest lyrically. Although Mariah claims the song is directed towards no one person in particular, the song is clearly a smart ploy at expressing her feelings towards Eminem and his infatuation with dissing her. Aside from other immature lyricism and song titles (i.e. “Candy Bling”), the album includes some standout material that is very reminiscent of specific songs from the “Butterfly” album or its overall aura in general. Mariah’s attempt at proving her vocals are still intact with this project is also evident. With little wear and tear, she utilizes her full voice on every song as the prominent vocal part, and decorates every song with at least a few whistle notes to prove her upper register has not deteriorated. Her interludes and reprises on this album are impressive as well as Mariah utilizes her voice like an instrument. She is still able to sing melodies in her whistle register and even enunciates phrases in her upper-most register as well. Surprisingly, there is no hip-hop influence on the album at all. Seemingly, Mariah has come almost full circle in terms of reverting back to her “classic” self as an artist. However, “Memoirs…” overtly commercial sound halts any possible revolution for Mariah’s music. The day she begins to make music for the sake of making music is the day she will create a masterpiece album.

Tracks to listen for: H.A.T.E.U, Ribbon, It's A Warp, The Impossible, Angels Cry (Prelude), Languishing (The Interlude)

INDUSTY NEWS: UPCOMING RELEASES

Next Tuesday - November 3rd - is going to be a major week for urban music. R&B hit-maker Ryan Leslie is set to release his second studio album "Transition," only ten or so months after the release of his long awaited debut "Ryan Leslie," that did not perform so well commercially so hopefully Ryan can do some numbers with this new effort despite the first single "You're Not My Girl" receiving lackluster response.

Amerie is also looking to make a comeback with the release of her fourth studio album (third U.S. release) entitled "In Love & War." This will be the first time the "1 Thing" singer is releasing a project for Island Def Jam Music Group amidst several album push-backs. The album's lead single "Why R U" was definitely a gem despite commercial failure, as is the album's second single "Heard Em' All." It will be interesting to see if the release of this album can revitalize the singer's career and elevate her to the magnitude of a Ciara or Beyonce because Amerie definitely has the vocal chops, charisma, and charm to be one of the industry's leading ladies.

And here an updated list of select Fall (4th quarter) releases:

November 3, 2009: Amerie, Ryan Leslie
November 10, 2009: Melanie Fiona, Wale
November 17, 2009: Teairra Mari
November 23, 2009: Rihanna
December 1, 2009: R. Kelly
December 8, 2009: Gucci Mane, Usher, Lil' Jon, Robin Thicke, Snoop, The Game
December 15, 2009: Mary J. Blige, Alicia Keys, Lil' Wayne, Young Money

INDUSTRY NEWS: DIDDY LEAVES ATLANTIC/WARNER

According to Billboard Magazine, Diddy is leaving Atlantic Records/Warner Music Group after a five-year partnership.

His fifteen year old imprint Bad Boy Records will still be distributed through Atlantic/WMG, yet Diddy has elected to change his recording home. Reports suspect that Diddy will be partnering with Interscope Records/Universal Music Group at the end of this month to release his new LP, "Last Train To Paris," along with his new group Dirty Money featuring Dawn Richard, formerly of the now defunct Urban Pop group Danity Kane and new singer-songwriter Kalenna.

This is honestly a shocker cause how is it possible for Diddy to leave Atlantic yet the rest of Bad Boy must stay. In addition, Diddy only released one album on the label so it makes no sense for them to release him from his contract. Atlantic seems very lenient on releasing artists from their contracts (ie. Brandy), but this sounds too shady (ie. When Diddy tried to sign Foxy Brown and release her from Def Jam; and she claimed he and Lyor Cohen were trying to illegally trade her masters). I can only imagine the new deal with Interscope means more money, but I question if it means more money for Dawn and Kalenna.

Nonetheless, I look forward to his new project with Dirty Money and the video for their new single "Love Come Down."

INDUSTRY NEWS: CIARA RECORDING NEW ALBUM

According to Rap-Up Magazine Ciara has officially began recording her fourth album which will feature sole production from The-Dream and Tricky Stewart.

Tricky Stewart claims her album could see a release as early as 2010. He says the trio have already recorded 14 songs for the project, and the albun will have an uptempo/club-driven vibe overall. Instead of previous reports of a "Fantasy Ride," re-release Ciara and her team have just decided to leave that project in the past and embark on creating new material to be feature on a new album.

This does not come as a surprise to me because "Fantasy Ride" just doesn't stand the chance of being revitalized. The album leaked too way in advance, and although its reported that Ciara recorded well over 50 songs for the project, she still could not secure any real hit singles, or hit lead singles for that matter. How can the album's first ever single "Go Girl," be released in early to mid 2008, and "Fantasy Ride" sees a summer 2009 release. That's not common for a commercially established artist like Ciara who has a following.

I don't really know how to judge the situation. I just think Ciara made some bad decisions about the "Fantasy Ride," project like her overall concept and trying to become a pop artist; but at the same time Jive failed her in terms of handling the issue of her album leaking very prematurely, approving her creative direction, and promotional ploys. This entire ordeal definitely seems like it was a learning process for both parties, and this next LP will be handled with great care.

I think its smart that Ciara let The-Dream and Tricky Stewart produce her album entirely. The songs they produced for "Fantasy Ride" stood out the most, and their production efforts on Electrik Red's debut album"How To Be a Lady Vol. 1" and more recently Mariah Carey's twelth studio album "Memoirs of an Imperfect Angel" were impressive. I've always said that Electrik Red's material should have been sold to Ciara because she could have done it just as much justice, in addition to the idea that Ciara's third album should have been an updated ode to Janet Jackson's "Control" LP with just a little more Hip-Hop and Prince influence.

NEW VIDEO: MELANIE FIONA

Here is a new video from new artist Melanie Fiona entitled "It Kills Me," from her debut album, "The Bridge," released last tuesday in the United States.

I first saw this video Friday on 106 & Park, and was amazed. It was the first time I really listened to this chick's music. I had seen her name tons of times, but never really checked her out. She reminds me of Alicia Keys back in 2001 in a way with her delivery and overall performance on "It Kills Me." The song is a dramatic, piano-driven ballad with some strong soul roots and a hint of Motown influence. Nevertheless, this song is definitely a breath of fresh air, and reaffirms that there is real music out there that has the potential to crossover to the masses.

I doubt this song will reach number one like Ms. Key's "Fallin" from 2001, however it just may help the newcomer recieve some Grammy nominations. She's already toured with Kanye West in Europe back in 2008, and has a major following amongst music critics. BET is already featuring Ms. Fiona on its program "Rising ICONS," so it will be just a matter of time until she has a breakthrough. If Keri Hilson can do so, Melanie should not have a problem doing so cause her vocals are better in addition to being a main contributor creatively to her own music.

VINTAGE SOUL DISCOVERY: MINNIE RIPERTON

When you first think of Minnie Riperton, immediately her 1974 smash single "Lovin' You" comes to mind, then if you are familiar with soul music songs such as "Inside My Love" and "Memory Lane," may come to mind. Needless to say, many people pass this genius vocalist off as a one-hit wonder, yet a one-hit wonder who influenced generations with her uncanny ability to not only hit whistle notes, but incorporate them into song in which that skill is introduced in her first solo album, "Come to My Garden."

"Come to My Garden" is almost forty years old and it sounds more innovative than anything that is on the radio today. I will admit this album is better than Minnie's "Perfect Angel" LP that feature "Lovin' You," because every song is a statement that builds off of every song on the LP. It's loud, rich, bold, boisterous, yet very sensitive all at the same time. The LP seamlessly fuses Jazz, Soul, and Pop and speaks to the work of Dionne Warwick and Burt Bachrach's 60's sound, which was Minnie's overall goal for the album.

The songs are ornately decorated with full orchestrations that show great influence from Bacharach. The songs are always jazzy with some cool big band antics, bossa-nova at times, feature multiple time changes, emphasis on certain refrains, and have transcendental lyrics that that throw story-telling out of the window. But Minnie makes this album her own by utilizing her whistle register as an instrument. She's highly skilled at sustaining notes for long periods of time while changing inflection effortlessly gliding while still singing at the top of her head voice. The long musical phrases she belts out serve as a backdrop at times while Minnie sings in her tender chest voice for all of the lead vocals. All in all, this album is just amazing, and its evident where Mariah Carey gets much of her inspiration and some vocal and recording techniques from.

CLASSIC ALBUM: I WANT YOU

Marvin Gaye's 1976 smash hit single "I Want You" was a slick fusion of disco and quiet storm that ultimately confirmed his transition from social to sensual after his 1973 landmark album, "Let's Get It On" served as just an introduction into Marvin's new musical direction. Quincy Jones refers to this album as "musical ear candy," and it surely is.

The entire album has a light-rhythmic, slick quiet storm feel with lyrics about love-making and more love-making. Each track has a similar tranquil, cosmic sound element, and Marvin's layered and echoed, multi-harmonized vocal parts add a glaze to every track as well.

This piece of work is simply genius and speaks to Marvin's ability to interpret someone else's song in the case of this album just as well as he interprets his own. This entire album was produced and written by Leon Ware, long-time Motown contributor and rookie artist at the time, with additional contributions from Diana Ross' brother T-Boy Ross. It is rumored that Leon Ware presented this album completed to Motown president Berry Gordy, and he suggested that the young entertainer give the album to Marvin Gaye to record instead in return for a recording contract. Ware did so, and "I Want You" was brought to life. Nonetheless, Leon's contributions helped Marvin expand his artistry and Ware's influence on Marvin can be heard on subsequent works because Marvin's clear idea of quiet storm before Ware came was bluesy-esque ballads that reflected his days of singing Doo-wop with the Moonglows, ie. "Let's Get It On" and "Come Get This." In retrospect, in a way, Marvin made disco viable with this offering because of its duality to appeal to the dance floor listeners and soul and jazz purists since most of the album is cosmic yet rhythmic.

NEW MUSIC: MARY J. BLIGE

Here is a new song entitled "Said and Done" from the Queen of Hip-Hop Soul Mary J. Blige, produced by Ryan Leslie. The track is dope, like an updated classic Mary joint circa 1994. The bass-driven, heavily synthesized cosmic beat sounds like typical Ryan Leslie, but it works for Mary. Her vocals are very in sync with the track and the song-writing is decent.

There is no word if this song is a single or an actual track slated to appear on Mary's ninth studio album "Stronger," due out in November. I hope this song makes the album but from the material Mary has put out thus far I don't get the direction of the album. "The One," "Stronger," "Good Love," and this track are all different musically which leads me to believe that this new LP is going to allude to "No More Drama," which had a similar potpourri sound.

Mary is one of my favorites but I can honestly say I'm not overly excited or anxious to hear her new project anymore. I was really hoping that the overall concept of her album was vintage soul, then when she came out with "One," i was confused for a second but then receptive because I figured the album was going to give me a "What's the 411" vibe. However, "Good Love" and "Stronger" were big disappointments. I feel as though "Stronger" should not be included on the album because it's Pop, and i wanna hear Mary raw not polished. And now "Said and Done" just confuses me. Believe me, I like the song and think its hot but I just know I don't want to hear a Mary album with a bunch of random songs that are sort of cohesively put together after sly sequencing.