VINTAGE SOUL DISCOVERY: ARETHA FRANKLIN

Anyone who knows me well, knows of my extreme admiration of Aretha Franklin's music. Over the past few years, I've made it a point to collect Aretha's older albums on vinyl for my music collection.

A few months ago, I stumbled upon Aretha's 1973 studio album "Hey Now Hey (The Other side of the Sky) and decided to give it a listen. Now, I've always known about this album so trust and believe I'm a true Aretha connoisseur but it had never struck me as a piece of her work that I needed to hear. Now that sounds crazy but any music critic will testify that not all of Aretha's work is good. She had a few misses here and there.

Nevertheless, "Hey Now Hey (The Other side of the Sky)" is unique because it contains some of Aretha's best material and some of her worse but I'm not going to dwell on the latter because of the musical highs found on the album certainly outweigh the lows. For starters, "Angel" is included on this album. Back in 73' it was a massive hit for Aretha signaling her further descent into a new soul territory that was less Memphis and Muscle Shoals and more Harlem.

With help from Quincy Jones on this album, Aretha expands her sound tremendously revisiting her vibe from the 1972 album "Young, Gifted, and Black." The songs are cool and mellow with heavy electrical piano instrumentation. And, although Aretha's vocals are spirited on this album, she sings with a cool and futuristic feeling, utilizing layered and echoed vocal effects.

Standout tracks include "That's the Way I Feel About Cha," "Angel," the Grammy award winning "Master of Eyes (The Deepness)," and "Mister Spain," a profound anti-drug protest song.

Below is a clip of Aretha performing "Mister Spain" on the Flip Wilson Show

Tracklist

1. Hey Now Hey (The Other Side of the Sky)

2. Somewhere

3. So Swell Then

4. Angel

5. Sister From Texas

6. Mister Spain

7. That's the Way I Feel About Cha

8. Moody's Mood

9. Just Right Tonight

10. Master of Eyes (The Deepness)

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"

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).

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]

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.

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)

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.

ALBUM REVIEW: WHITNEY'S COMEBACK

The fact that Whitney just released her first studio album in six years is surprising, but the fact that she's back does not fool me into thinking her new music is amazing. "I Look To You" is a good effort, but Whitney just can't produce classic music anymore. The drugs and cigarette smoking has really taken a toll on her voice, and I can't get past it. Her performance on a majority of the songs seem forced, and by the end of the song Whitney sounds winded. Her voice still has a rich tone, but its lacking the crisp and precisely controlled vocals she is known for.

As far as the music goes, I will commend Whitney on always trying in her own lane, and making music that does not conform to industry trends whole-heartedly. Her first two singles"I Didn't Know My Own Strength" and "I Look To You" sound like classic Whitney with their duality as inspirational and contemporary soul records. However, she really surprised with the rest of the album with its touches of euro-pop/dance sounds. She has one song with Akon which has got to be the worst on the album. If Whitney was trying to make a statement, collaborating with Akon is not the right thing to do because that doesn't reflect originality, just desperation to fit in (ie. Mariah Carey at times).

My favorite song from the CD has to be "Worth It." Its a flawless, laid back R&B groove. The R. Kelly-penned "Salute" had a good performance, and after listening to "Million Dollar Bill," it definitely grew on me. The song was definitely an ode back to the late 70's/early 80's R&B era. The bass line on the record is crazy. Although the production from Swizz Beats and Alicia Keys seems a bit off, and Whitney's voice seems empty, like the majority of vocal performances on the album.

Rating: (2.5/5 stars)

CLASSIC ALBUM: HOT BUTTERED SOUL

"Hot Buttered Soul" stands out as a landmark album in Soul Music today. Back in 1969, Isaac Hayes rose to fame with his four track masterpiece despite the release of his debut album in 1967, and songwriting credits on some of Stax records most definitive records.

This amazing set begins with a re-envisioned version of Dionne Warwick's 1964 smash "Walk On By," in which Hayes transformed this song into a twelve minute magnus opus featuring an entirely new arrangement and full background vocals with slight changes in lyric and time. Warwick's version of "Walk On By" was already a musically progressive song in its own right for 64', but Hayes completely remolded the record into a psychedelic soul piece out of this world with more emphasis on the composition than lyric. The new track on the album gave listeners a taste of funk and blues. "Hyperbolicsyllabicsesquedalymistic" is unusual in every way but hip, cool, and fresh. "One Woman" and the eighteen minute rendition of Jimmy Webb's composition "By the Time I Get to Phoenix" show Isaac's tender side as a real Soul balladeer. The songs are carried by their compositions and lyric with Isaac and his background vocalist giving amazing performances that are truly in sync with everything else going on in the songs.

This album really stood out for its time. There wasn't much production at the time that had so much force and depth as Hayes work in addition to it being ahead of its time. Its a culmination of Jazz, Blues, Soul, Rock, and has some pop appeal. It's influence can greatly be seen in some of Norman Whitfield's production work for the likes of The Temptations and Gladys Knight and the Pips and later work from Barry White which in succession influenced the creation of disco. The influence of this record not only touches just one decade after its release but also has been used for sampling on several Hip-Hop records. Nevertheless, this album is timeless and will always sound fresh and interesting.

Here is a video below of Isaac performing the radio edit of "Walk On By" on TV in 1969:

SOUL PIONEER: DEE DEE WARWICK

Dee Dee Warwick is arguably one of the best soul singers there ever was, but not many people know about her. She comes from a highly gifted, musical family, and god definitely gave her an impressionable voice. She began singing in church, and eventually joined her family's legendary gospel group the Drinkard Singers featuring her older sister Dionne, and their aunt Emily (later known as Cissy Houston, mother of Whitney Houston). In 1958, Dee Dee joined the Goseplaires, a group created by Dionne and her friends Myrna Utley and Carol Slade, which would eventually include Cissy, Judy Clay, and Doris Troy (who had a self-penned the smash, "Just One Look" in 1963 - The Goseplaires performed background vocals on this record, and Dionne can distinctly be heard above the group). The group got their big break while performing during amateur night at the Apollo theater in New York. While backstage a man looking for background singers for a session offered anyone the gig, and Dionne gladly accepted the gig on behalf of the group. As a result, the group soon appeared on the records of R&B greats such as The Drifters, Solomon Burke, and Dinah Washington, and remained in demand throughout much of the late 50's and 60's.

By 1963, Dionne, Doris, and Judy had released solo records, so Dee Dee took the opportunity to embark on solo stardom by releasing her first record, entitled "You're No Good,' that same year. The record did not perform too well on the charts until other artists covered the gem, so Dee Dee continued performing background vocals, most prominently for her sister Dionne. She can prominently be heard along with her aunt Cissy on Dionne's classic album "Anyone Who Had a Heart." Those two, would perform most of Dionne's backing vocals throughout the 60's, and had such a unique blend and technique. In addition, it is said that Dee Dee performed background vocals for other artists such as Aretha Franklin and Elvis Presley since Cissy eventually took over the Gospelaires, changed the name to the Sweet Inspirations, and even scored a deal for them with Atlantic Records, but I believe Dee Dee officially left the group before all of Cissy's radical actions because she is not heard in the background of Aretha's classics nor other famous "Sweet Inspiration" background work.

While still performing on all of Dionne's albums throughout the 60's, Dee Dee recorded many records on her own. In 1965, she released the moderate R&B hits "I Want To Be With You," and, "We're Doing Fine," and managed to land a performance on American Bandstand. In 1966, she released the Philly crafted record "I'm Gonna Make You Love Me," which featured production by Philly soul visionaries Gamble & Huff. The record was also a moderate R&B hit. A cover version by UK session singer Madeline Bell was released a year later and performed better on the pop charts, but the most successful rendition of the song was released by the Supremes and the Temptations in 1968. Regardless of others success, Dee Dee's version is the most soulful and hard-hitting. In later years to come, Dee Dee's sound became more hard-hitting with the Grammy nominated track "Foolish Fool,"and rare gems such as "Thank God," and "That's Not Love." "... Fool" lost to Aretha Franklin's "Share Your Love With Me," at the 1969 ceremony, but it was impressive to see Dee Dee receive a nomination in light of standing in the shadow of her sister's trailblazing career. In 1970, Dee Dee received another Grammy nomination for her stab at 70's adult/southern-tinged, quiet storm with "She Didn't Know (She Kept On Talking). Once again, Dee Dee lost to Aretha Franklin. Throughout the rest of the 70's Dee Dee still recorded, but none of her records created much buzz. She took a hiatus from recording in 1975, toured singing background vocals for Dionne, and did not release a new album until 1984. Her new album did not see much success, and Dee Dee continued to tour with Dionne for different periods throughout the rest of her life. On October 18, 2008, Dee Dee passed away due to chronic health problems. That previous year, Dee Dee had recorded a duet with Dionne, on the gospel album,"Why We Sing," and completed one last tour singing backgrounds for her sister.



Although Dee Dee is no longer here, she should still be recognized for her contributions to music world. If you look at her voice in context with the rest of her famous family members, she has similar vocal abilities, the same vocal prowess, and same phrasings as her aunt Cissy except Dee Dee's voice is much deeper giving way for a very rich tone. She has a pretty huge range as well because she can sing tenor, alto, and mezzo soprano notes. In comparison to anyone else in the family who has released music, she has the most soulful voice, and arguably the most powerful, hard-hitting voice. Some critics have questioned why Dee Dee has always stood in the shadows of Dionne, and why Dionne was selected by Burt Bacharach to record solo material. Dionne and Dee Dee say its because Dionne was the only Gospelaire member who could read music, and Burt says it is because Dionne had the look, sophistication, and unique voice and delivery (which explains Dionne's music with Burt in the context of 60's music). I think it is a combination of those two reasons, and I honestly feel like no one paid attention to Dee Dee because her voice was not unique enough, even in terms of soul because she enunciated too perfectly, maybe too much in part to sound more sophisticated.

Anyways, peep Dee Dee performing on 60's television beginning at 3:05 on this clip:

CLASSIC ALBUM: ASK RUFUS

By 1977, the group Rufus was on top of the world with their unique offerings of funky Soul, featuring gifted vocalist Chaka Khan who had become known as the "Queen of Funk Soul," by this time. "Ask Rufus" is just one of the group' many masterpieces. The album has a somber tone musically and vocally, and at times lyrically. Most of the tracks have a laid-back feel, and Chaka's vocals sound very muted in a jazzy type of way on all of the songs except for the high-energy single "At Midnight (My Love Will Lift You Up), and the classic groove "Hollywood."

The overall reception of the album was positive back in 1977, and I'm personally surprised that Rufus would offer an album like this for a year like 77' when Disco was hot and R&B music was uptempo with high energy records that featured mostly dance songs. Perhaps, this was Chaka's doing since she was clearly high on all of these songs, or the group wanted to stand out and give a preview of what 80's music was going to be, considering their early 70's work would not catch on with the rest of the music industry until the late 70's. Not saying that their early work was not successful; in fact, their work has always been successful since 1973 when they hit the charts with their breakthrough single "You Got the Love." It's just that Rufus and Chaka Khan's music has always been ahead of its time, musically and vocally. So somehow, get a hold of this album and listen to it. It's pure genius.

Some of my favorite songs from this album include: "Close the Door," "Earth Song," "Evelasting Love," "Hollywood," and "Better Days," in which the latter was sampled by Mary J. Blige on her 2003 album "Love & Life," on the interlude "Finally Made It."

INDUSTRY NEWS: NEW WHITNEY ALBUM

Whitney is finally coming BACK after years of a speculated return. According to the J Records website, Whitney plans on releasing her first album since 2002's "Just Whitney." The new album is slated for a world-wide release on September 1, 2009. So it looks like a new single should appear on the airwaves soon.

This fall looks like a great time for the music industry with new projects from the likes of Whitney, Mariah, and Usher. Mariah Carey has not finalized a release date, but it would be epic if these two divas released their albums on the same day. That would definitely be the biggest music battle ever. All in all, I just hope Whitney's new music is classic, and that her voice is in good condition because the vocals from the Olympics will not cut it.

THE MAKING OF "AIN'T NO WAY" - ARETHA FRANKLIN

Here is an interesting video clip of an Aretha Franklin documentary that aired back in 1968. She is seen here with her younger sister, Carolyn, producer, Tom Dowd, and others during the creation of her classic record "Ain't No Way," from one of her best albums "Lady Soul," which features some of the Queen's most revered records like "Chain of Fools," "(Sweet, Sweet Baby) Since You've Been Gone," "(You Make Me Feel Like) A Natural Woman," in addition to amazing remakes of "Groovin'," and the civil rights anthem, "People Get Ready."

This video is unique on so many levels. It brings Aretha's talented sister, Carolyn, from behind her shadow as someone instrumental in Aretha's creative process, and on a higher level, allows viewers to peer into Aretha's personal life. Aretha has always been very private cause many people do not know she had two children by the tender age of sixteen. However, it is a beautiful thing to see her interactions professionally on this tape in addition to seeing them in a relaxed setting where her sister, Carolyn, is referenced again as being the leader of her background group. Also, peep her older sister Erma (Aretha's "twin") , to the left of Carolyn in the line-up. All in all, for all of the music lovers and Aretha lovers out there, I feel like you will enjoy watching this clip because It's always mind boggling to see how the creative process really works when creating a record, in this case a classic. I just wish I could see the entire documentary (because there aren't many Aretha docs out there which is truly a shame).

Note: Aretha did not know how to read music at the time, and still does not know how to read music til this day, but she's undeniably one of the greatest piano players, if you sit one right in front of her.

Also, Carolyn has also written Aretha's 1973, number 1 R&B hit "Angel," and other album tracks for her as well.

LISTEN TO: the commercial release of "Ain't No Way." (It's said that Whitney Houston's mother, Cissy Houston, is the operatic soprano in the background singing.)

Aint No Way [Mono Single Version] - Aretha Franklin

THE FIRST MUSIC VIDEO: MARTHA & THE VANDELLAS

Here are some pretty lengthy clips of the first ever music video performed by Motown super group, Martha & the Vandellas. "Nowhere to Run" was produced by Motown super producers Holland-Dozier-Holland. The song was released in 1965 and peaked in the top ten on both Billboard's R&B and Pop charts. Although, the record did not reach number one, it is definitely regarded as a Motown classic, and one of H-D-H's best productions for its innovative sound. Soon after "Nowhere to Run," similar records termed at Go-Go surfaced onto radio. Another interesting observation is the fact that "Nowhere to Run" can subliminally be referenced to the Vietnam War. It's not surprise considering The Vandellas' record "Jimmy Mack" was recorded in 1964 and finally released in 1967.

On the production side of things, Holland-Dozier-Holland was revered as Motown's greatest set of producers. They produced mainly for the Supremes and Four Tops, in their hey day, but started producing for Martha & the Vandellas before anyone. They set a precedent for making fun, upbeat, dance records. Martha & the Vandellas' classic album "Dance Party," the first dance music album, was a result of their vision. Although, most of their claim to fame is synonymous with the Supremes, I have always believed that H-D-H took more risks with Martha & the Vandellas. They almost used them as guinea pigs for any innovate motifs they applied to acts such as the Supremes and Four Tops. For instance, songs such as "Sugar Pie, Honey Bunch," "Back In My Arms Again," and "You Keep Me Hangin' On" follow the same formula H-D-H used when recording The Vandellas. To take things a step further, Martha & the Vandellas will sound good on any and all classic H-D-H records, but not all artists who have recorded H-D-H records, with the exception of maybe the Four Tops will sound good on any and all classic H-D-H records.

NEW MUSIC: OCEAN'S 7 MIXTAPE

Ocean's 7 just released their first mixtape. And at first glance, you ask who is Ocean's 7? It basically an all star team consisting of Usher, Jermain Dupri, Bryan-Micahel Cox, songwriter Johnta Austin, Ty, Nelly, and Trey Songz. I always knew the first four mentioned were close, but I had no idea they'd enter into a creative-working relationship with the likes of Nelly, Trey Songz, and Ty (JD's personal assistant). And to my surprise, Jermaine Dupri posted this mixtape on his blog for free download to introduce the world to his new concept to resurrect "The Rat Pack."

At first glance, I was skeptical about this pairing because I felt like the entire Ocean's 5 concept was just a studio thing because Usher, Jermaine, B. Cox, Johnta, and JD's personal assistant are always together in Atlanta. With the new additions to the group, this mixtape is on point and entertaining, and the first thing I'm thinking is where's Diddy? But he appears on a skit. The group also has a rendition of Yung L.A.'s "Ain't I" which features a tight harmony from Usher, Trey, and Johnta , while each, except Usher, sing/rap verses along with JD. The next song called "Too Much Swag" features Bow Wow and has a sick, muttled beat. "Where's the Love" lends from Jay-Z's classic "Heat of the City, and does not disappoint. "Owe Me Sex" samples Young Jezzy's "Put On," where Kanye's phrase is put on constant loop. The song is crazy and real left field. And taking from Kanye once again, "It's Amazing" puts an interesting spin on "Amazing," and makes the song more interesting than the original. Their take on Kid Cudi's "Day N' Night" is verbatim, and the set ends in a Vegas/Elvis inspired record entitled "Vegas Baby," that gives Nelly his most prominent appearance on the set.

I don't really listen to mixtapes, but I must say that this mixtape was on point! Entertainment at its best! Shocking on so many levels. Its surprising that JD carries the entire mixtape, yet its good at the same time. In addition, Trey really stepped up his role on the mixtape (maybe trying to prove that his on his way to doing big things), while Usher took the backseat (perhaps writing with Johnta, who should really be working on his own album for release), and super-producer Bryan-Michael Cox proves he has some chops at producing possible hip-hop records (one of his flaws). With all the wack music on the radio now, i will definitely keep this mixtape in constant rotation (that way I can feel young, and give my vinyls and greatest hit compilations a rest). But once again, I'm impressed.

It will be interesting to see If anyone else tries to join in on the Ocean's 7 group, or tries to create their own Rat Pack group. It would be crazy if Diddy, Jay-Z, Kanye, and Ryan Leslie teamed up with some other like Fabolous perhaps and Dawn Richard (since she's gonna be in Diddy's new group Dirty Money along with some other chick). Or could we see some a female version of this new group. It's evident that Janet Jackson, Ashanti, Beyonce, and Mary J. are always in constant contact since all of these folks hang around the same circle.

To get the album for free download, hit up JD's site: http://www.global14.com/oceans-7-mixtape-now-available/

Also, download the free program winrar, so you can extract the files from the singular archived .rar file

PREVIEW (SNIPPET) - MARIAH CAREY

Recently, Island Def Jam had a preview of upcoming projects for the next quarter. One of the previews included a new Mariah Carey song entitled "Hate U," from her forthcoming LP, entitled "Memoirs of an Imperfect Angel."

Looks like Mariah her last album for all its worth. E=MC2 was not all too bad, but i feel like it did not resonate well with fans because it was not on par with "Emancipation," and the singing was not as impressive as it should have been. Regardless of the music, Mariah "The Voice" is an exceptional vocalist, and fans do not want to see her whisper throughout an entire record, then hit a whistle note to compensate. They want to hear a production, even over singing, and "Memoirs" will definitely be a test to see if she learned her lesson.

The snippet of "Hate U" sounds impressive. The prolonged singing in her whistle register sounds very good, and very reminiscent to Minnie Riperton's technique. Speaking of Minnie, I feel like the album title could perhaps serve as an ode to Minnie. Minnie's breakthrough album was entitled "Perfect Angel," and its R&B classic. It featured the classic "Lovin You," a song that Mariah could cover with ease but has not chose to. I wonder if Mariah will take a leap a cover the song, or take a plunge and cover some of the lesser know songs from the album. I personally think "Edge of a Dream" from the "Perfect Angel" LP would be a great a choice. For 1974, the song was definitely ahead of its time with a great melody and instrumental.

Here is Minnie Riperton's "Edge of a Dream." Check it out.