Error message

  • We are unable to complete your request at this time. Please try again later.
  • We are unable to complete your request at this time. Please try again later.
  • We are unable to complete your request at this time. Please try again later.
Artwork for For The Record episode on Alicia Keys' 'Songs in A Minor'

Alicia Keys

News

For The Record: Inside Alicia Keys' Masterpiece 'Songs in A Minor' At 20

Facebook Twitter Email
In the latest episode of For The Record, learn how Alicia Keys crafted a masterpiece in her 2001 genre-blurring debut album, 'Songs in A Minor'
Morgan Enos
GRAMMYs
Jun 8, 2021 - 2:43 pm

Five years after Clive Davis signed Alicia Keys to his fledgling J Records label and made her a household name, Bob Dylan shouted her out in a song. "I was thinking 'bout Alicia Keys," he rasped in "Thunder on the Mountain," from his 2006 album Modern Times, rewriting a line from Memphis Minnie's song, "Ma Rainey." "She was born in Hell's Kitchen, I was living down the line/I'm wondering where in the world Alicia Keys could be."

She didn't go anywhere, Bob: Since her 2001 debut album, Songs in A Minor, Keys has made a string of critically acclaimed albums and has remained a constant force in music. But Dylan's line—asking about and beseeching her—speaks volumes. The modern-day Bard wrote it after watching the 2002 GRAMMY Awards show, in which he also appeared despite not coming in contact with her. "I said to myself, 'There's nothing about that girl I don't like,'" he later recalled to Rolling Stone.

And if music fans reading this are nodding along with that assessment, Songs in A Minor, which just celebrated its 20th anniversary, has a great deal to do with that.

Inside Alicia Keys' 'Songs in A Minor' At 20

Songs in A Minor, which released June 5, 2001, on Davis' then-new (and now-defunct) label, J Records, is a big part of the reason we all know Keys' name. It had a long and careful gestation, for one thing; she began writing the tunes at the tender age of 14. Rather than being the product of a team of chefs, she was a self-contained, self-actualized artist, intimately involved in everything from the songwriting to the production of tracks like "Girlfriend," "Fallin" and "A Woman's Worth."

The album—an amalgam of R&B, soul, hip-hop, jazz, and half a dozen other genres—paid off in dividends. Songs in A Minor debuted at No. 1 on the Billboard charts. At the 44th GRAMMY Awards in 2002, the album scooped up five GRAMMY wins: Best R&B Album as well as Song Of The Year, Best R&B Song and Best Female R&B Vocal Performance for Keys' debut single, "Fallin'," with the singer/songwriter taking home the Best New Artist GRAMMY that same year.

However, the success of Songs in A Minor was in no way preordained. Label dysfunction and creative insecurity could have stopped it before it even started.

Alicia Keys Wins Best New Artist

Songs in A Minor was supposed to release on Columbia Records, who signed her when she was 15. But creative differences stymied that arrangement. "They wanted me, the tomboy from Hell's Kitchen, to become the next teen pop idol," Keys wrote in her 2020 memoir, More Myself: A Journey. After a protracted exit, Keys signed with Davis at Arista Records, and later, J Records. But even with the business side of things tied up, she struggled to form the album in her mind.

The skeleton key, Keys said, turned out to be "Troubles." "That's when the album started comin' together," she told Rolling Stone in 2001. "Finally, I knew how to structure my feelings into something that made sense, something that can translate to people. That was a changing point. My confidence was up, way up."

The partnership between Keys and Davis proved fruitful: These Songs in A Minor braided relationship dysfunction with biracial identity via a unique, genre-catholic sound the world won't soon forget. To partly quote Dylan, wherever you'll be, Keys will be.

For The Record: The Transformational Public Heartache Of Janet Jackson's All For You At 20

Grammys Newsletter

Artwork for For The Record episode on Sylvester's 'Step II'

Sylvester

Photo: Eric Blum/Michael Ochs Archives/Getty Images

News

For The Record: Explore The Colorful, Inclusive World Of Sylvester's 'Step II'

Facebook Twitter Email
In the latest episode of For The Record, learn how disco maverick Sylvester crafted 'Step II,' a touchstone of the genre and a clarion call for LGBTQ+ culture
Morgan Enos
GRAMMYs
Jun 13, 2021 - 1:50 pm

Let's face it: "Disco Sucks" sucks. The late-'70s backlash against the popularity of disco music and films like Saturday Night Fever, which crescendoed with the infamous Disco Demolition Night on a Chicago ballfield in 1979, is now generally understood as wrongheaded, if not bigoted.

Because the discotheque wasn't simply some hedonistic phenomenon: It was often the last place where marginalized people, like Black, gay singer/songwriter Sylvester, could be themselves.

Inside The Colorful World Of Sylvester's 'Step II'

"You've come out of the closet. It's been difficult," Sylvester's biographer, Rick Karr, told NPR in 2018. "Many people [at the time] have moved out of their homes of origin, their families of origin, with great pain, and moved to a more liberated place, like San Francisco. And then ... this person comes out into public life that sounds like what you were feeling when you made yourself free."

Granted, by 1979, Sylvester had already been around for six years and had released five albums. But it was his 1978 album, Step II, that genuinely delivered his message of liberation to the world. Step II, which included his chart-topping signature song "You Make Me Feel (Mighty Real)," hit the Billboard charts hard and received gold certification by the RIAA in the late '70s.

Both the album and the song left a profound mark on disco and are today considered touchstones of the genre and clarion calls for LGBTQ+ culture. Hailed as one of the definitive LGBTQ+ Pride anthems of all time, "You Make Me Feel (Mighty Real)" was inducted to the Library of Congress' National Recording Registry in 2019.

The world lost Sylvester too soon; he died in 1988, at 41, of AIDS. But when considering the strides the LGBTQ+ community has made in music, art and all other media, we can partly thank this fearless, out-and-proud musical dynamo.

In the latest episode of For The Record, GRAMMY.com takes you into the colorful, inclusive world of Step II, the classic album from disco maverick Sylvester that still sounds like it could have been recorded this morning.

For The Record: The Liberating Joy Of Lady Gaga's Born This Way At 10

Artwork for For The Record episode on Aaliyah's 'One In A Million'

Aaliyah

Photo: Steve Granitz/WireImage

News

For The Record: How Aaliyah Redefined Her Sound And Herself On 'One In A Million'

Facebook Twitter Email
Released in 1996, Aaliyah's career-defining 'One in a Million' marked a fresh beginning for the GRAMMY-nominated singer and launched her into a new era that saw her expand as an artistic leader, creative visionary and fashion icon
Treye Green
GRAMMYs
Aug 27, 2021 - 2:13 pm

Illuminated by the pale white light of a New York City subway platform, Aaliyah stares into the frame on the cover of her album, One in a Million. Her eyes hidden behind a pair of silver-frame sunglasses. Her slim figure cloaked in a black jumpsuit. Her pout brushed in a shade of brick-red lipstick. Her countenance unfalteringly confident as she faced her new era.

In the two years between the release of her multiplatinum debut album Age Ain't Nothing But a Number in 1994 and her follow-up, One in a Million, on August 27, 1996, Aaliyah had established herself as a budding musical talent. But in the fallout of her marriage scandal with R. Kelly and subsequent professional split from the signer, who wrote and produced the majority of Age Ain't Nothing but a Number, Aaliyah and her team faced the taxing task of finding a new team of producers equipped to push her sound forward.

Aaliyah recorded One in a Million while finishing her studies at Detroit High School for the Fine and Performing Arts, from which she graduated in 1997. She had also ended her contract with Jive Records, and then signed a joint deal with Atlantic Records and her uncle Barry Hankerson's Blackground Records. She was 16 when she began recording the album, having turned 17 when it dropped, a pivotal time in her personal life journey. She perfectly captured the transition in her iconic One in a Million era.

How 'One in a Million' Redefined Aaliyah's Sound

"I faced the adversity, I could've broken down, I could've gone and hid in the closet and said, 'I'm not going to do this anymore.' But I love singing, and I wasn't going to let that mess stop me," Aaliyah said in a 1996 interview with  writer Michael Gonzalez, per a retrospective on her career for Wax Poetics. "I got a lot of support from my fans and that inspired me to put that behind me, be a stronger person, and put my all into making One in a Million."

THE SOUND

Many artists Aaliyah's age may have been the product of the creative strategizing of their label—with managers, A&R teams, and other members of their crew choosing their producers, lyrics and overall sound with little to no input from the artists.

But Aaliyah challenged this expectation and misconception by taking creative control of One in a Million, making the sound on the project all her own. She led each member of her production and writing team to craft a One in a Million era with a variety of production styles.

"She definitely had an executive producer's ear. She had a great sense of what was right for herself, and you have to give her a lot of credit for steering those sessions to a place that obviously created meaningful hit records," Craig Kallman, CEO of Atlantic Records, told Vibe.com.

"She obviously made One in a Million, an album that was very, very much ahead of the curve and didn't sound like anything that had come before it," he added.

To aid in uncovering Aaliyah's new, "ahead of the curve" sound, Craig King and Vincent Herbert became the earliest producers to lay the musical groundwork of One in a Million, which Aaliyah first started recording in 1995.

"We caught [Aaliyah] at her probably second-most vulnerable stage in her career. We caught her at her sophomore jinx and when people were like, 'This will never work without R. Kelly because he put this signature sound on you,'" King told GRAMMY.com about working on One in a Million. "She was really trying to redefine all of that narrative, and we weren't interested in replicating what he was doing. We wanted to bring our own sound into the game, too."

Recording out of the famed Vanguard Studios in Aaliyah's hometown of Detroit, Michigan, King and Herbert produced a total of eight tracks for the project over three months, though only four made the final cut for the album. The album's production team also included contributors Jermaine Dupri, Darryl Simmons, Missy Elliott, Timbaland, and others, as well as writers Diane Warren, Monica Bell, Japhe Tejeda, and more.

With a team of production and songwriting heavy hitters in Aaliyah's corner, One in a Million began to take shape. The album would become a whole embodiment of Aaliyah's sound, building the R&B-rooted stylings that made her debut album a success into genre-blending productions while also giving listeners a fuller look into sonic complexity of the singer as an artist.

The Timbaland-produced lead single "If Your Girl Only Knew" bumps along, with its beat pulling from pop and funk inspirations, as Aaliyah calls out a flirtatious guy who's in a relationship. "4 Page Letter" and the album's title track slink along with multilayered productions packed with hi-hats, clicks, triple-beats, strings, and stacked harmonies, all the while reimagining the essential production elements of a love ballad. "Got's to Give It Up" and "Choosey Lover" put a modern spin on '70s throwback jams, while "A Girl Like You" samples "Summer Madness" by Kool & the Gang.

"I love all kinds of music, and I want to be known as the kind of singer that can do all of that. So, that's why I wanted the different varieties on the album to showcase that—showcase each part of my personality," Aaliyah said in an interview with the Associated Press during her press run for the project. "Definitely I love the soul, the hip-hop, the R&B. I love it all. But I do want people to see me as the type of artist that can sing any kind of music."

Along with their lyrical content and innovative productions, the album's tracks, like the paired-down, Warren-written "The One I Gave My Heart To" and the Herber- and King-produced "Never Givin' Up," also highlighted Aaliyah's vocal abilities, expanding the strength of her falsetto and upper register while allowing her the full space to showcase other elements of her vocal range and stylings.

"I remember being in the studio when she was singing ['The One I Gave My Heart To'] and hitting those notes and it was just beautiful," Warren told Vibe.com. "It just showed another side to her. The octave goes up in the end and some of that was what I'd written into the song, but she took it somewhere else. She not only rose to it, she went beyond it. She nailed that song and it was amazing what she did. It's still one of my favorite records."

Speaking on "Never Givin' Up," King said he was completely enamored with her interpretation of the track when they recorded it.

"The vocal arrangement. Every single time we layered a vocal, she was just so on point," King said. "She just superseded all my expectations. I was very, very impressed with her style there."

"This album, it shows the growth of the past two years. I'm 17 now. So, I've grown in a lot of ways. And this album, I think it shows a lot of my vocal range," Aaliyah told the AP while speaking on developing her sound for the project.  "I took a lot of risks on this album. I tried different things. And that's the main change from the two albums."

Aaliyah's shift in her sound resulted in some standout commercial wins. There were a staggering six singles released from One in a Million: "If Your Girl Only Knew," "One in a Million," "Got to Give It Up," "4 Page Letter," "Hot Like Fire," and "The One I Gave My Heart To." The latter eventually peaked at No. 9 on the Billboard Hot 100 chart, making it the highest-charting single from the album. The remaining tracks saw varying degrees of success in both the U.S. and internationally — with "If Your Girl Only Knew" topping the Hot R&B/Hip-Hop Songs and "One in a Million" topping the R&B/Hip-Hop Airplay.

THE LOOK

While her fashion remained a key piece of her overall creative narrative as an artist throughout her career, Aaliyah's style transcended in the One in a Million era. She elevated her aesthetic with the assistance of her stylist and costume designer Derek Lee. As his first project with her, Lee styled Aaliyah's "One In A Million" music video after the two had a chance encounter in Santa Monica, California, just days before shooting the video in Los Angeles.

"[Aaliyah's] look was already established in a certain sense, but I wanted to start a progression. Prior to One In A Million, [her look] was definitely younger, her look was her age. Now, when we get to One in a Million, it's still her age, but it shows a little bit more of a maturity as well," Lee told GRAMMY.com.

Much like her album cover shoot, which featured moody shades of black, concrete gray, merlot, and the grey-green paint of the subway platform, Aaliyah's One in a Million era was often framed around a dark styling narrative that reflected her favorite colors and fabrics, including her affection for leather pieces.

"It was easy to make black stuff look cool and hard and sexy at the same time. One of her favorite colors was black. She liked it. She felt comfortable in it. It was easy to feel,"  Lee said. "One thing with Aaliyah is that her biggest accessory was her swag. She sold confidence, and the color black just enhanced it."

Aaliyah opted for minimal outfit combos consisting of one to three pieces that were fuseless and easy and in no way distracted from her presence on stage or on camera: See her oversized leather-coat-and-pants combo she wore during an appearance on "Live With Regis and Kathie Lee," her looks on the her "One in a Million" and "4 Page Letter" music video, and the metallic boiler suit Lee hand-painted and airbrushed for her performance on "The Tonight Show with Jay Leno."

"She was so sweet and just regular, when you're sitting there with her and kicking it with her. But soon as she gets on stage, she's this persona, which is her, honestly. She turns up that swag so much that you don't really want anything to distract from it because it shined so bright," Lee said of Aaliyah's looks, which regularly played with proportions by pairing oversized pants with mid-drift-baring T-shirts, bra tops and crop tops. "That was always on purpose. Even though she was dressed cool, it wasn't so over­ the ­top where you weren't still paying attention to what she was doing."

Much like she held creative control over the album's sound, Aaliyah exercised full agency over her One in a Million style narrative. She refused to buckle to any perceived pressure regarding the sexed-up styling arcs often employed by labels, stylists and other industry entities looking to rebrand a late-teen music artist approaching young adulthood. She instead chose to let her style reflect her authentic self, offering an example for her younger listeners that even in their own lives, they didn't have to rush to meet any standard or expectation that misaligned with what they wanted to portray.

"When she was ready for something, she was ready for something and was sure. If she wasn't mentally ready for something, then we wouldn't do it. Because she never wanted to look like she was dressed by somebody. I never want anyone I dress to look like they're dressed by anybody," Lee said. "She trusted me when she saw that I understood that. It was almost an unspoken agreement between me, her and her mom.

"I was always protective of her and never wanted her to sexualize herself in a certain way and dress in a certain way until she was ready … She never did anything before the time. She never forced it."

THE LEGACY

For 17-year-old Aaliyah, One in a Million became a career-defining project that silenced any lingering questions regarding her industry viability and influence. It also allowed her to grow as an artistic leader as she voiced her expectations for the project to her roster of contributors, working with them to ideate and execute the album's musical and visual concepts.

"[Aaliyah] never really chased after anybody else's style or chased what was going on at the moment," Lee said. "She knew her lane, wanted people around her that understood that lane, and wanted those people to accentuate her in that lane and leave the rest up to her … Her leadership was consistent. She was someone that had conviction and had a vision. I thank God for that because it made my job a lot easier knowing someone's vision, instead of having to guess what their vision was."

"I hope [listeners] appreciate the songbird that she is, the writer that she is, the singer that she is, and the vocal choices that she's made in this project," album producer King added. "I hope people really embrace and lean into her vocal abilities on this record. It really has set a precedent for a lot of singers in the game."

Released in the U.S. 25 years ago to the day, One in a Million continues its legacy in 2021. This month (Aug. 20), the album was released on streaming services after being largely absent on the digital market for over a decade, allowing music fans worldwide easier access to the album that has served as an inspiration for countless artists in the decades since its release. The rerelease comes days before the 20th anniversary of Aaliyah's death and the 25th anniversary of One in a Million.

But beyond its commercial impact and influence on pop culture, One in a Million, and its true wonder, will forever rest in what the album represented for Aaliyah personally as she stepped into her late teens and flexed her creative voice with reposeful fervor and unwavering certainty.

One in a Million marked Aaliyah's new beginning. And 25 years later, the project remains a symbol of her self-awareness and artistic sureness as she plotted the next steps in her journey from breakout star to an established music industry force who's confident in her sound, her self-image, and the creative story she wanted to tell.

Dawn Richard On Alchemizing Grief Into Joy, Advocating For Black Creators & Her NOLA-Honoring New Album Second Line

Grammys Newsletter

For The Record: Demi Lovato

Demi Lovato

Photo: Emma McIntyre/Getty Images for iHeartMedia

News

For The Record: How Demi Lovato Gazed Into The Mirror On 'Dancing With The Devil...The Art Of Starting Over'

Facebook Twitter Email
In the latest episode of For The Record, learn how Demi Lovato's courageous new album, 'Dancing with the Devil… the Art of Starting Over,' offers an inside look into the singer's personal health, addiction struggles and recovery
Morgan Enos
GRAMMYs
Aug 17, 2021 - 5:50 pm

Since their 2008 debut pop/rock album, Don't Forget, Demi Lovato has sung to those in flux regarding who they are. 

Across their discography, they've continually reassured their fans and listeners they are not alone. It's an ongoing theme they continue to explore on their newest album Dancing with the Devil … the Art of Starting Over, released this past April in the wake of Lovato's much-publicized struggles with an eating disorder, substance abuse, and other internal battles.

On Dancing with the Devil, Lovato offers an inside look into their personal health, addiction struggles and recovery. Lead single "Anyone," which they recorded four days before they suffered an overdose in July 2018, is brutally vulnerable: "Anyone, please send me anyone / Lord, is there anyone? / I need someone, oh / Anyone, please send me anyone," Lovato sings.

Inside Demi Lovato's 'Dancing With The Devil'

"At the time when I was recording it, I almost listen back and hear these lyrics as a cry for help," Lovato said of "Anyone" in a 2020 interview with Apple Music's Zane Lowe. "And you kind of listen back to it and you kind of think, how did nobody listen to this song and think, 'Let's help this girl.'" (Lovato delivered an equally vulnerable performance of "Anyone" at the 62nd GRAMMY Awards in 2020, their first televised performance since their 2018 overdose.)

The album's title track goes one step deeper: On "Dancing with the Devil," Lovato chronicles their relapse that led to their overdose in 2018, singing how "a little red wine" turns into "a little white line" and eventually "a little glass pipe." "Almost made it to Heaven / It was closer than you know," Lovato sings in the chorus. "It's so hard to say no / When you're dancing with the devil."

In the latest episode of For The Record, experience a crash course in the making and intent of Demi Lovato's Dancing with the Devil … the Art of Starting Over. Freshly out as nonbinary and with a new lease on life, it's anybody's guess where Lovato will go next—both as an artist and a champion for the marginalized.

Billie Eilish's Road To Happier Than Ever: How The Superstar Continues To Break Pop's Status Quo

Grammys Newsletter

Photo of Kendrick Lamar at SXSW 2012

Kendrick Lamar at SXSW 2012

Photo: Roger Kisby/Getty Images

News

For The Record: How Kendrick Lamar Rewired The Rap Game With His Debut Album 'Section.80'

Facebook Twitter Email
In the latest episode of For The Record, rediscover Kendrick Lamar's seminal 2011 debut album, 'Section.80,' which paved the way for a career of masterpieces while standing tall on its own
Morgan Enos
GRAMMYs
Jul 2, 2021 - 12:39 pm

Before good kid, m.A.A.d city; To Pimp A Butterfly and DAMN., before he brought the house down at the 58th GRAMMY Awards with flames licking around him, before winning a Pulitzer and being seriously considered the next Bob Dylan, Kendrick Lamar was simply a socially conscious rapper from Compton on a personal quest.

His 2011 debut album, Section.80, contains the themes Lamar would return to again and again—albeit in relatively green form. Song for song, you'll hear references to the spiritual vacancy of endless partying ("A.D.H.D."), Biblical justice ("Kush and Corinthians"), and the '80s drug scourge ("Ronald Reagan Era").

"I'm making music that represents my generation, their struggle," Lamar told Billboard in 2011. "It feels good to know that I went in with a concept in mind to talk about my generation and that everybody caught on to it so fast and understood where I was coming from."

Kendrick Lamar's 'Section.80' | For The Record

In the latest episode of For The Record, examine how Section.80 came to be and led to even more fully-fledged works of art as time went on. With rumblings of a new album on the way, now's the time to do so—especially considering Lamar tends to change the game, Radiohead-style, with each new release. 

With the help of the above clip, turn back the clock a decade and revisit a time when the 13-time GRAMMY winner was merely a young, hungry upstart with potential coming out of his ears.

Black Sounds Beautiful: How Kendrick Lamar Became A Rap Icon