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Nowadays Jay-Z is a man of few words. In an exclusive interview with TIDAL’s Elliott Wilson, the Brooklyn mogul discusses his recent Grammy performance and more.
As spotted on Tidal the legendary MC made history at the 65th Annual Grammy Awards show. The ceremony included a tribute honoring Hip-Hop’s 50th anniversary but DJ Khaled pulled off his own memorable moment in the first-ever live performance of his posse cut “God Did”. According to Wilson, he received a surprise text from Jay requesting he show up to Crypto.com Arena for rehearsals. In an exclusive interview Hov spoke with the Rap Radar founder about show and his history with the academy.
When asked why he ultimately decided to perform his four-minute verse he said he did it for the people. “Lenny S. [Roc Nation Senior Vice President Lenny Santiago] got to tell you that one. I thought about it, I was in my head and I just broke down and said, ‘You know, it’s a four-minute verse’. Again, for the culture, for Hip-Hop, we got to do that,” he said.
Jay-Z went on to explain why he needed to take advantage of the special occasion. “It’s not what you expect. And for the culture and for Hip-Hop, we got to do that. We owe that. This thing that changed our lives. We got to do that. A four-minute verse performed at the Grammys. We owe it to the culture, and it ain’t even a burden. It’s a blessing. It’s easy and fun.”
Wilson also got Jay-Z to speak on the elephant in the room regarding his complex history with the Grammys. “The truth is, we grew up wanting to be on the Grammys, and it was our goal. We just want them to get it right. That’s what we want. Obviously it’s music and it’s all subjective, but you got to be in the ballpark. That’s all we want” he added. You can read the interview in its entirety here and watch Rick Ross, John Legend, Jay-Z, DJ Khaled and Lil Wayne perform “God Did” below.
Kacey Musgraves hushed a chattering 2023 Grammy Awards audience on Sunday night (Feb. 5) when she played late country icon Loretta Lynn‘s signature song, “Coal Miner’s Daughter,” during the broadcast’s In Memoriam segment. Adding to the emotions of the moment, Musgraves played the song on her hero’s 1963 Epiphone acoustic guitar, complete with Lynn’s name emblazoned along the fretboard in mother of pearl.
Hours after the broadcast ended, Musgraves tweeted about how much it meant for her to honor Lynn in this unique way. “10 year old me singing Loretta’s songs would never have imagined I’d be putting my hands right where she made magic for decades. (Her 1963 Epiphone was a dream to play.),” Musgraves wrote along with two screenshots from the performance, including one in which a black and white image of Lynn strumming the same instrument was projected over Kacey’s shoulder.
“Thank you to @LorettaLynn’s daughters for trusting me with this moment of honor tonight. She paved my path,” Musgraves added. The official account for Lynn — who died in her sleep in October at 90 at her Tennessee home — responded with an in-kind thanks to Kacey for creating such a special moment.
“Thank you @KaceyMusgraves, for this beautiful tribute,” it read. “The love all of you have shown us for our mom is beyond words.” Musgraves performed “Daughter” as part of a segment that also featured projected images of late luminaries from Jeff Beck to Pharoah Sanders and Mo Ostin.
Musgraves’ performance was followed by moving tributes to Migos rapper Takeoff, delivered by Quavo and Maverick City Music, and Christine McVie, performed by Sheryl Crow, Bonnie Raitt and McVie’s Fleetwood Mac band mate, Mick Fleetwood.
Check out the tweets below.
10 year old me singing Loretta’s songs would never have imagined I’d be putting my hands right where she made magic for decades. (Her 1963 Epiphone was a dream to play.) Thank you to @LorettaLynn’s daughters for trusting me with this moment of honor tonight. She paved my path. pic.twitter.com/x06OOD2N5o— K A C E Y (@KaceyMusgraves) February 6, 2023
Questlove had a tall order in pulling together the mind-bending 14-minute tribute to hip-hop history at Sunday night’s (Feb. 5) 2023 Grammy Awards. Tasked with telling the story of the genre that has given him a career and produced some of the most iconic music and performers of the past half-century, the Roots drummer looked far-and-wide — from the West coast to the East coast, over to Philly and down to Atlanta and beyond — to ensure that the breadth of the genre was well-represented.
There’s one voice, though, that did not make it to the stage to perform alongside Big Boi, Ice-T, Missy Elliott, Lil Baby, Method Man, Future, De La Soul, Grandmaster Flash, Run-DMC and the other legends. Quest told Variety that he invited Will Smith to make a special surprise appearance at the event that featured Smith’s longtime musical partner DJ Jazzy Jeff — who rocked the bells with LL Cool J — but that the rapper-turned-actor had to back out due to the filming scheduled for his fourquel, Bad Boys 4.
“I’ll give the spoiler alert away. Will Smith was a part of the festivities tonight, but they started shooting Bad Boys 4 already this week,” Quest said on the red carpet, where he revealed that the “all-inclusive” vibe he was looking for in the segment originally came in at 27 minutes before producers asked him to cut in way down. “There’s a lot of preliminary shots that he had to do, so we had to lose Will. That was gonna be a surprise moment.”
Quest said the invite was “a shot in the dark,” and that he understood the no-show because, “he’s always shooting movies. We had a lot of people and some of them have other jobs.” For example, he noted that the Roots had to get former David Letterman bandleader Paul Shaffer to fill-in for them on The Tonight Show last week so that they could prepare for Sunday night’s rap tribute.
While Smith was ultimately a scratch, if he had flown in it would have been the Oscar-winner’s first awards show appearance since last year’s shocking incident at the 2022 Oscars where he slapped comedian Chris Rock — shortly before Questlove accepted an Academy Award for best documentary for his film Summer of Soul. Last week Smith announced that he and Martin Lawrence will be re-teaming for Bad Boys 4.
John Legend helped shut down the 2023 Grammy Awards on Sunday night (Feb. 5) as part of DJ Khaled’s all-star “God Did” performance. But when the camera swung to the audience for reaction shots during the epic set, Legend’s wife model Chrissy Teigen was nowhere to be found. The always supportive spouse explained why she skipped the broadcast via a sweet picture with the couple’s newborn daughter, Esti.
“happy grammy day!!!,” she wrote alongside the snap of three-week-old Esti taking a nap on her mom’s chest. “had a dress fitting, looked around and realized… what the hell am I trying to prove here. I cannot get up lol.”
Fair enough.
While she was home chilling with their newborn, Legend joined Jay-Z and Rick Ross on a “Last Supper”-like set to perform the title track from Khaled’s latest album.
Last week, Legend explained the meaning behind the baby’s name, saying it was initially Teigen’s idea, but also has a surprising ties to his family tree. “It turns out, my great-grandmother was named Esther,” he said. “It wasn’t intentionally after someone, but once Chrissy told me that idea, I was like, ‘Oh, my great-grandmother’s name was Esther.’ We wanted to already name her middle name Maxine after my grandmother, whose middle name was Maxine. So, it’s a lot of my family in the name.”
Baby Esti joined older siblings Luna and Miles in January to make the singer and model’s brood a family of five, following the devastating loss of their third baby Jack last year when Teigen was 20 weeks pregnant. Following her birth, both proud parents took to social media to share photos of Esti. “Our new love,” Legend captioned his snap of the baby, while Teigen wrote, “Look at u out here lookin’ like a baby” alongside hers.
Check out Teigen’s post below.
Aaron Carter’s name was missing from the Grammy Awards’ “In Memoriam” package on Sunday night (Feb. 5), and fans are letting the Recording Academy know about it.
The much-anticipated segment featured many of the big stars who shaped the music world and left us last year, including David Crosby, Olivia Newton-John, Jeff Beck, Naomi Judd, Vangelis, Andy Fletcher and Lisa Marie Presley.
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Also during the 65th annual Grammys, Sheryl Crow, Bonnie Raitt and Mick Fleetwood took the stage to pay musical tribute to the late Christine McVie, best known as one of the singers and songwriters for Rock and Roll Hall of Famers Fleetwood Mac; while Kacey Musgraves paid tribute to Loretta Lynn, and , separately, Quavo and Maverick City Music remembered Takeoff.
Carter was namechecked in the official Grammys program, though his name was a glaring omission from the broadcast.
“Really Recording Academy. HOW do you leave Aaron Carter out of the in memoriam??? He sold millions of albums, his life was music. I am stunned and saddened you didn’t include him,” writes one Twitter user, with the handle MelindaWEG.
“In memoriam of Aaron Carter – you deserved more. more recognition, love & time,” tweets calentine’s day.
“Sad that the Grammys ignored Aaron Carter in its otherwise excellent In Memoriam. Aaron was an extremely successful artist who paid a heavy toll for it, had a hard time & unlike some with redemption arcs, was mocked until death. He was a nice kid when I worked with him,” tweets Matthew Rettenmund.
Sad that the Grammys ignored Aaron Carter in its otherwise excellent In Memoriam. Aaron was an extremely successful artist who paid a heavy toll for it, had a hard time & unlike some with redemption arcs, was mocked until death. He was a nice kid when I worked with him. #Grammys pic.twitter.com/VAEyGTPZVF— Matthew Rettenmund (@mattrett) February 6, 2023
A former child star and brother of Backstreet Boys’ Nick Carter, the celebrity died November 2022 at age 34, with a string of chart hits and TV credits to his name.
Carter impacted the Billboard Hot 100 with two titles, including a No. 35 best for 2000’s “Aaron’s Party (Come Get It).” He also landed three albums on the Billboard 200, including a No. 4 best for Aaron’s Party (Come Get It) and a No. 7 peak for 2001’s Oh Aaron.
The cause of Carter’s death is yet to be determined. L.A. County Coroner’s Office hasn’t published results from the pop artist’s toxicology report to determine the official cause of death.
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Throughout his six-plus decades in country music, Bill Anderson has been lauded for his considerable talents as both an artist and a songwriter, with more than 30 top 10 Billboard Country Songs hits to his credit as an artist, including seven chart-toppers. As a songwriter, he’s seen his songs recorded by artists including George Strait, Brad Paisley, Aretha Franklin, James Brown and Dean Martin.
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But even as a member of the Songwriters Hall of Fame and the Country Music Hall of Fame, the 85-year-old Anderson is still notching career firsts. Leading into Sunday’s (Feb. 5) Grammy Awards, Anderson is celebrating his first Grammy nomination as an artist, as “Someday It’ll All Make Sense (Bluegrass Version)” earned a nomination in the best American roots performance category.
The nomination is Anderson’s fifth overall Grammy nomination, with his four previous nominations stemming from his skill as a songwriter. He was the sole writer on Connie Smith’s 1964 hit “Once a Day” and Porter Wagoner’s “Cold Hard Facts of Life,” which were each nominated for a Grammy in the best country & western song category. His work as a co-writer on Steve Wariner’s “Two Teardrops” and George Strait’s “Give It Away” earned nominations in the same category, after it was renamed best country song.
“I knew I had Grammy nominations for writing. I have never won one. It’d probably be my last shot at it,” he says with an unassuming chuckle, seated at a table in his business office just outside of Nashville.
Anderson recalls playing the song for Sony Music Publishing Nashville CEO Rusty Gaston: “I didn’t even tell him I was going to play it, and he didn’t know Dolly was involved. He’s sitting there listening to it and of course, I sing the first verse of the song myself. When Dolly’s voice came on, he was like, ‘A Grammy!’ So he believed in it from the beginning.”
“Someday It’ll All Make Sense,” which Anderson wrote with Bobby Tomberlin and Ryan Larkins, is featured on Anderson’s most recent album, As Far as I Can See: The Best Of, which released in June on MCA Records/Ume.
As Far as I Can See is also the title of his current exhibit on display at the Country Music Hall of Fame and Museum, detailing Anderson’s journey from being the 19-year-old disc jockey in Georgia who wrote “City Lights,” which would become a No. 1 hit for Ray Price in 1958. In 1960, Anderson earned his own first top 10 Country Songs hit with “Tips of My Fingers,” followed in 1962 by his first No. 1, the seven-week chart-topper “Mama Sang a Song.” He earned another seven-week chart-leader in “Still,” as well as later chart-toppers “I Get the Fever,” “For Loving You” (with Jan Howard) and “Sometimes” (with Mary Lou Turner).
By the 1980s, he parlayed his affable, humorous personality into work as a television game show host on The Better Sex and the now-defunct cable outlet Tennessee News Network’s country music-themed quiz show Fandango (he had previously hosted his own The Bill Anderson Show). However, in the 1990s, he began collaborating with Vince Gill, notably on the song “Which Bridge to Cross (Which Bridge to Burn).” That ushered in a renaissance for his songwriting career, leading to him writing with and for a new generation of artists and crafting fine-tuned hits including Kenny Chesney’s “A Lot of Things Different,” Strait’s “Give It Away,” and the Brad Paisley/Alison Krauss duet “Whiskey Lullaby” (which won the CMA’s song of the year honor in 2005).
Anderson talked with Billboard about his current Grammy nomination, working with his longtime friend and fellow singer-songwriter Dolly Parton, his thoughts on touring and songwriting and his memories from his decades in music.
How did Dolly come to be part of this song?
Her hairstylist is a girl named Cheryl Riddle, and we’ve been friends for many years. She’s had a lot to do with my career in some interesting ways. When I kind of quit songwriting for a while and backed away from it, she’s the one who encouraged me to do some co-writing. She was also doing Vince Gill’s hair at the time, and was trying to get me and Vince together to co-write. She finally succeeded, and that started my whole second songwriting career — and evolved into a wonderful friendship between me and Vince.
Bobby Tomberlin is also good friends with Cheryl, and he played some of it for her, with just me singing it. Cheryl said, “Oh my god, Dolly should be singing on that with him.” And asked for a copy. Dolly loved it, and next thing I know, they sent me a copy of her singing it with me. I told Dolly the day we filmed the video, I said, “This sounds like something you would’ve written,” and she said, “I wish I had! I love it,” which I took as a great compliment.
This is not the first musical collaboration you have had with Dolly. As Far as I Can See also features an early demo from around 1964 with Dolly, “If It Is All the Same to You,” a song you later recorded with Jan Howard.
It was lost for a long period of time. I’m almost positive that we did that session out at [Owen] Bradley’s barn. Dolly was new in town. Walter Haynes was working for the publishing company I was writing for at the time, and I said, “I need a girl singer to help me on this duet.” He said, “I know this girl from East Tennessee and she’s pretty good.” So she was hired and we sang the duet together. I think we recorded six or seven songs that night, and I went up there not long after to get a copy of the session, and someone had taken the duet and cut it out. There were seven songs on the demo but only six on the copy. Until recent years, I thought it had disappeared, until the Bear Family put out a box set of my music and uncovered it.
The two of you also filmed the video together for “Someday It’ll All Make Sense.” What do you recall about the day of filming?
She set aside from 10:00 a.m. until 1:00 p.m., so we had three hours to do the video. When we finished filming all the scenes she would be involved, we got finished a little before one. There were all kinds of people coming to watch and Dolly stopped and said, “Okay, if anybody would like to get pictures or an autograph, we’ve got 15 minutes.” She stood there and took pictures with everybody in that room.
And then she turned to me and said, “Ok, I gotta go change clothes. I’m doing a video for the Queen of England” [for Queen Elizabeth’s Platinum Jubilee in 2022, marking 70 years of service]. So she finished filming a video with Bill Anderson, changed clothes into something very prim and proper, a black dress with a set of pearls and did a video for the Queen of England, then changed again and did a video for NASCAR. She’s amazing.
In addition to being artists, writers and all-around entertainers, both you and Dolly were were part of impactful duos — Dolly and Porter were on the Porter Wagoner Show, and Jan Howard was part of your show and a frequent duet partner. Do you have any memories that stand out from that time?
There were occasions where promoters would book my show and Porter’s show together. There were some pretty big fairs up in the Northeast where Jan and my group, we’d do the first half of the show, and then there would be an intermission, and then Porter and Dolly would do their part of the show. One time, we did this cool thing where we decided to do a swap. Jan and I guested on the Porter Wagoner Show, and Dolly and Porter guested on the Bill Anderson Show, and we all sang songs together. I would love to have a copy of those shows.
You have several books here on your table, including a book about your Country Music Hall of Fame exhibit As Far as I Can See. What music or music business books have been some of your favorites?
I read all the time and have books stacked up. I’ve never thrown away a music book and an awful lot of ‘em are autographed. Probably the music book that got me the most, emotionally, was the Louvin Brothers book, Satan Is Real [written by Charlie Louvin with Benjamin Whitmer]. If I was a movie producer, I’d make a movie out of that book so quick. I knew Charlie [Louvin] quite well, and Ira as well as you could know Ira. They recorded quite a few of my songs. That book was just so brutally honest and it really moved me. But I’ve read Shania Twain’s book [From This Moment On], and Anne Murray [All of Me] and everything from Willie — Willie’s book of the month. I feel like I know Willie awfully well.
What Is ahead for you in terms of touring and recording?
I want to make some more records. [UMG Nashville president] Cindy Mabe has been a real champion for this whole project, and UMG re-released a lot of my older catalog digitally for the first time. So I’m just seeing what is ahead.
I’m not going out on the road right now. I haven’t been out on the road since [the] COVID [pandemic] started. Surprisingly, I haven’t missed it like I thought I probably would. I was on the road for over 50 years and I figured I couldn’t live without it. But I’ve kind of enjoyed just kicking back a little bit, writing a little bit more, taking time off and being with my kids and grandkids.
I’m not saying I’m never going back on the road — as soon as I say “Never,” something will change. I want to make more records and keep performing occasionally at the Opry. I’m not saying I’ll never work the road again, but it’s not on the top of my priority list.
You have had so much success, both as a solo writer and a co-writer. Who are some of your favorite rising songwriters?
I like Ryan Larkins, the third writer on “Someday.” And I like this kid, Drake Milligan. I’ve got two writing dates with him and one is going to be me and him and Vince. Ryan and Drake are two that I have connected with. They are young kids with old souls.
What are your thoughts on the nomination as we head into the Grammys?
I’ve been so blessed. I mean, I pinch myself sometimes that this has really all happened. If we do win a Grammy on Sunday, that’ll be the cherry on top of the sundae. And if we don’t, it’s still been a fun ride.