| Subject: Continue in Reply - - - - ->>> |
Author:
Magda
|
[
Next Thread |
Previous Thread |
Next Message |
Previous Message
]
Date Posted: 18:09:18 02/24/03 Mon
In reply to:
Magda
's message, "Eminem Delivers Rousing 'Lose Yourself,' Clash Get A-List Tribute At Grammys" on 18:07:28 02/24/03 Mon
>(Info from mtv.com)
>
Even though most of the walls of flame during his performance were onscreen projections, Nelly raised the heat in the Garden to sweltering with an energetic display of pop charisma and R&B sensuality. He started by descending from the ceiling on a rope for "Hot in Herre," and was joined by fan-wielding dancers in short-shorts as he urged us to "take off all our clothes." There's no question Nelly planned his pyrotechnic display long ago, but the smoke and flames seemed in questionable taste just days after nearly 100 people died in a club inferno caused by onstage pyrotechnics. After a few bars of "Hot in Here," Nelly was joined by Kelly Rowland for "Dilemma." Rowland, who emerged from a glass pyramid at the back of the stage, wore a short white dress and heels and sang in a sultry voice as Nelly serenaded her.
Early in the evening, No Doubt quickened the crowd's pulse with a medley of "Underneath It All" and "Hella Good." The spectacle began with vocalist Gwen Stefani dressed in a green jacket, single white glove and ruby-red lipstick and the band playing acoustic. But as the band segued into the second song, all hell broke loose. Stefani removed her coat to reveal a tight black tube bra, suspenders attached to camouflage shorts and thigh-high black leather boots. As the band played the throbbing rhythm, scantily clad female acrobats descended from ropes and gyrated overhead while dancers in fishnet outfits posed and wriggled.
One of England's most inspiring bands and one of the most prestigious orchestras in the U.S. joined forces as Coldplay were backed by the New York Philharmonic for "Politik." The odd pairing was conducted by Michael Kamen, who helped Metallica merge metal and symphonic grandeur on the album S&M. Against a backdrop of swirling green lights, vocalist Chris Martin squinted, stomped and bobbed frenetically at a piano while singing such heartfelt lines as, "Give me strength, reserve control/ Give me heart and give me soul," in a pained and vulnerable voice.
Sheryl Crow originally planned to have Lenny Kravitz join her for "You're an Original," but pulled an eleventh hour switcheroo by inviting Kid Rock onboard instead. Of course, the two originally played on Rock's "Picture," which resurrected his album Cocky, and Crow said before the ceremony she thought Rock's southern-rock drawl would enhance the number. But while Rock looked pretty cool in jeans and dark shades and strumming a 12-string guitar, he was sometimes off-key compared to the more consistent Crow.
After a brief introduction by actor Dustin Hoffman, Simon and Garfunkel, who wrote much of the music in the classic 1967 film "The Graduate" (which starred Hoffman), opened the show by stepping onstage together for the first time in almost 10 years. The duo sang their somber 1965 ode "The Sounds of Silence" and their voices intertwined as mellifluously as they did in the '60s when the pair addressed similarly perilous times with their poignant songs. Simon and Garfunkel performed on a tiny circular stage, and as the lines, "Hello darkness my old friend," echoed through the arena, they were almost drowned out by the crowd's cheers. Then the audience became hushed as Garfunkel's sweet tenor meshed with Simon's ringing guitar and strong melody and the team finished the song.
Although the night was filled with lively collaborations, a handful of artists relied on their own skill and magnetism to win over the masses. Flanked by her bandmates and a few lit candelabras, Norah Jones proved that less is sometimes more, forsaking flash and panache in favor of sheer musicality. As she performed her hit "Don't Know Why," her spare piano lines fluttered just below her elegant vocals and the audience remained enraptured. Presenter Tony Bennett introduced the song as a "gorgeous ballad that sounds like it's from another era," and Jones' Billie Holiday-meets-Rickie Lee Jones delivery demonstrated just why she appeals to both young pop fans and middle-aged jazz purists.
Bruce Springsteen inspired rumination over a troubled past and an uncertain future with "The Rising," the title track from his album about the survivors of September 11. As serious as the song's content was, Springsteen and the E Street Band triumphantly transformed it into an anthem about overcoming adversity. Bruce strummed his Telecaster so hard it rattled his mic stand and even delivered his own guitar solo. When he wasn't playing, he raised his guitar neck in defiance or threw his arms into the air. His voice was strong and resonant throughout, and he was backed by some of the most accomplished musicians in rock, who shared his glory.
Three other singer/songwriters played in rapid succession, presenting a more mellow look at pop songcraft than many of the night's performers. Following a brief intro by David Letterman sidekick Paul Shaffer, who referred to her as "classically trained and funkifyingly delicious," Vanessa Carlton tickled the ivories in a wash of trickling melody and sang "A Thousand Miles" with fluid grace. Then John Mayer followed with "Your Body Is a Wonderland," enveloping the crowd in his romantic world with plucked chords, folksy licks and such lyrics as, "I'll never let your head hit the bed without my hand behind it." James Taylor, a veteran singer/songwriter whom Shaffer called a "musical legend who helped blaze the path for the modern songwriter," closed the segment with a stirring version of his 1970 song "Sweet Baby James," which featured renowned cellist Yo-Yo Ma.
Avril Lavigne was originally slated to play her Grammy-nominated song "Complicated," but decided to switch to the more lively "Sk8er Boi." It was a good move — not because she emanated enough energy to inspire the New York Philharmonic to bob their heads, but because her lackluster performance would have been downright sleep-inducing in the more sedate "Complicated." There's certainly a chance that the bow-tie wearing Lavigne intentionally acted bored to thumb her nose at the mainstream Grammys, but she only succeeded in cheating her audience. Even when she pogoed, flashed the metal sign at the crowd and punched and kicked the air, she failed to captivate the way she does in concert.
Ashanti began her performance by broadcasting on a stage-sized screen quotes from kids (including the singer's sister) about their ambitions. Then the Murder Inc. songstress emerged at the top of the screen and began crooning her track "Dreams." As the song progressed, the screen was lowered to the ground to reveal a choir and horn and string sections, and when she finished singing a parade a children filed onto the stage.
Other performers included Faith Hill, Dixie Chicks and the New York Philharmonic.
For more Grammy news, check out the MTV News Grammy Archive.
—Jon Wiederhorn
[
Next Thread |
Previous Thread |
Next Message |
Previous Message
]
| |
Feedback: 