With so many outlets for judging musical excellence, even the fussiest music fan has to agree with somebody.
Indie snobs have the Short List in America and the Mercury Prize in the United Kingdom. The All Tomorrow’s Parties concert series isn’t booked so much as it’s curated by cultural icons such as The Shins, Devendra Banhart and “Simpsons” creator Matt Groening.
Critics (this one included) cap off years with top 10s, wrapping up the year’s best. The glut of awards shows speaks to people’s unending desire to rank music, and while there are more reputable showcases, the People’s Choice Awards remain a favorite and a clear indicator of public temperature.
The king of the awards show is the Grammys, which airs at 7 p.m. Wednesday on CBS (KCNC-Channel 4). While the Grammys aren’t so honest in their interpretation of “good,” they remain the undisputed, corporate ‘n’ capitalism-oriented big dog. What’s impressive is the expansive ground covered by all these clappers. Kelly Clarkson can be one magazine’s woman of the year – she was Blender’s in 2005 – and another ceremony’s disregarded “who cares?” figure.
But is it really so stupefying that two of the most prominent mile-markers in the music industry – a critic’s year-end top-10 list and the Grammy nomination/award – rarely see any crossover? Not really.
This critic’s top 10 ran a month ago, celebrating musicians from Sufjan Stevens at No.1 to Oasis at No.10. Of the 10 artists on that list, only two are nominated for a 2006 Grammy, Beck’s “Guero” (No.3 in The Denver Post, nominated for alternative music album) and System of a Down’s “Mezmerize” (No.8, the track “B.Y.O.B.” nominated for hard rock performance).
Time periods aside (the Grammys’ eligibility year is slightly different, Oct. 1, 2004-Sept. 30, 2005), that’s a gaping schism between judgments of the same product – even while considering the reputations of elitist critics and pandering Grammys. Would Langhorne Slim, No.2 on The Post’s list, ever land a Grammy nod? Not likely, given his modest sales of a few thousand records.
Instead, Mariah Carey, who had the year’s top-selling record with nearly 5 million units moved, has eight nominations.
The Grammys’ bias is no secret. The ceremony is a joke to snobs who see it as an industry yes-man, a backslapper for multiplatinum artists. But sometimes the goodness comes through, although typically by the same route taken by everyone else – sales.
System of a Down is a major-label behemoth that sold millions of records in 2005, a year that saw it release two Rick Rubin-produced rock masterpieces. Beck enjoys decent sales, but the alternative music album award is more of a mindless throwaway, something to placate the hipsters who loathe the award ceremony and its lazy system of nominations. Any of Beck’s competition – Arcade Fire, Death Cab for Cutie, Franz Ferdinand and the White Stripes – could have (and in some cases should have) been nominated in the grander, more esteemed rock or pop performance fields.
Overall, 2006 isn’t such a terrible year for the Grammys. Of the three artists with a field-leading eight nominations, Carey is the only appalling inclusion. Kanye West is an always creative producer and an increasingly better MC. John Legend, while not terribly interesting, is a performer of integrity and great skill.
Other killer (read: unexpected) artists and albums sneaked into the fray, albeit mostly in niche categories. LCD Soundsystem’s two nominations are a welcome addition to the more electronic-heavy dance categories. Mos Def’s got some much deserved love in the urban/alternative performance category. Ditto for Missy Elliott’s nod for rap song. Her “Lose Control” was one of 2005’s most underrated achievements in hip-hop, especially when held up to the lackluster work of 50 Cent, who co-wrote two songs nominated in that field.
But beyond the niche fields, the underdog deserving of the most celebration is the Gorillaz. Yes, Gwen Stefani deserves her nominations for album and record. But the Gorillaz’s record nomination is more significant than Stefani’s because the group’s CD is the kind of record the Academy ignores – or worse, nominates as an alternative music album. That’s exactly where it would be had it not already moved more than 1.6 million units domestically.
In “Demon Days,” the cartoon band – called a virtual hip-hop group, fronted by a comic book representation of Blur frontman Damon Albarn – created the rare album that is both artistically valid and popular. The record is expertly crafted by Albarn and producer Danger Mouse. And living up to the single “Feel Good Inc.,” it’s a happy dance-floor record that has an energy and lifeblood that is undeniable.
The Gorillaz are nominated for four awards. They don’t stand a chance in the record category – facing Carey, Green Day, Stefani and West – but their inclusion is promising. It’s not a sign of the Grammys’ rising legitimacy, but it’s the bone they’re throwing. The public should gladly chew on it.
Pop music critic Ricardo Baca can be reached at 303-820-1394 or rbaca@denverpost.com.
