With an ear that defies musical expectations, songwriter and producer Busbee has been behind GRAMMY-nominated tracks and albums that go way beyond his personal nomination for co-writing Maren Morris' "My Church." Now he is teaming up with Warner Bros. Records, Warner/Chappell Music and Red Light Management on an entrepreneurial joint venture called "Altadena," offering full-service representation for talent ready to keep breaking boundaries.

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Busbee is primarily known for the pop sensibility he brought to the country genre on albums such as Lady Antebellum's Heart Break and Keith Urban's Ripcord. One hint of his impressive stylistic range is his co-production on the P!nk album Beautiful Trauma, nominated for Best Pop Vocal Album at the 61st GRAMMY Awards.

"Busbee not only has an impressive track record of artist development but also of producing as well as writing top hits across multiple genres," said Warner Bros. Records Co-Chairman/CEO Aaron Bay-Schuck. "He has the passion for spotting new talent and the vision to fuse the worlds of country, pop, and alternative in truly refreshing ways."

Last year, Morris described Busbee's eclectic ear as the reason she trusted him with her major-label album debut, Hero. "We didn't want my record to lull people into a comfortable vibe they'd heard a million times," she said. "Busbee was never afraid to take it there and get weird." Busbee said, "I want to keep shaking things up." He'll have his chance with Altadena.

In addition to the world-class partnerships forming the venture, Busbee will be working with Daniel Lee as Altadena's general manager and vice president of creative, Noreen Prunier as Nashville Creative Director and Kelly Benini as Los Angeles Creative Director.

Busbee has worked with artists ranging from Florida Georgia Line to Usher in the past. It's exciting to imagine the fresh sounds to come from this Altadena venture. Sonic surprises are likely in store.

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If you were online during the summer of 2022, chances are you’ve heard Pheelz’s viral hit single "Finesse." The swanky Afro-fusion track (featuring fellow Nigerian artist Bnxn) ushered in a world of crossover success for Pheelz, who began his career as a producer for the likes of Omah Lay, Davido, and Fireboy DML.

Born Phillip Kayode Moses, Pheelz’s religious upbringing in Lagos state contributed to his development as a musician. He manned the choir at his father’s church while actively working on his solo music. Those solo efforts garnered praise from his peers and music executives, culminating in Pheelz's debut EP in 2021. Hear Me Out saw Pheelz fully embrace his talent as a vocalist, songwriter, and producer. 

"I feel important, like I’m just molding clay, and I have control over each decision," Pheelz tells GRAMMY.com about creating his own music. 

2022 saw the release of the first two tapes in his Pheelz Good trilogy: Pheelz Good I and Pheelz Good (Triibe Tape), which was almost entirely self-produced. The 29-year-old's consistency has paid off: he produced and sang on Usher’s "Ruin," the lead single from his latest album Coming Home, and also produced the album's title track featuring Burna Boy. But Pheelz isn't only about racking up big-name collaborators; the self-proclaimed African rockstar's forthcoming projects will center on profound vulnerability and interpersonal honesty. First up: Pheelz Good II EP, out May 10, followed by a studio album in late summer.

Both releases will see the multi-hyphenate "being unapologetically myself," Pheelz tells GRAMMY.com. "It will also be me being as vulnerable as I can be. And it’s going to be me embracing my "crayge" [crazy rage]...being myself, and allowing my people to gravitate towards me."

Ahead of his new project, Pheelz spoke with GRAMMY.com about his transition from producer artist, designing all his own 3D cover art, his rockstar aesthetic, and what listeners can expect from Pheelz Good II.

This interview has been edited for clarity.

What sparked your transition from singing in church to realizing your passion for creating music?

For me, it wasn’t really a transition. I just always loved making music so for me I felt like it was just wherever I go to make music, that’s where I wanna be. I would be in church and I was the choirmaster at some point in my life, so I would write songs for Sunday service as well. And then I would go to school as well and write in school, and people heard me and they would love it. And I would want to do more of that as well. 

A friend of my dad played some of my records for the biggest producers in Nigeria back then and took me on as an intern in his studio. I guess that’s the transition from church music into the industry. My brothers and sisters were in the choir, but that came with the job of being the children of the pastor, I guess. None of them really did music like me; I’m the only one who took music as a career and pursued it.

You made a name for yourself as a producer before ever releasing your music, earning Producer Of The Year at Nigeria’s Headies Awards numerous times. What finally pushed you to get into the booth?

I’ve always wanted to get into the booth. The reason why I actually started producing was to produce beats for songs that I had written. I’ve always been in the booth, but always had something holding me back. Like a kind of subconscious feeling over what my childhood has been. I wasn’t really outspoken as a child growing up, so I wouldn’t want people to really hear me and would shy away from the camera in a sense. I think that stuck with me and held me back. 

But then COVID happened and then I caught COVID and I’m like Oh my god and like that [snaps fingers] What I am doing? Why am I not going full steam? Like why do I have all this amazing awesomeness inside of me and no one gets to it because I’m scared of this or that?

There was this phrase that kept ringing in my head: You have to die empty. You can’t leave this earth with all of this gift that God has given you; you have to make sure you empty yourself. And since then, it’s just been back-to-back, which just gave me the courage.  

How did you react to " Finesse" in former President Barack Obama’s annual summer playlist in 2022?

Bro, I reacted crazy but my dad went bananas. [Laughs.] I was really grateful for that moment, but just watching my dad react like that to that experience was the highlight of that moment for me. He's such a fan of Barack Obama and to see that his son’s music is on the playlist, it just made his whole month. Literally. He still talks about it to this day. 

Experiences like that just make me feel very grateful to be here. Life has really been a movie, just watching a movie and just watching God work and being grateful for everything.

At first he [my dad] [didn’t support my career] because every parent wants their child to be a doctor, a lawyer, or an engineer. But when he saw the hunger [I have], and I was stubborn with [wanting] to do music, he just had to let me do it. And now he’s my number one fan. 

Your latest single, "Go Low" arrived just in time for festival season. What was it like exploring the live elements of your art at SXSW and your headlining show in London at the end of April?

I have always wanted to perform live. I’ve always loved performing; Pheelz on stage is the best Pheelz. Coming from church every Sunday, I would perform, lead prayers and worship, so I’ve always wanted to experience that again.

Having to perform live with my band around the world is incredible man. And I’ll forever raise the flag of amazing Afro live music because there’s a difference, you know? [Laughs.] There are so many elements and so many rhythms and so many grooves

I’ve noticed that much of your recent cover art for your singles and EPs is animated or digitally crafted. What’s the significance, if any, of this stylistic choice?

It still goes back to my childhood because I wasn’t expressive as a child; I wouldn’t really talk or say how I felt. I’d rather write about it, write a song about it, write a poem about it, or draw about it. I’d draw this mask and then put how I’m feeling into that character, so if I was angry, the mask would be raging and just angry.

The angry ones were the best ones, so that stuck with me even after I started coming out of my shell and talking and being expressive; that act of drawing a mask still stuck with me. And then I got into 3D, and I made a 3D version of the mask and I made a 3D character of the mask. So I made that the main character, and then I just started making my lyric videos, again post-COVID, and making them [lyric videos] to the characters and making the actual video mine as well.

In the future, I’m gonna get into fashion with the characters, I’m gonna get into animation and cartoons and video games, but I just wanna take it one step at a time with the music first. So, in all of my lyric videos, you get to experience the characters. There’s a fight [scene] among them in one of the lyric videos called "Ewele"; there is the lover boy in the lyric video for "Stand by You"; there are the bad boys in the lyric video for "Balling." They all have their own different characters so hopefully in the near future, I will get to make a feature film with them and just tell their story [and] build a world with them. I make sure I put extra energy into that, make most of them myself so the imprint of my energy is gonna be on it as well because it’s very important to me.

You and Usher have a lengthy working relationship. You first performed together in 2022 at the Global Citizen Festival, then produced/co-wrote "Coming Home" and "Ruin." Take us through the journey of how you two began collaborating.

It started through a meeting with [Epic Records CEO] L.A. Reid; he was telling me about the album that they were working on for Usher and I’m like, "Get me into the studio and lemme see what I can cook up." And they got me into the studio, [with Warner Records A&R] Marc Byers, and I wrote and produced "Coming Home." I already had "Ruin" a year before that. 

["Ruin"] was inspired by a breakup I just went through. Some of the greatest art comes from pain, I guess. That record was gonna be for my album but after I came home I saw how L.A. Reid and Usher reacted and how they loved it. I told them, "I have this other song, and I think you guys would like it for this album." And I played "Ruin," and the rest was history.

Before your upcoming EP, you’ve worked with Pharrell Williams, Kail Uchis, and the Chainsmokers in the studio. What do you consider when selecting potential collaborators?

To be honest, I did not look for these collabs. It was like life just brought them my way, because for me I’m open to any experience. I’m open to life; I do it the best I can at any moment, you understand? 

Having worked with Pharrell now, Dr. Dre, Timbaland, and the Chainsmokers, I’m still shocked at the fact that this is happening. But ultimately, I am grateful for the fact that this is happening. I am proud of myself as well for how far I’ve come. Someone like Timbaland — they are literally the reason why I started producing music; I would literally copy their beats, and try to sound like them growing up. 

[Now] I have them in the same room talking, and we’re teaching and learning, making music and feeding off of each others’ energy. It’s a dream come true, literally.

What's it like working with am electro-pop group like the Chainsmokers? How’d you keep your musical authenticity on "PTSD"?

That experiment ["PTSD"] was actually something I would play with back home. But the crazy thing is, it’s gonna be on the album now, not the EP. I would play it back home, like just trying to get the EDM and Afrohouse world to connect, cause I get in my Albert Einstein bag sometimes and just try and experiment. So when I met the Chainsmokers and like. "Okay, this is an opportunity to actually do it now," and we had a very lengthy conversation. 

We bonded first as friends before we went into the studio. We had an amazing conversation talking about music, [them] talking about pop and electronic music, and me talking about African music. So it was just a bunch of producers geeking out on what they love to do. And then we just talk through how we think the sound would be like really technical terms. Then we get into the studio and just bang it out. Hopefully, we get to make some more music because I think we can create something for the world together.

I’ve noticed you dress a bit eccentrically. Have you always had this aesthetic?

I’ve always dabbled in fashion. Even growing up, I would sketch for my sister and make this little clothing, so like I would kick up my uniform as well, make it baggy, make it flare pants, make it fly. 

I think that stuck with me until now, trying different things with fashion. And now I have like stylists I can talk to and throw ideas off of and create something together. So yeah, I want to get into the fashion space and see what the world has in store for me. 

What can fans expect as you’re putting the finishing touches on your upcoming EP Pheelz Good II and your album?

Pheelz Good II, [will be] a close to the Pheelz Good trilogy of Pheelz Good I, Pheelz Good Triibe Tape and Pheelz Good II. The album is going to be me being unapologetically myself still. But it will also be me being as vulnerable as I can be. 

It’s going to be me embracing my crayge [crazy rage]. Like just embracing me unapologetically and being me, being myself, and allowing my people to gravitate towards me, you get me. But I’m working on some really amazing music that I am so proud of. I’m so proud of the EP and the album.

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Country fans first got to know Tyler Hubbard as the voice of Florida Georgia Line. Upon his solo debut in 2022, they got a deeper look into his life as a devoted family man. Now, the chart-topping singer/songwriter wants to show his skills as the genre's feel-good party starter.

Hubbard's second album, Strong, turns up the energy with 13 tracks that focus on spreading the joy he's feeling in his own life. There's several parallels to his self-titled debut, including another tribute to his late father on "'73 Beetle" and reflections on his small-town Georgia upbringing with "Take Me Back" and "Back Then Right Now." Yet, every narrative feels more celebratory — buoyed by Hubbard's purposeful delivery, his hopeful lyricism, and uptempo melodies.

It's a natural evolution for Hubbard, who has projected positivity in his music and his image since his FGL days. And now that the world has welcomed him as a solo act — including two No. 1s at country radio with "5 Foot 9" and "Dancin' in the Country," and several sold-out shows in 2023 — he felt it was only right to bring good vibes with his second LP. 

"I was carrying the momentum from last year — the first album, being out on tour, the energy from the fans," Hubbard shares. "If you come to my live show, it's a lot of happy, fun dancing energy, and that's what I've really enjoyed kind of leaning into right now."

Ahead of Strong's release, Hubbard sat down with GRAMMY.com to chat about his album process. Below, he breaks down the most important components, from writing nearly every song on his tour bus to happily riding in the "good time lane."

Building On The First Album

The first album was more of an introduction to who I am, and this album is more settling in. It's inspired by the live show more than anything, and the fans themselves, as opposed to me and my story. 

I kind of want [these songs]to feel like distant relatives to the first album. I'll use that analogy a lot of times in sessions and just say, "Let's elevate, and let's move forward and progress, but let's keep it in the same family." 

When I was writing both these projects, it was a tough time. You know, going through the pandemic and all that brought along, transitioning into different careers and not knowing what was gonna happen with FGL for a while. Obviously, my marriage really inspired the song "Strong," but there's sort of that principle [from album one to album two] of going through a hard season that you come out on the other side of it stronger. 

Writing On The Road

Last year, I was getting in front of my audience for the first time [post-pandemic] and really getting to see what they wanted, what was resonating, what was working, maybe what was missing in the set. So I was able to pull that energy from the fans right back to the bus. The majority of this album I wrote on the road last year, which is where I love to write songs. I love to write in town too, but [there's] something about being out on the road — you just feel a little extra creative and a little less distracted. 

Back in the day, when we were starting off and really roughing it, we didn't have anything else to do but our careers, so we'd come home from the road and we'd write three or four days a week, and then we would go hit the road and play shows. But now that I'm a husband and a father, I try to compartmentalize it, so when I'm home during the week, I can take some time off to be with the kiddos and my wife.

And fortunately, now, I have my own bus, so I can bring writers out, and we can just hunker down on my bus all weekend and write songs. It's pretty fun because you kind of feel like you're binge writing a bit. But once you get in that creative space and your wheels are turnin', it's nice to stay there for more than four or five hours like we do in Nashville, turning it off at 4 o'clock and going home. It keeps it fun.

Creating Music For The Stage

We were mainly thinking about the live show [when we were writing]. It just felt like [we were writing] songs I couldn't wait to play live. 

There's some heart, there's some depth, there's emotion and vulnerability in a lot of these songs that I like to play live, but overall, I want it to just feel fun. There's enough stuff in our world to make us sad, so I'm just like, if I can put music out that makes people feel good, that's what I want to do. 

Especially in the context of our genre and our culture — it feels like there's a lot of sad boy country going on right now. You know, nothing wrong with that, I like to get real and emo a bit. But I think if everybody's doing one thing, I try to lean to the other. And right now I love where we're headed, in the good time lane.

I was soaking up everything Keith [Urban] was doing [while touring with him last year]. I watched his set most nights. He's kind of the king of fun tempo live energy. [We were] either [trying to] make Keith jealous or make Keith want to record one of the songs we write. So some of these songs are probably inspired by trying to get a Keith Urban cut. 

"Park," "Wish You Would" and "Vegas" are [three] of those songs. They go really well live and have been really, really fun. The crowd starts moving in a weird way when ["Wish You Would"] comes on. It looks like they're just, like, lettin' loose and not really coordinated at anything. [Laughs.]

"Back Then Right Now" is the single, so people are knowing that one [more] and it's cool to see them singing it and engaged. "BNA" is gonna be a lot of fun to play live. I could probably play this whole album top to bottom and be pretty happy with that being the set.

Honoring Where He Came From

I wanted this album to still be dynamic — as uptempo as it is, I still wanted the fans to be let in a little bit more into who I am and deeper into my life. Hopefully with each project I put out, I have some songs that let people in a bit more and tap into a vulnerable place, and challenge me as a person and a writer to just continue to go there. 

I have a unique relationship with my hometown. I love where I came from, and I'm proud of where I'm from, but it's not somewhere that I'm still living — I've been in Nashville longer than I was in Georgia, I've been here for over 18 years. A lot's changed since then. The house I grew up in is not there, my dad's gone, my mom's moved to Alabama. 

It's an interesting dynamic, because in our genre, it's cool to be really proud of where you're from, and really pay homage to where you're from. And I still do — a lot of these songs are literally born because of where I came from. But at the same time, I don't have that same relationship with where I'm from. I just thought it was a little bit of a different approach on the relationship with the hometown with ["Take Me Back"]. I hope people can relate to it.

Recruiting Trusty Collaborators, Like Producer Jordan Schmidt

The collaborators and songwriters on this project, there's a couple of new ones, but there's a lot of guys that I have a big history with. A lot of that's just due to the fact that if I'm bringing writers out on the road, it's guys that I know and trust, and that I've had success with. I'm not speed dating on the road — it's just very intentional, efficient time.

They've proven themselves, and so there's no reason to not go back to 'em. I just can't reiterate enough how thankful I am to be in this city, in this songwriting community. I have so many people that make me a better songwriter and push me as an artist and come with great ideas. It makes it that much more fun to write songs and do what I love.

Also, to know me, and who I am, and where I'm headed, and what I want to do and say, that helps tremendously because we're not just shooting in the dark. I think "Wish You Would" is a song that's a little unique and feels really fun. If I was going to pick a direction, that's a cool, fresh sound that I'm really enjoying right now.

Leaning Into Feeling Good

I'm in a really sweet season. Not just with the work stuff, but my family is in such a good spot. My kids are 3, 4 and 6, so they're in a really fun, just joyful season. I can have a bad session or a tough day, and I can go home and get overwhelmed with joy and love in the house. It's just awesome energy. I'm really grateful for that, and I'm really kind of leaning into it. 

I hope [fans] understand how grateful I am to be here to be still doing this 13 years later, and to be able to have another opportunity to experience a lot of firsts again, and get to continue to connect with them. I just love what I do, and I gotta give the fans a lot of credit for allowing me to do it. 

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"All of us have our Pandora's boxes or skeletons in our closets," Usher told MTV News while promoting his 2004 album, Confessions. "I've got a lot of things and stuff built in me that I just want to let go of."

He sure wasn't kidding. The concept album, and loosely based around his relationship with TLC's Rozonda "Chilli" Thomas — essentially played out like a prime-time soap opera set to music. But its brutally honest narrative and earworm hooks connected like no other contemporary R&B record before or since, solidifying Usher as one of music's modern greats.

In fact, Confessions was the second-best selling album of the 2000s (only behind *NSYNC's 2000 juggernaut, No Strings Attached), thanks in part to four consecutive Billboard Hot 100 chart-toppers and a string of attention-grabbing videos that allowed Usher to showcase his skills as a singer, dancer, actor, and all-round loverman.

Just after delivering a career-defining Super Bowl halftime show performance, Usher celebrates  20 years of Confessions on March 23. To commemorate the anniversary, here's a look at why Confessions remains the R&B scene's definitive blockbuster.

It Saved The Record Industry 

Thanks to the rise in illegal downloads and decline of "Total Request Live"-friendly blockbusters, the music industry began 2004 staring down a fourth consecutive year of declining sales. Step forward their savior, Usher Raymond IV.

Confessions shifted a colossal 1.1. million copies in its first week, the highest number since Eminem's The Eminem Show in 2002, and didn't stop selling. By the end of December, its total had ballooned to nearly eight million — double its closest competitor, Norah Jones' Feels Like Home, to become the year's biggest commercial smash.

Usher's magnum opus was widely credited with getting the American public back into record stores again, resulting in a 1.6 percent increase in overall album sales. But Confessions' journey wasn't done there. In 2012, it was awarded diamond status, joining TLC's CrazySexyCool and Boyz II Men's II as the only R&B representatives in the exclusive club, with its current tally now reportedly standing at 18 million!

It Invented Crunk&B 

Crunk, an energetic form of southern hip-hop defined by its 808 basslines, kick drums, and general party-starting vibes, originated in the mid-1990s. But it took nearly a decade for the sound to crossover from the Miami underground to the top of the charts. And then the lead single from Confessions took the scene to another level.

With its high-pitched synth hook, emphatic beats, and hype man chants from the subgenre's self-proclaimed king Lil Jon, "Yeah!" had all the hallmarks of a crunk classic. But Usher's smooth, soulful tones and Ludacris' playful rhymes gave the dance floor anthem a much stronger melodic edge, prompting critics to coin a new term, Crunk&B.

Several artists took note of the crunk and contemporary R&B crossover, with both Ciara's "Goodies" and Chris Brown's "Run It" also topping the Hot 100. But "Yeah!" remains the sound's crowning glory, as proven by the diamond status it achieved right before Usher's Super Bowl halftime show (Usher is also now only the third ever Black artist to have a diamond-certified single and album, alongside Michael Jackson and Whitney Houston).

It Further Bridged The Gap Between R&B And Hip-Hop 

While previous albums Usher, My Way, and 8701 had all been grounded in slick, soulful R&B, Confessions was a concerted attempt to bridge the gap between his signature sound and the grittier world of hip-hop. The man himself admits that he took just as much inspiration from Eminem and Bone Thugs-N-Harmony as his usual suspects, like Michael Jackson and James Brown, to create an album that was aimed equally at the bedroom and the clubs.

Alongside the famous guest appearances from Lil Jon and Ludacris, the LP also drew upon the production talents of Roc-A-Fella regular Just Blaze. Meanwhile, on the special edition, Jadakiss laid down some bars on "Throwback," while the remix of "Confessions Part II" boasted rhymes from Shyne, Twista, and Kanye West.

That's not to say thatNot that Usher forgot his roots, though., Has proven by his collab with Keys ("My Boo"), recruitment of legendary producers Jimmy Jam and Terry Lewis, and contributions from long-time collaborators Jermaine Dupri and Bryan-Michael Cox all helped remind of his R&B prowess. "I feel like it is the base of everything," Usherhe said about his love of R&B at the time. "I want to make it more prominent."

It Was A GRAMMY Favorite 

Although Ray Charles posthumously won the most awards of the night, the 2005 GRAMMYs undoubtedly still belonged to Usher. The R&B star not only took home three golden gramophones, but he also brought the house down thanks to a spellbinding duet with the Godfather of Soul.

A sharp-suited Usher first took to the stage for an epically choreographed performance of Confessions' fifth single "Caught Up," before James Brown — who even at the age of 71 still had several moves of his own — popped up for a joint rendition of his classic, "Sex Machine."

Usher was no doubt in a celebratory mood. By this point, he'd picked up three of the eight categories he'd been nominated in: Best Contemporary R&B Album, Best Rap/Sung Collaboration for "Yeah!," and Best R&B Performance by a Duo or Group with Vocal alongsideAlicia Keys for "My Boo." (As of press time, Usher has won eight GRAMMYs and received 23 GRAMMY nominations.)

It Brought A Confessional Side Back To R&B 

From Marvin Gaye's Here, My Dear to D'Angelo's Brown Sugar, some of the greatest R&B records of the 20th century resulted from artists baring their souls as if their lives depended on it. This was an approach that had largely fallen by the wayside as time went on, with some suggesting that the genre gradually became more emotionally stunted.

Usher, on the other hand, had no qualms whatsoever about laying it all on the line, namely the ups and downs of his relationship with Thomas. On the falsetto-voiced "Burn," he willingly displays devastation over his breakup ("I'm twisted 'cause one side of me's telling me that I need to move on/ On the other side I wanna break down and cry"). And even by the penultimate track, "Take Your Hand," he still seems to be in a state of torment ("In your loving, every time I feel your touch/ Second thoughts, more doubts started building up").

Usher's confessional approach continued in 2008 with Here I Stand's love letter to then-wife Tameka Foster and then again in 2010 with the divorce-themed Raymond vs. Raymond. And many other R&B artists, including Janelle Monae and Beyoncé, have since made career bests by delving similarly deep into their personal lives.

It Inspired A Generation Of R&B Lotharios 

Think of any R&B lothario who's emerged in the last 20 years and chances are they've been heavily inspired by Confessions. Jason Derulo has said as much, describing it as a "classic album" and "just start to finish awesome"; Ne-Yo echoed that sentiment to BBC Radio 1, calling it "flawless top to bottom." While Bryson Tiller explicitly told Fuse he wanted to make a record in the same vein. And you can hear its influence in everything from Drake's more romantic offerings to August Alsina's intimate revelations.

And 10 years after Robin Thicke co-penned and co-produced Confessions' sensuous bedroom jam, "Can U Handle It," he released his own breakup tale with 2014's Paula.  Though he hasn't ever explicitly cited Confessions as an influence, Paula is a concept album about Thicke's real-life marriage breakdown, which essentially doubled up as a begging letter to his estranged wife.

It's A Storytelling Masterclass 

In 2023, it was announced that an untitled drama series inspired by Usher's back catalog was in the works. No doubt that the project, said to be "about Black love in Atlanta and individuals looking to find a place to call home," will draw heavily upon the storytelling masterclass that is Confessions.

Take "Truth Hurts," for example, the relationship tale in which Usher initially presents himself as the wounded party before revealing that he was, in fact, the one being adulterous ("I've been blaming you when I'm the one that's doing wrong/ I'ma go on/ My guilty conscience is the real reason I wrote this song").

Usher also appeared to enjoy keeping audiences guessing about whether his confessions were truly autobiographical or borrowed from the album's male-centric production team. See the two title tracks, which suggested the lothario had himself become a father following a one-night stand, when in reality, the paternity drama was all Dupri's.

"We wanted the media to ask us questions," the latteradmitted to Vibe in 2014, citingMichael Jackson as a key attention-grabbing influence. "Nobody knows who the f— Billie Jean is. We're still looking for her."

It Helped Breathe New Life Into Several Soul Classics 

While much of Confessions was interested in pushing R&B forward, it wasn't entirely averse to getting a little nostalgic. The record is filled with cleverly chosen samples from the soul of yesteryear, from Harold Melvin and the Blue Notes' "Is There a Place for Me" on "Take Your Hand" to Willie Hutch's Mack's Stroll on "Superstar" and Preston Love's "Chili Mac" on "Whatever I Want."

And nearly 20 years before Doja Cat repurposed a Dionne Warwick classic to chart-topping effect on 2023's "Paint the Town Red," Usher brought the Motown legend into the contemporary R&B world by borrowing from "You're Gonna Need Me" on the aptly titled "Throwback."

It Broke Multiple Chart Records  

You know an artist has reached true greatness when they start being mentioned in the same breath as The Beatles. In 2004, Usher became the first act since the Fab Four to have both the biggest and second biggest-selling singles of Billboard's year-end chart with "Yeah!" and "Burn," respectively. And this was far from the only major milestone Confessions achieved. 

Until Taylor Swift's Fearless spent an additional fortnight in the top spot in 2009, the album's nine weeks atop the Billboard 200 was the longest run of the millennium. And with "Confessions Part II" also reaching No. 1 on the Hot 100 (ironically, replacing "Burn"), Usher not only became the first artist in  history to achieve three consecutive chart toppers, but also the first act to spend more than half a calendar year atop the Hot 100 at 28 combined weeks. 

Twenty years on, Confessions is still the highest-selling record by a Black artist this century. And further exemplifying his staying power and impact across the globe, Usher will soon embark on a lengthy world tour that has sold out from Brooklyn to Berlin — a momentous way to honor the album that changed the R&B game.

24 Songs Turning 20: Listen To 2004's Bangers, From "Yeah!" To "Since U Been Gone"

Editor's Note: This is an update to a story from 2017.

Without heart-bursting, world-shifting love songs, music wouldn't be the same. There are countless classic and chart-topping hits dedicated to love, and several of them have won GRAMMYs.

We're not looking at tunes that merely deal with shades of love or dwell in heartbreak. We're talking out-and-out, no-holds-barred musical expressions of affection — the kind of love that leaves you wobbly at the knees.

No matter how you're celebrating Valentine's Day (or not), take a look at 18 odes to that feel-good, mushy-gushy love that have taken home golden gramophones over the years.

Frank Sinatra, "Strangers In The Night"

Record Of The Year / Best Vocal Performance, Male, 1967

Ol' Blue Eyes offers but a glimmer of hope for the single crowd on Valentine's Day, gently ruminating about exchanging glances with a stranger and sharing love before the night is through.

Willie Nelson, "Always On My Mind"

Best Country Vocal Performance, Male, 1983

In this cover, Nelson sings to the woman in his life, lamenting over those small things he should have said and done, but never took the time. Don't find yourself in the same position this Valentine's Day.

Lionel Richie, "Truly"

Best Pop Vocal Performance, Male, 1983

"Truly" embodies true dedication to a loved one, and it's delivered with sincerity from the king of '80s romantic pop — who gave life to the timeless love-song classics "Endless Love," "Still" and "Three Times A Lady."

Roy Orbison, "Oh, Pretty Woman"

Best Pop Vocal Performance, Male, 1991

Orbison captures the essence of encountering a lovely woman for the first time, and offers helpful one-liners such as "No one could look as good as you" and "I couldn't help but see … you look as lovely as can be." Single men, take notes.

Whitney Houston, "I Will Always Love You"

Record Of The Year, Best Pop Vocal Performance, Female, 1994

Houston passionately delivers a message of love, remembrance and forgiveness on her version of this song, which was written by country sweetheart Dolly Parton and first nominated for a GRAMMY in 1982.

Celine Dion, "My Heart Will Go On (Love Theme From Titanic)"  

Record Of The Year, Best Female Pop Vocal Performance, 1999

This omnipresent theme song from the 1997 film Titanic was propelled to the No. 1 spot on the Billboard Hot 100 as the story of Jack and Rose (played by Leonardo DiCaprio and GRAMMY winner Kate Winslet) swept the country.

Shania Twain, "You're Still The One"

Best Female Country Vocal Performance, Best Country Song, 1999

Co-written with producer and then-husband Mutt Lange, Twain speaks of beating the odds with love and perseverance in lyrics such as, "I'm so glad we made it/Look how far we've come my baby," offering a fresh coat of optimism for couples of all ages.

Usher & Alicia Keys, "My Boo"

Best R&B Performance By A Duo Or Group With Vocals, 2005

"There's always that one person that will always have your heart," sings Usher in this duet with Keys, taking the listener back to that special first love. The chemistry between the longtime friends makes this ode to “My Boo” even more heartfelt, and the love was still palpable even 20 years later when they performed it on the Super Bowl halftime show stage.

Bruno Mars, "Just The Way You Are"

Best Male Pop Vocal Performance, 2011

Dating advice from Bruno Mars: If you think someone is beautiful, you should tell them every day. Whether or not it got Mars a date for Valentine's Day, it did get him a No. 1 hit on the Billboard Hot 100.

Cee Lo Green & Melanie Fiona, "Fool For You" 

Best Traditional R&B Performance, 2012

It's a far cry from his previous GRAMMY-winning song, "F*** You," but "Fool For You" had us yearning for "that deep, that burning/ That amazing unconditional, inseparable love."

Justin Timberlake, "Pusher Love Girl" 

Best R&B Song, 2014

Timberlake is so high on the love drug he's "on the ceiling, baby." Timberlake co-wrote the track with James Fauntleroy, Jerome Harmon and Timbaland, and it's featured on his 2013 album The 20/20 Experience, which flew high to No. 1 on the Billboard 200.

Beyoncé & Jay-Z, "Drunk In Love"

Best R&B Performance / Best R&B Song, 2015

While "Drunk In Love" wasn't the first love song that won Beyoncé and Jay-Z a GRAMMY — they won two GRAMMYs for "Crazy In Love" in 2004 — it is certainly the sexiest. This quintessential 2010s bop from one of music's most formidable couples captures why their alliance set the world's hearts aflame (and so did their steamy GRAMMYs performance of it).

Ed Sheeran, "Thinking Out Loud"

Song Of The Year / Best Pop Solo Performance, 2016

Along with his abundant talent, Sheeran's boy-next-door charm is what rocketed him to the top of the pop ranks. And with swooning lyrics and a waltzing melody, "Thinking Out Loud" is proof that he's a modern-day monarch of the love song.

Lady Gaga & Bradley Cooper, "Shallow"

Best Pop Duo/Group Performance / Best Song Written For Visual Media, 2019

A Star is Born's cachet has gone up and down with its various remakes, but the 2018 iteration was a smash hit. Not only is that thanks to moving performances from Lady Gaga and Bradley Cooper, but particularly thanks to their impassioned, belt-along duet "Shallow."

H.E.R. & Daniel Caesar, "Best Part"

Best R&B Performance, 2019

"If life is a movie/ Know you're the best part." Who among us besotted hasn't felt their emotions so widescreen, so thunderous? Clearly, H.E.R. and Daniel Caesar have — and they poured that feeling into the GRAMMY-winning ballad "Best Part."

Kacey Musgraves, "Butterflies"

Best Country Solo Performance, 2019

As Musgraves' Album Of The Year-winning LP Golden Hour shows, the country-pop star can zoom in or out at will, capturing numberless truths about the human experience. With its starry-eyed lyrics and swirling production, "Butterflies" perfectly encapsulates the flutter in your stomach that love can often spark.

Dan + Shay & Justin Bieber, "10,000 Hours"

Best Country Duo/Group Performance, 2021

When country hook-meisters Dan + Shay teamed up with pop phenom Justin Bieber, their love song powers were unstoppable. With more than 1 billion Spotify streams alone, "10,000 Hours" has become far more than an ode to just their respective wives; it's an anthem for any lover.

Lovesick Or Sick Of Love: Listen To GRAMMY.com's Valentine's Day Playlist Featuring Taylor Swift, Doja Cat, Playboi Carti, Olivia Rodrigo, FKA Twigs & More