BEYONCE FELT SHE HAD SOMETHING TO PROVE WHEN SHE RELEASED "I AM..SASHA FIERCE." AND SHE DID. FIND OUT HOW IT ALL WENT DOWN BY WATCHING THIS.

AFTER DOMINATING THE EARLY 2000's AS THE CENTERPIECE OF DESTINY’S CHILD AND WITH TWO SUCCESSFUL SOLO ALBUMS ALREADY BEHIND HER, BEYONCE KNEW IT WAS TIME TO TAKE A RISK IN HER CAREER. SHE WENT INTO THE STUDIO THE INTENTION OF HIGHLIGHTING HER DUALITY AS AN ARTIST AND, WITH THIS GOAL IN MIND, SHE DECIDED HER NEXT RECORD WOULD BE A DOUBLE ALBUM.

INSPIRED BY JAY-Z, AS WELL AS  THE LEGENDARY ETTA JAMES, BEYONCE WANTED TO HIGHLIGHT HER OWN STRENGTHS AS AN ARTIST WHILE SHEDDING A NEW LIGHT ON HER PERFORMING ALTER EGO, THE VICIOUS SASHA FIERCE.  AS A RESULT, SHE WOULD DEDICATE THE FIRST SIDE OF THE ALBUM TO HERSELF, AND THE SECOND HALF TO SASHA.

RECORDING FOR “I AM...SASHA FIERCE” TOOK PLACE OVER EIGHT MONTHS ACROSS THE U.S., FROM PATCHWERK RECORDING IN ATLANTA TO STRAWBERRYBEE PRODUCTIONS IN NEW YORK. SHE WORKED WITH A WIDE VARIETY OF SONGWRITERS AND MUSICIANS, SUCH AS AMANDA GHOST, WHO HELPED BEY REWORK “AVE MARIA” AFTER COLLABORATING ON THE TRACK “DISAPPEAR”.

FOR DISC  ONE, NICKNAMED “I AM”, BEYONCE INCORPORATED ACOUSTIC GUITAR AND WORKED ON HER BALLADRY, WITH EXPRESSIVE LYRICS HIGHLIGHTING THE SINGER’S INNATE SENSITIVITY. HOWEVER, DISC  TWO, DEDICATED TO SASHA FIERCE, WAS A COMPLETELY DIFFERENT ANIMAL AND CONTAINED MORE OF AN ELECTRO INFLUENCE. THE GAME-CHANGING “SINGLE LADIES” PUT THIS INFLUENCE ON FULL DISPLAY AND BECAME A SMASH HIT, BECOMING BEYONCE’S FIFTH SINGLE TO TOP BILLBOARD’S HOT DIGITAL SALES CHART AND IT WENT ON TO WIN SONG OF THE YEAR AT THE TWENTY-TEN GRAMMYS.

EIGHT OTHER SINGLES WERE RELEASED FROM  THE ALBUM, WITH SEVEN OF THE NINE BREAKING THROUGH THE BILLBOARD HOT RNB/HIP-HOP CHARTS, MAKING “I AM...SASHA FIERCE” THE FIRST TWENTY-FIRST CENTURY ALBUM SCALE THOSE HEIGHTS. THESE OTHER SINGLES INCLUDED “DIVA”, “EGO”, “VIDEO PHONE”, “SWEET DREAMS”, AND THE HIT BALLAD “HALO”. CERTIFIED SEVEN TIMES PLATINUM, “HALO” HAS SINCE BEEN CITED AS ONE OF BEYONCE’S BEST SONGS, WITH RENDITIONS DEDICATED TO MICHAEL JACKSON, THE VICTIMS OF THE TWENTY-TEN HAITI EARTHQUAKE, AND AS RECENTLY AS THIS YEAR FOR KOBE AND GIANNA BRYANT.

AFTER EIGHT MONTHS OF RECORDING “I AM...SASHA FIERCE” WAS PRESENTED  TO THE WORLD ON NOVEMBER 12th, 2008. WHILE RECEIVING MODERATE REVIEWS FROM CRITICS, WHO FELT THE DOUBLE ALBUM FORMAT WAS TOO MUCH OF A GIMMICK, THE ALBUM DEBUTED AT NUMBER ONE ON THE BILLBOARD TOP TWO-HUNDRED--BEYONCE’S THIRD NUMBER ONE RECORD, MAKING HER THE THIRD FEMALE ARTIST OF THE 2000's WITH ALL THREE OF HER ALBUMS TO DEBUT IN THAT POSITION. THE ALBUM AND ITS SINGLES GAVE BEYONCE SEVEN NOMINATIONS AT THE 2010 GRAMMYS, EARNING HER SIX, A RECORD-SETTING NUMBER FOR A SOLO FEMALE ARTIST.

SINCE THE RELEASE OF “I AM...”, BEYONCE HAS LEANED MORE INTO HER SASHA FIERCE SIDE, RELEASING TRACK AFTER TRACK OF BLACK FEMINIST ANTHEMS ON RECORDS LIKE HER TWENTY-THIRTEEN SELF-TITLED ALBUM AND TWENTY-SIXTEEN’S “LEMONADE”.   FOR SHOWING US THE MULTIPLE FACES OF A TRUE QUEEN, “I AM...SASHA FIERCE” IS THE GREATEST ALBUM EVER...THIS WEEK.

Watch the complete scoop on "Late Registration," the sophomore release that made a superstar out of an upstart rapper-producer from Chicago, HERE.

Kanye West is one of the most discussed figures in pop culture--whether marrying into the Kardashian family, storming off stage on tour, and even running for president, it’s hard not to see Kanye as the celebrity rapper to end all rappers. But rewind back to 2005, before the constant media attention, when Kanye was simply a rapper.

The backpacker with a Benz had just blown the lid off the rap game a year prior with his breakout album, two-thousand-four’s The College Dropout, and the notorious single “Jesus Walks” showed Ye’s unique ability to keep the braggadocio high while staying down to Earth. Celebrated widely upon its release and cited as an instant classic by everyone from Pop Matters to The New York Times, all eyes were on West as he entered the studio, eager to blow the sophomore slump out of the water.

Most of the recording for West’s next album took place on both U.S. coasts, with most work taking place at Sony Music Studios in New York and the Record Plant Studios in Hollywood. Hoping to capture a more lush and elegant sound, West enlisted the help of famed composer Jon Brion to add orchestral flourishes to Kanye’s verses, samples, and programmed drums. Add a wide array of guest artists, including rappers Jay Z and Nas, R&B singers Brandy and Jamie Foxx, and singers Adam Levine and  Patti Labelle, and it’s easy to see why Late Registration cost nearly two-million dollars to produce over a year-long period.

Kanye linked with mentor Jay Z to record the album’s lead single, “Diamonds From Sierra Leone”, sampling a classic James Bond riff and showing the two rappers reflect on success, fame, and world conflict. However, it was the second single that propelled Late Registration and Kanye into the upper echelon of celebrity: that single, of course, is the Jamie Foxx assisted “Gold Digger”. The song topped the Billboard Hot One Hundred charts upon its release, and earned West a Grammy for best rap performance in 2006. It has since been sited as one of the best rap singles of all time.

Other singles accompanying the album’s release included “Drive Slow” with Paul Wall and GLC, “Heard Em Say” with Adam Levine, and “Touch the Sky” with Lupe Fiasco in his career debut.

After a year long wait, Late Registration was delivered on August 13th, 2005, and immediately hit number one on the Billboard Top Two-Hundred. It topped many year end lists, finishing by a wide margin as the best album of the year in USA Today, Spin, and d even Time Magazine.

At the 2006 Grammy Awards, Kanye won rap album of the year and record of the year for “Gold Digger”. With eight nominations, West competed with Mariah Carey and John Legend for the most at that year's Grammys. Late Registration was nominated for Album of the Year across the board, and won at the 2005 Kiss Awards.

To this day, Late Registration still remains a shining moment in Kanye’s career. More lavish, more sophisticated, and more self-aware, it is not only considered one of rap’s best albums, but one of the best albums of the twenty-first century. For its tongue-in cheek yet conscious lyricism, maximalist production, and long standing legacy, Late Registration by Kanye West is our Greatest Album Ever...This Week.

The Beatle's Revolver pretty much changed everything. Watch the story behind its creation HERE.

THE BEATLES MADE THEIR DEBUT IN 1963 WITH PLEASE PLEASE ME….AND, OVER THE COURSE OF THE NEXT FEW YEARS, THEY SET THE COLLECTIVE POP WORLD ON ITS EAR.  THEIR SUCCESS WAS UNPRECEDENTED BUT THE INCESSANT TOURING WAS STARTING TO TAKE A MAJOR TOLL ON THE FAB FOUR. AS A RESULT  JOHN LENNON, PAUL MCCARTNEY, GEORGE HARRISON AND RINGO STARR WANTED TO TAKE THE BEATLES IN A NEW DIRECTION.

BY 1965, AFTER THE RELEASE OF THEIR ALBUM RUBBER SOUL, IT WAS CLEAR THAT THE FOUR LADS  FROM LIVERPOOL NO LONGER NEEDED TO SPEND THEIR LIVES ON THE ROAD. INSTEAD, THE IDEA OF BECOMING A STUDIO BAND BECAME MORE AND MORE PROMISING.

FIRST, THE BAND OPPOSED MANAGER BRIAN EPSTEIN’S IDEA TO MAKE A  FULL-BLOWN FILM TIED TO A NEW ALBUM, ALA A HARD DAYS NIGHT AND HELP! THE BEATLES WERE, IN FACT, EXHAUSTED, AND LONGED TO INFUSE THEIR MUSIC WITH THEIR GROWING INTERESTS IN EASTERN PHILOSOPHY, AND AVANT-GARDE ART—ALONG WITH THE RECREATIONAL USE OF LSD ON BEHALF AT LEAST HALF THE MEMBERS OF THE GROUP. IN FACT, THE BAND WAS ENTERING THEIR “PSYCHEDELIC PERIOD” WHEN THEY RETURNED TO ABBEY ROAD STUDIOS IN LONDON…AND WITH SO MANY NEW SPHERES OF INFLUENCE, THE BOYS KNEW IT WAS GOING TO BE UNLIKE ANYTHING THEY’VE DONE BEFORE.

WITH LONG-TIME PRODUCER GEORGE MARTIN BEHIND THE BOARD JOINED BY NEWCOMER GEOFF EMERICK, THE FIRST SONG RECORDED FOR THE NEW ALBUM’S SESSIONS WAS THEIR MOST EXPERIMENTAL TO DATE. ORIGINALLY TITLED “THE VOID” BUT CHANGED TO “MARK 1,” AS TO NOT SCARE EXECS AT LABEL EMI, THE SONG WAS FULL OF PRE-RECORDED TAPE LOOPS SPED UP AND REVERSED, AND FEATURED JOHN LENNON SINGING THROUGH AN OSCILLATING SPEAKER. WITH LYRICS TAKEN FROM THE WORK OF ACID VISIONARY TIMOTHY LEARY, “TOMORROW NEVER KNOWS” BECAME THE FIRST “ACID SONG” ACCORDING TO LENNON HIMSELF.

EACH BEATLE HAD THEIR OWN TIME TO SHINE DURING THE RECORDING SESSIONS, WITH PAUL BRINGING MORE SERIOUS SONGWRITING FOR SONGS LIKE “ELEANOR RIGBY”, WHICH HIT NUMBER ONE ON THE UK SINGLES CHARTS UPON ITS RELEASE. GEORGE INCORPORATED HIS CONTINUING OBSESSION WITH THE SITAR ON “LOVE YOU TO” AND HIS GROWING INTEREST IN EXPERIMENTATION CREPT INTO “I’M ONLY SLEEPING” WITH HIS GUITAR SOLO RECORDED AND DUBBED BACKWARDS FOR THE FINAL CUT.

HOWEVER, IT WAS THE MOMENTS OF FULL-BAND COLLABORATION THAT LEAD TO SONGS LIKE “YELLOW SUBMARINE”, WITH JOHN BLOWING BUBBLES THROUGH A STRAW AND RINGO SINGING NAUTICAL-THEMED LYRICS IN A SING-SONGY VOICE. THE SONG DEBUTED AT NUMBER ONE ON EVERY UK CHART, MAINTAINED ITS POSITION FOR FOUR WEEKS, AND STAYED ON THE CHARTS FOR THIRTEEN WEEKS.

SEVERAL TITLES WERE TOSSED AROUND FOR THE ALBUM, INCLUDING “AFTER GEOGRAPHY” AS A JAB AT THE ROLLING STONES’ ALBUM AFTERMATH. HOWEVER, THE BAND DECIDED ON REVOLVER AS A DOUBLE ENTENDRE FOR THE WAY A RECORD SPINS ON A TURNTABLE AND FOR THE CONSTANTLY REVOLVING FOCUS FROM ONE BEATLE TO THE NEXT ON THE RECORD.

ARTIST AND FRIEND OF THE BAND KLAUS VOORMAN DESIGNED THE ICONIC ALBUM COVER AS A COLLAGE OF PICTURES OF THE BAND, AND PROVIDED LINED CARICATURES OF THE BEATLES WHICH HE DREW FROM MEMORY. THE ALBUM COVER WOULD GO ON TO WIN  VOORMAN THE BEST RECORD-PACKAGING AWARD AT THE NINTH ANNUAL GRAMMYS…A FIRST FOR A ROCK ACT.

AFTER TWO MONTHS OF PURE EXPERIMENTING IN THE STUDIO, REVOLVER WAS RELEASED ON AUGUST 5th, 1996. PETER CLAYTON WRITING FOR GRAMOPHONE SAID THAT “THIS NEW DIET OF NEWNESS MIGHT GIVE THE ORDINARY POP-PICKER INDIGESTION”. RICHARD GOLDSTEIN OF THE VILLAGE VOICE DECLARED REVOLVER A MILESTONE IN THE PURSUIT OF ROCK N ROLL AS AN ARTISTIC PURSUIT.

RETROSPECTIVELY, REVOLVER IS PRAISED AS A CLASSIC ACROSS THE BOARD, AND IT'S NOTED FOR THE BAND’S ABILITY TO HIGHLIGHT THE STRENGTHS OF EACH MEMBER, AS WELL AS THEIR POWER AS A UNITED FRONT.

TWO DAYS AFTER THE ALBUM WAS FINISHED, THE BEATLES EMBARKED ON THEIR FINAL WORLD TOUR. NONE OF THE MATERIAL FROM REVOLVER WAS PLAYED, AS THE BAND BELIEVED IT TOO DIFFICULT TO RECREATE LIVE. HOWEVER, BY THEN, THE FINAL NAIL IN THE COFFIN WAS SET. THE MOP-TOP BOY BAND THAT WOWED LEGIONS OF SCREAMING GIRLS ACROSS THE WORLD WAS NO MORE.

REVOLVER IS THE SOUND OF ONE OF THE GREATEST BANDS IN THE WORLD REACHING THEIR POINT OF MOST NOTABLE INFLUENCE. FOR ITS UNDENIABLE LEGACY AND UNCOMPROMISING EXPERIMENTATION FOR THE SAKE OF EVOLVING THE ART FORM, REVOLVER IS OUR GREATEST ALBUM EVER...THIS WEEK.

Arcade Fire broke through to the masses by creating a sprawling, introspective albu about where they came from. Watch the story HERE.

BEGINNING AS A MODEST PROJECT AMONG FRIENDS, ARCADE FIRE WAS FOUNDED IN 2000 IN MONTREAL BY FRONTMAN AND CHIEF SONGWRITER WIN BUTLER. HOWEVER, THE EXPLOSIVE CATHARSIS ON THE BAND’S 2004 DEBUT ALBUM, FUNERAL, AND THEIR UNCANNY ABILITY TO CONJURE ECHOES OF  BOTH THE CURE AND BRUCE SPRINGSTEEN ON THEIR SOPHOMORE ALBUM NEON BIBLE, GAVE ARCADE FIRE A MASSIVE PLATFORM AS NOT ONLY THE FIGUREHEADS OF THE MONTREAL INDIE SCENE, BUT AS THE ZEITGEIST OF ALTERNATIVE ROCK FOR THE 2010's.

ACCOLADES ASIDE, WIN BUTLER KNEW HE WANTED TO CHANGE THE FORMULA FOR THE BAND’S THIRD ALBUM. ALONG WITH HIS BROTHER, MULTI-INSTRUMENTALIST AND KEY ARCADE FIRE MEMBER WILLIAM BUTLER, WIN SOUGHT TO PAY HOMAGE TO THE HOUSTON, TEXAS SUBURBS WHERE HE GREW UP.

THE SOUND OF THE NEW ALBUM WOULD BE A COMBINATION OF “DEPECHE MODE AND NEIL YOUNG”, THE ARTISTS THAT THE BUTLERS GREW UP LISTENING TO.  AND WHILE THE RECORD WOULD FOCUS ON THE YOUTHFUL MALAISE OF SUBURBAN LIFE, IT WOULDN’T BE A CRITIQUE. WIN BUTLER HAS SINCE SAID THE ALBUM WAS “NEITHER A LOVE LETTER TO, NOR AN INDICTMENT OF THE SUBURBS - BUT A LETTER FROM THE SUBURBS.”

MOST OF THE WORK ON THE SUBURBS TOOK PLACE AT WIN BUTLER’S HOME STUDIO IN MONTREAL, WHERE HE LIVED WITH ARCADE FIRE CO-FOUNDER AND HIS WIFE, MULTI-INSTRUMENTALIST REGINE CHASSAGNE. THE BAND AT THE TIME CONSISTED OF THE BUTLERS, REGINE, DRUMMER JEREMY GARA, VIOLINIST SARAH NEUFELD, AND MULTI-INSTRUMENTALISTS TIM KINGSBURY AND RICHARD REED PARRY.

WHILE THE RECORD WAS PRODUCED BY THE BAND, THEY WERE JOINED IN-STUDIO BY VETERAN MARKUS DRAVS, WHO HAD WORKED WITH THEM PREVIOUSLY ON NEON BIBLE. HE WOULD ALSO WORK WITH ARCADE FIRE ON THEIR NEXT ALBUM, 2013's REFLEKTOR, AND WOULD WIN A GRAMMY FOR HIS WORK ON COLDPLAY’S VIVA LA VIDA, A GIG HE ACQUIRED COURTESY OF WIN BUTLER’S RECOMMENDATION TO CHRIS MARTIN.

THE ALBUM’S RELEASE WAS ACCOMPANIED BY SIX SINGLES, FIVE OF WHICH APPEARED ON THE FINAL CUT. FIRST SINGLE, “THE SUBURBS”/”MONTH OF MAY” SHOWCASED THE BAND’S AFFECTION FOR MAXIMALIST AND BAROQUE INSTRUMENTATION, WHILE MAINTAINING THE RAW YOUTHFUL AGGRESSION WIN BUTLER WANTED FOR THE ALBUM. OTHER SINGLES INCLUDED “CITY WITH NO CHILDREN”, “SPRAWL II (MOUNTAINS BEYOND MOUNTAINS)”, AND “READY TO START”, REACHING A NEW BILLBOARD PEAK FOR THE BAND AT NUMBER SIXTEEN ON THE ALTERNATIVE SONGS CHART.

RELEASED ON AUGUST 2, 2010, THE SUBURBS DEBUTED AT NUMBER ONE ON THE IRISH AND UK ALBUMS CHARTS, AS WELL AS ON THE U.S. BILLBOARD TOP TWO-HUNDRED AND CANADIAN ALBUMS CHART. IT WAS A COMMERCIAL AND CRITICAL TRIUMPH FOR THE BAND, WINNING THEM ALBUM OF THE YEAR AT THE 2011 GRAMMYS AND THE 2011 JUNO AWARDS, AS WELL AS BEST INTERNATIONAL ALBUM AT THE 2011 BRIT AWARDS.

THE SUBURBS WENT ON TO TOP MANY END OF THE YEAR AND END OF THE DECADE LISTS, INCLUDING THOSE FROM BBC 6, CLASH! MAGAZINE, AND EXCLAIM! IT WAS PITCHFORK’S ELEVENTH FAVORITE ALBUM OF 2010 AND ROLLING STONE’S FOURTH FAVORITE.

COMPLEMENT THE ALBUM WITH A SHORT FILM DIRECTED BY SPIKE JONZE, AND IT’S CLEAR THAT THE SUBURBS WAS A GAME-CHANGER, INSPIRING SOME OF THE TOP ALTERNATIVE ACTS OF THE 2010's, FROM FLORENCE + THE MACHINE TO MUMFORD AND SONS TO LORDE.  FOR IT’S LYRICS DEALING WITH CLASS STRUGGLE, EXPLOSIVE YET COMPOSED MUSICIANSHIP, AND FOR PROPELLING WIN BUTLER AND COMPANY INTO INTERNATIONAL STARDOM, THE SUBURBS BY ARCADE FIRE IS OUR GREATEST ALBUM EVER... THIS WEEK.

When Luke Bryan invited fans to crash his party, they did so in epic numbers. Get the inside story behind the CMA's "Album of the 2010's" below, and watch it here.

BORN IN LEESBURG, GEORGIA TO A FAMILY OF PEANUT FARMERS, COUNTRY SINGER LUKE BRYAN MOVED TO NASHVILLE AT NINETEEN AND BEGAN WORKING AS A WORKSHOP WRITER. HE FIRST GAINED ATTENTION IN 2004 FOR HIS CONTRIBUTION TO TRAVIS TRITT’S ALBUM, “MY HONKY TONK HISTORY”. HIS POP COUNTRY SENSIBILITIES EVENTUALLY GAINED THE ATTENTION OF RECORD LABEL CAPITOL NASHVILLE, WHO SIGNED HIM TO A RECORDING CONTRACT.

BRYAN HAD GIVEN FANS THREE ALBUMS OF UNDENIABLE MODERN COUNTRY GOOD TIMES, FURTHER ESTABLISHING HIMSELF AS A MAINSTAY IN THE SCENE. HIS SINGLES, INCLUDING HIT SONG “COUNTRY GIRL (SHAKE IT FOR ME)” GAVE AUDIENCES A TASTE OF WHAT HE WAS CAPABLE OF, AND SET THE STAGE FOR HIM TO START WORK IN HIS FOURTH RECORD.

BRYAN ENLISTED THE HELP OF COUNTRY VETERAN JEFF STEVENS TO PRODUCE THE FOURTH ALBUM. FOR TASTE OF COUNTRY IN A JULY 2013 INTERVIEW, BRYAN SAID HE WANTED TO GIVE FANS MORE OF THE SAME. TRIED AND "TRUE LUKE BRYAN" WAS WHAT THE FANS HAVE GROWN TO LOVE, AND THE “BIG FUN UP-TEMPO'S... BALLADS, SINGALONGS AND LIGHT SONGS” WOULD ALL STILL BE PRESENT.

LUKE BRYAN’S COLLABORATORS ON THE ALBUM INCLUDED SINGERS COLE SWINDELL, CHRIS STAPLETON, AND DALLAS DAVIDSON, TO NAME A FEW. THE ALBUM’S FIRST SINGLE, “CRASH MY PARTY”, WAS RELEASED ON APRIL 7th, 20123, AND WAS DEBUTED AT THE ACADEMY OF COUNTRY MUSIC AWARDS, WHICH BRYAN HOSTED WITH BLAKE SHELTON. IT PEAKED AT NUMBER ONE ON THE U.S. COUNTRY AIRPLAY CHARTS BY BILLBOARD, AND CHARTED INTERNATIONALLY ON THE BILLBOARD CANADA COUNTRY CHARTS AT NUMBER ONE.

HOWEVER, THE SUCCESS OF BRYAN’S UPCOMING ALBUM WAS FELT WHEN NEXT SINGLE, “THAT’S MY KIND OF NIGHT”, CAME OUT ON AUGUST FIFTH. THE SONG PEAKED AT NUMBER ONE ON THE BILLBOARD HOT COUNTRY SONGS AND WITH THE RELEASE OF THE ALBUM A WEEK LATER, BRYAN BECAME THE FIRST MALE COUNTRY ARTIST TO HIT NUMBER ONE ON THE SONGS AND TOP COUNTRY ALBUMS CHARTS AT THE SAME TIME.

CRASH MY PARTY, BRYAN’S FOURTH ALBUM, WAS RELEASED ON AUGUST THIRTEEN, TWENTY-THIRTEEN. WHILE HIS RELIABLE POP COUNTRY DIDN’T AMAZE CRITICS, FAN RECEPTION TO THE ALBUM WAS UNPRECEDENTED. IT DEBUTED AT NUMBER ONE ON THE BILLBOARD TOP TWO-HUNDRED AND BECAME THE THIRD BEST-SELLING ALBUM OF THE YEAR. IT SOLD ONE POINT FIVE MILLION UNITS, AND BY JULY OF 2014, REACHED TWO MILLION.

CRASH MY PARTY EARNED BRYAN THE “ENTERTAINER OF THE YEAR” AWARD BY BOTH THE COUNTRY MUSIC ASSOCIATION AND THE ACADEMY OF COUNTRY MUSIC IN 2013. IN 2019, THE ALBUM ALSO EARNED BRYAN THE ALBUM OF THE DECADE BY THE ACADEMY OF COUNTRY MUSIC.

LUKE BRYAN HAS BECOME ONE OF THE MOST LAUDED COUNTRY ARTISTS OF THE MODERN DAY, AND WITH ALBUMS LIKE CRASH MY PARTY, IT’S NOT DIFFICULT TO SEE WHY. FOR ITS POP COUNTRY SENSIBILITIES, COLLABORATIVE RECORDING PROCESS, AND ENDLESS LOVE FOR PARTYING, CRASH MY PARTY BY LUKE BRYAN IS OUR GREATEST ALBUM EVER...THIS WEEK.