The force that is Mariah Carey was seen looking fierce in Dorchester Hotel on Park Lane in London earlier today. A performance from the singer, who has been trying every trick in the book to hide her growing belly, will air tonight on the ‘Late Show with David Letterman’. Keep your eyes locked on ThatGrapeJuice for the footage of the legend in action!

That Grape Juice were one of a few select media outlets invited to the New York listening session for Lady GaGa’s hotly anticipated sophomore effort ‘The Fame Monster’, which took place last night. While I, Sam, am stationed in here in London, That Grape Juice is international baby, therefore our new New York correspondent Cherry was on hand to get all the juicy info. So without further ado, check out our preview of ‘The Fame Monster’ below (previously heard singles ‘Bad Romance’ and ‘Telephone are omitted for obvious reasons’):

Album Preview: The Fame Monster

There’s no question Pop phenomenon Lady Gaga has had an incredible year with the success of her debut album, ‘The Fame’, as well as the amazing, jaw-dropping, performances on various award and TV shows. Hence, it’s little surprise that Gaga serves up the hotness with her sophomore LP, ‘The Fame: Monster’.

The eight tracks range from mid-to-up-tempo beats, which are sure to find to comfort at any club, in the car or at a social outing.  Key producers on the ‘The Fame: Monster’ are RedOne, Rodney “Darkchild” Jerkins, Teddy Riley, Space Cowboy and her Interscope head Ron Fair. Lady Gaga wrote or co-wrote the entire album.

As mentioned in past interviews this album addresses the monsters that the 23 year old has encountered for the past 2 years as she’s travelled the world. These monsters (sex, love, loneliness, alcohol, death) are evident in the deliverance and execution of the lyrics on each song.

‘Alejandro’, which was written by RedOne and Lady Gaga and produced by RedOne, delivers a Spanish-tinged vibe over an Electro-Pop beat. The production and the flow of the song possess a distinct aura of 80s Madonna during her “Who’s That Girl” era.  This track will definitely appeal to an audience internationally. Some lyrics taken from the booklet:  You know that I love you boy * Hot like Mexico * Rejoice * At this point I’ve gotta choose * Nothing to lose* Don’t call my name * Don’t call my name * Alejandro.

‘Monster’, which was written by RedOne, Lady Gaga and Space Cowboy (produced by RedOne), unanimously received rave reviews. This song is a chart-topper, no ifs-buts-or-maybes! The beat is sick! It’s probably one of the hottest tracks I’ve heard in a long time. It kind of reminded me of a 80s, throwback Pop cut that will sure as anything be most requested at the clubs! The group loved it so much it had to play it more than once!  Lyrics include: I just wanna dance* But he took me home instead*  Uh-Oh there was a monster in my bed * We frenched kissed on a subway train * He tore my clothes right off * He ate my heart then he ate my brain.

The alternative Rock-meets-Bluesy track ‘Speechless’ showcases Lady Gaga’s vocal range. If you weren’t sure if she could actually sing this song proves she can! The guitar and piano mix is hot-fire and you can feel the passion in her vocal delivery. This song is more of a mid-tempo, yet it’s boasts a healthy balance from the other fast paced, dance-orientated tracks on the album. Lyrics include: I’ll never talk again* oh boy you’ve left me speechless * you’ve left me speechless*  and I’ll never love again.

Another real favourite of mine was ‘So Happy I Could Die’. Instantly ascertainable here is that she’s addressing her alcohol ‘monster’. The song was written and produced by Lady Gaga, RedOne and Space Cowboy. The production is very ‘GaGa’, in that it too is a dark, up-tempo which when released will be making a bee-line for the dance-floor. Lyrics include: Open up your heart and your mind to me * Just know when that glass is empty* that the world is gonna bend* Happy in the club with a bottle of red wine* Stars in our eyes cuz we’re having a good time* eh-eh* so happy I could die.

Two songs which didn’t rouse me as much were ‘Dance in the Dark’, written by Lady Gaga and Fernando Garibay (who produced the track as well) and ‘Teeth’ (produced by Teddy Riley). Much like the bulk of the album, Dance in the Dark, is unsurprisingly an up-tempo dance number, yet one which falls a little short in comparison to the LP’s stronger cuts. ‘Teeth’ had a soulful, bluesy vibe to it which kind of gave a nod to the swinging 20s era. Refreshing for GaGa, yet it’s questionable as to how much it actually works.

Important to stress here is that ‘The Fame Monster’ is a NEW album not a re-release of the ‘The Fame’ LP with additional tracks – as initially suggested by her team. It will be packaged in 3 different ways: an 8-track single disc ($7.99), Deluxe Edition to include tracks from The Fame ($18) and a Super Deluxe Edition which will include a lock of her hair weave ($95). ‘The Fame: Monster’ will be in stores November 23^rd and regardless which edition you purchase, you will not be disappointed!

Your thoughts?

The youngest of the Knowles clan, Solange, recently put her own spin on Indie band Dirty Projectors single ‘Stillness Is The Move’. Interestingly, she works into the mix Erykah Badu’s ‘Bag Lady’.

WOW! She knocked this one out of the park – literally. Vocals, arrangements, it’s soulfulness… everything! Love, love, love it! At a certain point a time, I was a little cynical about Solange’s foray into the ‘alternate’ / niche market, however having spent little of a year in the listening company of her sophomore LP ‘Sol-Angel & The Hadley Street Dreams’ and seen her live, I doubt no more. A true talent!

Hit or Miss?

Peep this behind the scenes look at the shooting of Rihanna‘s album packaging for ‘Rated R’. While Ms. Fenty’s artistic credibility is justifiably picked out more than not, she sure knows how to take a picture. I can’t say it enough, but she really would be better off a model.

Your thoughts?

Chris Brown continues his comeback campaign, yesterday sitting down with BET‘s Rocsi for a warts-and-all interview on 106 & Park. Largely centered on the Rihanna incident as well as her 20/20 interview, I definitely see this as one of Chris’ better damage-control interviews, though I am somewhat sceptical about the number of interviews he’s doing about the situation. Though she takes a lot stick, one has to give it up for Rocsi as her questions were particularly on-point.

‘Graffiti‘ hits stores December 8th.

Your thoughts?

Another cut has surfaced from Diddy and Dirty Money‘s ‘Last Train To Paris’ LP in the form of the Drake-assisted ‘Hurt’. The slinky piano-driven track is making it oh-so-hard to knock  this ‘movement’ now, as bar ‘Angels’, which I just wasn’t feeling like that, they have been consistently serving up the hotness. Pains me as it may (especially since the least interesting component of the whole project is Diddy himself – which kinda makes the whole thing a sham), I am anticipating ‘Train’ that much more now.

Hit or Miss?

R&B star Chris Brown premiered a new song from his forthcoming ‘Graffiti’ LP called ‘Shine Like Me’ on his blog Mechanical Dummy. While little is known about the track in the way of who produced it and whatnot, what can be ascertained is that this the business! A laid-back, breezy mid-tempo which with a killer hook. Great track.

‘Graffiti’ hits stores December 8th.

Hit or Miss?

Fashion favourite Rihanna has been hard at work promoting her forthcoming album, ‘Rated R’. Emerging from that project is ‘Cold Case Love’, which was written and produced by Justin Timberlake’s The Y’s. ‘Rated R’ hits stores on November 23rd.

The production on this track is no joke. The beat compliments the drifting melodies quite well and the inclusion of the instrumentals was genius. Those elements combined with the revealing lyrics, provide an interesting cocktail for what could become a major success. In contrast, as per usual, Rihanna’s vocal performance was far from impressive. Although she managed to portray the pain behind the lyrics, she also injected pain into my ears. Where have all the real singers gone?

Hit or Miss?

Peep the official album cover for Alicia Keys‘ forthcoming LP ‘The Element of Freedom‘ (due December 15th). Not sure I’m feeling the ‘Mother Earth’ vibe of this cover. Still, I’m loving her new single ‘Try Sleeping With A Broken Heart’ and I’m quite amped for the album itself.

What do you think of the cover?

‘Telephone’, the second of Lady GaGa and Beyonce‘s two collaborations (and GaGa’s follow-up to ‘Bad Romance’), surfaced shortly after the first a few minutes ago (I doubt it was a coincidence). In keeping things short and sweet, this is audio-fire! Everything from the production (courtesy of Darkchild), to each of their swaggers (especially Bey, who enlisted her ‘Diva’ flow). Bouncy and Crazy really are running things right now. The video for this really couldn’t come any sooner!

Hit or Miss?

‘Video Phone (Extended Mix)’, ‘the hotly anticipated duet between the hottest chicks in the game Beyonce and Lady GaGa, premiered literally moments ago.

Initially a little disappointed in that it sounded exactly the same as the original, by the time  GaGa’s verse kicked in I was sold LOL. GaGa channelled the same swagger and rode the beat with ease (although her part did sound kinda ‘phoned-in’ – no pun intended). Hearing this has me salivating for the video even more (it will apparently premiere November 23rd); after all, Bouncy and Crazy really do seem to make a great combo.

Tidbit: You can so tell there will be a serious dance-break!

Hit or Miss?

With his album release date on unsteady terms, another song has surfaced from the studio sessions of R&B singer Usher. The track, entitled ‘She Don’t Know’, which was produced by Hip-Hop hit makers Bangladesh, is reportedly going to be featured on the crooner’s forthcoming LP, tentatively entitled ‘Raymond vs. Raymond’. The first ‘buzz’ single from the album, ‘Papers’, has failed to enter the top 20 of the Billboard Hot 100after stalling at #31, despite the controversial nature of the track.

This is a nice song but no where near the level of material that an artist of Usher’s status should be generating. In an era where there is a lot of fresh talent emerging on the charts, more seasoned acts need to improve their craft or be pushed aside. Hopefully this song is not the best that Mr. Raymond has to offer because I doubt he can handle being outsold by his younger peers (Chris Brown especially) two years in a row.

Hit or Miss?