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From The President/CEO
Neil Portnow
President/CEO of The Recording Academy
[6]
For the past 40 years, the Trustees of The Recording Academy have ratified on average 25 recordings of lasting significance that have been inducted into the GRAMMY Hall Of Fame each year. This Hall is unlike any other. It currently consists of nearly 1,000 of the most important recordings of the 20th century that are at least 25 years old. Most all of the essential music creators of the era are represented, but it is the recordings that we honor, just as we do in many of the GRAMMY Awards categories. The GRAMMY Hall Of Fame serves much the same purpose as similar halls of fame in sports, culture and other facets of life: to help preserve music’s towering legacy, to honor the amazing accomplishments inherent in each recording and to spotlight and help curate these essential works for each generation that follows. Why do we honor recordings rather than the artists? Why not enshrine individuals as so many halls of fame do? Because it’s The Academy’s mission to recognize the timeless recorded music that has enriched our culture — not just the artists, but also the songwriters, producers, engineers, mixers, and other professionals who come together to create a unique performance in time that makes these recordings standing monuments to our shared experience. So in this Hall, we honor the singular, lasting achievement embodied in these recordings. I’m pleased to say that most of these recordings are available on licensed digital streaming and download services. At The Academy, we’re looking forward to the day when the entire output of recorded music is available through these legal services, so anyone interested in discovering music — both historical and current recordings — can access that music through their laptop, tablet, mobile phone, even smartwatch, fulfilling the early promise of digital music to create an exhaustive jukebox in the cloud, giving fans the music they want and the creators the compensation they deserve. Meanwhile, the GRAMMY Hall Of Fame is represented by its physical home at the GRAMMY Museum in downtown Los Angeles. There, you can listen to samples and browse information on what each title means in the larger cultural picture. We invite you to stop by whenever you’re in Southern California. My personal hope is that this book will inspire you to dig deeper into the treasure trove of music the GRAMMY Hall Of Fame encompasses. For many of you, that will result in an understanding of just where that sample in your favorite hip-hop track came from or a greater appreciation of the giants who influenced your favorite contemporary artists. But mostly, it will introduce you to unforgettable music that literally changed our world.
GRAMMY Hall of Fame 40th Anniversary
The Original Hollywood Sign was built in 1923 on Mount Lee in Los Angeles. Over its lifespan, the Sign became a pop culture icon and a symbol for the entire entertainment industry. The Original Sign, the one that was seen by celebrated stars of the Golden Age of Hollywood, was replaced in 1978 and rested in a storage facility for 30 years. The Hollywood Sign symbolizes fame, fortune and glamour, unlike any other image in the World. The Hollywood Sign IS Hollywood. When the opportunity to purchase this American icon became available, Bill Mack quickly accepted the opportunity realizing that unless the Eiffel Tower or the Statue of Liberty was put up for sale, this was the last chance to own one of the world’s most famous structures. After acquiring the Sign, Mack declared, “The Hollywood Sign is among the most famous structures in the world, and I will give the world a whole new way to look at it.” Bill Mack is a contemporary artist, best known for his life-like relief sculptures. He is regarded as “the finest relief sculptor in the World today.” He also is a highly skilled two-dimensional artist in the Romantic Realism style, creating world-class drawings and paintings of the human form as studies for each of the reliefs he creates. Mack is also an avid collector of art, historical letters and documents, and Hollywood memorabilia. His appreciation of both art and entertainment artifacts inspired Mack to acquire the sign. Mack uses the facade of the original Hollywood Sign as canvas to create portraits of illustrious stars from the Golden Age of Hollywood. According to Mack the 80-year-old material, “gives each painting a heartbeat, a sense of the time and place where Hollywood Legends first stood atop Mount Lee next to the sign on which I have painted their images.” Bill Mack paints his images in the Photorealism genre of art which is based on the use of photo reference as visual information from which the artist’s
work appears photographic. Pop Art and Photorealism were both reactionary movements stemming from the ever increasing and overwhelming abundance of photographic media, which by the mid-20th century had grown into such a massive phenomenon that it was threatening to lessen the value of imagery in art. The Pop Artists were primarily pointing out the absurdity of much of the imagery especially in commercial usage, while the Photorealists were exalting the value of an image, much like Mack does.
The metal used in Mack’s artworks has been painstakingly preserved by re-boring the holes that were in the metal, (presumably to keep the sign from blowing over), and restoring the painted surface with all of its imperfections including many that intersect Mack’s imagery. A warm tone is added to the painting to age the image and the original white background simultaneously. This gives the painted image the appearance that it was applied to the metal prior to 1978 when it was part of the historic sign that resided in the Hollywood Hills overlooking Los Angeles for 55 years. Through this project, Bill Mack has introduced an exhilarating and unique art form and at the same time sharing the rich history of Hollywood and the Original Hollywood Sign.
Bill Mack uses the facade of the Original Hollywood Sign as canvas to create portraits of illustrious stars from the Golden Age of Hollywood.
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Contents
Welcome 6
From The President/CEO
The GRAMMY Hall Of Fame 84 86 108 114
About The GRAMMY Hall Of Fame A Timeline Of Notable Hall Of Fame Firsts 2014 GRAMMY Hall Of Fame Inductions Complete GRAMMY Hall Of Fame List
Features
18 It Was A Very Good Year What was it about 1965 that made it the year that produced the most GRAMMY Hall Of Fame-inducted recordings?
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30 The Big Impact Of The Little Guy Independent labels have been instrumental in the cultural history of music 74 Here, There And Everywhere The Beatles are the group with the most titles in the Hall, and covers of those titles are the sincerest form of flattery 98 Format Wars From wax cylinders to Super Audio CD, we’re still searching for music’s perfect delivery system
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GRAMMY Hall of Fame 40th Anniversary
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Contents
The Making Of
Recalling the process of creating a classic
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44 46 48 50 52 54 56 58 60 62 64 66 68 70 72
“Ain’t No Sunshine” by Bill Withers “Dancing In The Street” by Martha Reeves “My Generation” by Pete Townshend “Roxanne” by Stewart Copeland Saxophone Colossus by Sonny Rollins Abraxas by Carlos Santana “Respect Yourself” by Mavis Staples 2000 And Thirteen by Mel Brooks “Coal Miner’s Daughter” by Loretta Lynn Head Hunters by Herbie Hancock “Society’s Child” by Janis Ian “Stand By Me” by Ben E. King “Mama Tried” by Merle Haggard “Fire And Rain” by James Taylor “California Dreamin’” by Michelle Phillips
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About The GRAMMY Museum About The Recording Academy
The GRAMMY Award design is a trademark and service mark registered with the United States Patent and Trademark Office and may not be reproduced without permission.
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The National Academy of Recording Arts & Sciences, Inc., owns, among others, the following trademarks: National Academy of Recording Arts & Sciences®, The Recording Academy®, GRAMMY®, GRAMMY Awards®, GRAMMY Hall Of Fame®, Latin Academy of Recording Arts & Sciences®, The Latin Recording Academy®, MusiCares Foundation®, GRAMMY Legend Awards®, GRAMMY in the Schools® and GRAMMY Foundation®. The GRAMMY Hall Of Fame 40th Anniversary collector’s edition is published by The Recording Academy, 3030 Olympic Blvd., Santa Monica, CA 90404, in association with FX Marketing Group. © 2013 The Recording Academy. All rights reserved.
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GRAMMY Hall of Fame 40th Anniversary
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Ken Rose Sr. Director Entertainment & Artist Relations Elizabeth Ferris Artist Relations Advisor Rhonda Bedikian Advertising Sales — West Coast Tom Brady VP Advertising Sales Doug Beaudoin Advertising Sales Joe Gonzalez Program Director Lele Paul Global Accounts Director Jeffrey Schnell Advertising Sales Bryan Silver Advertising Sales Brooke Walton Advertising Sales Teejay Weaver Archival & Historian Brandon Welch Advertising Sales Tanya Wydick Advertising Sales
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The Official GRAMMY Hall Of Fame 40th Anniversary collector’s edition is published by The Recording Academy, 3030 Olympic Blvd., Santa Monica, CA 90404, and produced in association with FX Marketing Group Inc., 300 South Hyde Ave., Suite 202, Tampa, FL 33606. All rights reserved. No part of the publication may be reproduced, stored in a retrieval system, transmitted in any form, by means electronically, mechanically, photocopying, or otherwise, and no article or photography can be printed without the written consent of the publisher. Reproduction in whole or in part without written consent is forbidden. The Recording Academy and FX Marketing Group assume no responsibility for statements made by advertisers; the quality, deliverability of products, or services advertised; or positioning of advertising. GRAMMY Awards is a registered trademark of the National Academy of Recording Arts & Sciences Inc. The GRAMMY Award design is a trademark and service mark registered in the United States Patent and Trademark Office and may not be reproduced without permission. © 2013 The Recording Academy. All rights reserved. Published by
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GRAMMY Hall of Fame 40th Anniversary
Microsoft Tag
The year that has spawned the most inductions into the GRAMMY Hall Of Fame was a turning point in our cultural history By Ben Fong-Torres
W
James Brown
CBS Photo Archive/Getty Images
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GRAMMY Hall of Fame 40th Anniversary
hen Frank Sinatra turned 50, it was a very good year. It was 1965, and his album September Of My Years would produce the hit “It Was A Very Good Year,” a song about the days growing short, about being “in the autumn of his years” and, to borrow from another of his songs, about facing “the final curtain.” Of course, Sinatra was not ready for retirement. But in a way, the Chairman was passing the pop music baton to a new generation. That new generation was led by the Beatles, who had three albums top the Billboard 200 in 1965 for six to nine weeks each: Beatles ’65, Beatles VI and the soundtrack to Help! In the title song on the latter album, the Beatles, all in their 20s, were reflecting
The Beatles
Ted West/Central Press/Getty Images
on their younger days, when they needed nobody’s was the year that shifting musical sands help. But now, they sang, “I’m not so self-assured/ began to weaken the foundation of more Now I find I’ve changed my mind and opened up the traditional pop forms and sounds. doors.” Meanwhile, the Rolling Stones couldn’t get no Rock music and, to a lesser extent, satisfaction and the Who issued “My Generation,” on soul and folk, reflected and, sometimes, which Roger Daltrey famously declared, “I hope I die inspired the changes younger people before I get old!” were going through. It helped chart a The Beatles, the Rolling Stones, the Who, and Sinatra new course for the country. It was, some all have recordings from 1965 in the GRAMMY Hall Of would argue, the actual beginning of Fame. Other seminal 1965 recordings inducted into the Sixties. Not the chronological ’60s, the Hall include Artur Rubinstein’s Chopin works, B.B. but the cataclysmic “Sixties.” King’s Live At The Regal album, the soundtrack to The More than any other year in that Sound Of Music, Bob Marley’s “One Love,” Jackie tumultuous decade, 1965 was a DeShannon’s “What The World Needs Now Is Love,” turning point — socially, politically and and, certainly, James Brown’s “Papa’s Got A Brand culturally. It was the year of President New Bag (Part 1).” Lyndon B. Johnson’s Great Society, and All totaled, 1965 accounts for 45 entries in the of the escalation of the Vietnam War. In GRAMMY Hall Of Fame, more than from any other March Dr. Martin Luther King Jr. began to year. It’s not by accident that 1965 stands out. It lead the Selma to Montgomery marches, GRAMMY Hall of Fame 40th Anniversary
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More than any other year in that tumultuous decade, 1965 was a turning point — socially, politically and culturally.
seeking equal voting rights for blacks. And one year, in 1965 Muhammad Ali knocked out Sonny Liston their influence was in May in his first fight since adopting Islam being seen and and changing his name from Cassius heard in many Clay. It was the year of nuclear testing in rock acts across Nevada and a six-day riot in Watts. the United States, On July 25, 1965, Bob Dylan was heckled including the Byrds, at the Newport Folk Festival for playing the Turtles, Sonny & an electric guitar. His decision to C h e r, t h e Yo u n g plug in and join the Beatles and the Rascals, the Lovin’ Stones — to be a part of rock music — Spoonful (represented was a game changer. Dylan had his in the Hall with own influences, from Woody Guthrie 1965’s “Do You Believe and Pete Seeger to blues artists such In Magic”), Simon & as John Lee Hooker to the Beatles and Garfunkel (whose “The the rock and roll of his childhood. Sounds Of Silence” is But the Fab Four stood above the crowd. enshrined), and Dylan (who has Though the Beatles had been part four 1965 recordings inducted). of the American consciousness all of But while Dylan was inspired by the Beatles to plug in, he was the one-man touchstone of it all, and his cynicism, his stunning talent for wordplay and his stoned poetry, as exhibited in Bringing It All Back Home and Highway 61 Revisited, would, in turn, impact the Beatles. In 1963 Peter, Paul & Mary were the first to take one of Dylan’s songs, “Blowin’ In The Wind,” onto the pop charts. But they did it as Dylan intended: as a folk song. When the Byrds added rock and Beatleslike vocal harmonies to Dylan’s lyrics, suddenly there was folk/rock. In a documentary about the ’60s, the Byrds’ lead guitarist Roger McGuinn recalled, “Paul [McCartney] picked up on what the Byrds did.” McGuinn pointed to the “jingle-jangle” sound he’d achieved with his Rickenbacker 12-string guitar on “Mr. Tambourine Man,” and how he’d begun hearing it on Beatles songs such as “If I Needed Someone.” In January 1965, the Byrds (with substantial assistance from session musicians) recorded “Mr. Tambourine Man,” although the band reportedly disliked the rough demo featuring Dylan and Ramblin’ Jack Elliott they’d heard; Dr. Martin Luther King Jr. the Beatles began filming Help! in the Popperfoto/Getty Images [ 20 ]
GRAMMY Hall of Fame 40th Anniversary
The Byrds
Michael Ochs Archives/Getty Images
day with songs such as “Unchained Melody.” Rock and roll music, rocked by the Beatles, Bahamas in February and recorded the title splintered. The British Invasion spawned the song in the spring. In May the Rolling Stones Who, the Animals and, from Ireland, Them, gathered at Chess Records’ studios in Chicago all of whose music is enshrined in the Hall. to begin recording “(I Can’t Get No) Satisfaction.” Besides American blues, British musicians They wrapped the song days later at RCA appreciated reggae and ska music from studios in Hollywood, Calif. Dylan recorded Jamaica, where Bob Marley ruled. But in 1965, in the aftermath of the British “Like A Rolling Stone.” And in the fall, the Byrds returned to the studio, ultimately producing Seeger’s Invasion, America was well-represented “Turn! Turn! Turn! (To Everything There Is A Season).” The range of 1965 works enshrined in the GRAMMY Hall Of Fame reflects the openness that had begun to mark the music scene that year. Top 40 radio had long been known for its diversity, with rock, pop, folk, country, and R&B tracks all sharing occupancy on the charts. But by the mid-’60s, a new generation had become the dominant listeners to radio, and its members appreciated music on a level a step or two above the teen pop and novelty tunes from the first era of rock and roll. There was folk and folk/rock, soaring far beyond such confections as “Lemon Tree” and “Walk Right In,” or such novelties as “Mule Skinner Blues” and the Kingston Trio’s “M.T.A.” Now, there were white acts such as the Righteous Brothers and their blueeyed soul crossing over to the R&B stations of the
Bob Dylan
David Gahr/Getty Images
GRAMMY Hall of Fame 40th Anniversary
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The Supremes and Ed Sullivan CBS Photo Archive/Getty Images
on radio and on the charts, with, among others, the Beach Boys, Simon & Garfunkel, DeShannon, Sam The DeShannon Sham & The Pharaohs (“Wooly Jackie Michael Ochs Archives/Getty Images Bully!”), and Herb Alpert (the co-founder of A&M Records, Hall Of Fame. Those works include James playing trumpet and leading Brown’s invigorating “I Got You (I Feel Good),” the Impressions’ stirring “People the Tijuana Brass). Perhaps the single greatest Get Ready,” Otis Redding’s “I’ve Been force representing this country at Loving You Too Long,” and Wilson that time was Motown Records, Pickett’s “In The Midnight Hour.” Jazz, along with folk, was the music of founded in 1959 and a regular presence on Top 40 radio. Berry the Beat Generation. Following groundGordy Jr. and his staff placed breakers such as Dave Brubeck Quartet’s acts such as the Supremes and “Take Five,” a number of jazz artists Martha & The Vandellas on released works in 1965 that climbed “The Ed Sullivan Show” on CBS, the pop charts or would otherwise be which was a Sunday night ritual recognized for their excellence. They included the Vince Guaraldi Trio, whose for American families. Motown enjoyed the greatest album A Charlie Brown Christmas joined mainstream success among his “Cast Your Fate To The Wind” as a the R&B record companies. But standard; the Ramsey Lewis Trio’s “The ‘In’ Atlantic, King and Volt, among Crowd,” Herbie Hancock’s Maiden Voyage; other labels, also produced and the Horace Silver Quintet’s “Song For My Father.” Many music fans would hear the bass enduring music that landed in the
The range of 1965 works enshrined in the GRAMMY Hall Of Fame reflects the openness that had begun to mark the music scene that year.
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GRAMMY Hall of Fame 40th Anniversary
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“Underneath the official reality there was this seething turmoil, of young people learning new music, new thoughts, new ideas, new literature, new poetry… new ways of being.”
figure that introduced the latter song almost 10 “King Of The Road” by years later in Steely Dan’s “Rikki Don’t Lose composer, singer and That Number.” multiple GRAMMY Country music — still known to many winner Roger Miller; as “country and western” — had always and “Make The been part of Top 40, from Willie Nelson’s World Go Away,” a early compositions to Johnny Cash, prime example of Marty Robbins and Patsy Cline’s first countrypolitan courtesy hits. Although, in the ’60s, some may of Eddy Arnold and have equated country music — and producer Chet Atkins. One of the finest its performers — with conservative “redneck” attitudes, that didn’t stop the representations of 1965 music. Country highlights from 1965 and the changes that included “I’ve Got A Tiger By The Tail” were taking place, and by Buck Owens, a pioneer in fusing that were being sought or country music with a rock and roll energy; demanded, was recorded in January 1964. But R&B star Sam Cooke’s “A Change Is Gonna Come” was not released until late Sam Cooke 1964, as the flip side to “Shake,” Michael Ochs Archives/Getty Images which made the Top 10. Cooke was best known for his silky, gospel-trained voice and his range of songs, from romantic (“You Send Me”) to bluesy (“Bring It On Home To Me”) to “American Bandstand”-friendly (“Cupid” and “Twistin’ The Night Away”). But “A Change …” was, as critic Greil Marcus declared, “the greatest soul record ever made.” It was, as Marcus noted in his book about Dylan’s song, “Like A Rolling Stone,” “a song about freedom ... about racism, and like a call from the grave to the marchers in Selma.” (On Dec. 11, 1964, just months before the march, Cooke was killed in a motel in Watts.) Cooke’s inspiration for this song? In spring 2004, at an all-star benefit for the Apollo Theater Foundation, actor and activist Ossie Davis described his role in the civil rights movement of the late ’50s, and the role of music. “A young singer by the name of Sam Cooke was dominating the charts,” said Davis. “One day, Sam heard a song that asked a mighty important question.” On a video screen, Cooke sang, [ 24 ]
GRAMMY Hall of Fame 40th Anniversary
“How many deaths will it take till he knows that too many people have died?” The song, of course, was Dylan’s “Blowin’ In The Wind.” “It prompted him,” said Davis, “to write what is perhaps his most heartfelt and moving work ... a song which became an anthem for the civil rights movement.” “A Change Is Gonna Come” flickered onto the singles chart early in 1965, peaking at No. 31. The year ended with the release of the Beatles’ Rubber Soul, and with the Byrds following the Beatles (“Yesterday”), the Stones (“Get Off Of My Cloud”) and the Supremes (“I Hear A Symphony”) to the Top 40 pinnacle. A year before, in late 1964, No. 1 hits included “Ringo” by actor Lorne Greene; “Mr. Lonely” by pop crooner Bobby Vinton; the Supremes’ “Come See About Me”; and the Beatles declaring “I Feel Fine.” But in 1965, the Beatles were recalling a sexually charged encounter (“Norwegian Wood [This Bird Has Flown]”), declaring that they’d “rather see you dead, little girl than to be with another man,” and longing, not unlike Sinatra, for yesterday. What was that? That was the title of a week-long radio documentary about the ’60s, aired Jan. 31 – Feb. 1, 1976, on KSAN-FM, the pioneer free-form station in San Francisco. It was an apt title, because the question remains: How did that happen? In Dylan’s “Ballad Of A Thin Man,” released with “Like A Rolling Stone” on Highway 61 Revisited, the smug hipster snarls at a confused outsider: “Because something is happening here/But you don’t know what it is/Do you, Mr. Jones?”
“There was a period of time in 1965 and 1966 when I thought the millennium had come.”
Buck Owens
Archive Photos/Hulton Archive/Getty Images
Actor Peter Coyote was a member of the Diggers, a communal group of artists and anarchists who provided free food and shelter in the Haight-Ashbury district of San Francisco during the Summer of Love in 1967. He’d arrived in San Francisco, from Grinnell College in Iowa, in 1964. “It was such an exciting, heady time,” says Coyote, “to find out that underneath the official reality there was this seething turmoil, of young people learning new music, new thoughts, new ideas, new literature, new poetry … new ways of being.”
GRAMMY Hall of Fame 40th Anniversary
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students and other activists, these youngsters sought a different, simpler and perhaps more spiritual way of life. At least that’s what sociologists would say. Or, as the Grateful Dead’s Jerry Garcia said during an interview at the time, “We just seek an uncluttered life.” “There was a period of time in 1965 and 1966 when I thought the millennium had come,” says Victor Moscoso, who was one of the era’s most gifted artists, producing posters for rock concerts at the Fillmore, the Avalon and other hippie dance halls. “A benevolent virus had descended and happened to hit San Francisco and was spreading out,” he adds. “Pretty soon, everybody was going to live by the golden rule and treat everybody the way they wanted to be treated.” And everybody was going to come to San Francisco to check out those “new ways of being.” They did come, as soon as schools let out in late spring of 1967. But the migration — of minds, if not of bodies — had begun before. The year the party started was 1965. Hipsters had been gravitating toward the city by the bay, known for its Beat scene and libertine attitudes. Rock Scully, who would become part of the Grateful Dead family as the group’s manager, says, “Most of us were rejects from other towns [who] had stood out like sore thumbs and split. They had one thing in common: they had been weird in high school. And these were the people we were frequently running into at San Francisco State College and in the Haight.” (The HaightGrateful Dead Michael Ochs Archives/Getty Images Ashbury was a neighborhood that attracted both students and teachers Many younger people — and there were many with its low-rent Victorian houses of them: 90 million Americans were under 25 in and apartment buildings.) These new rebels were not Beatniks. 1965 — were disillusioned with politics in the wake of the assassination of John F. Kennedy, In fact, it’s been said that it was the increased militancy in the battle for civil rights Beats who first characterized the new and a troublesome war in Southeast Asia that generation of outsiders as “hippies,” was pulling in young men through the military their way of dismissing them as juniordraft. Leaving most of the work of protesting to grade hipsters. [ 26 ]
GRAMMY Hall of Fame 40th Anniversary
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Charles Perry, an early editor for Rolling Stone magazine and a historian of the Haight-Ashbury of the ’60s, noted that in 1965 his former roommate, Augustus Stanley Owsley, began manufacturing LSD — “acid.” Later that year, former Top 40 disc jockey Tom “Big Daddy” Donahue, who would go on to pioneer free-form rock radio on the FM band, opened a “psychedelic nightclub” in North Beach called Mothers. Also, Perry said, a scene was building in Virginia City, Nev., a boom town in the 19th century, where a ragtag but impeccably dressed band out of San Francisco, calling themselves the Charlatans, had taken over an old Western bar, the Red Dog Saloon, as the house band for a few crazy weeks in the summer of ’65. The Charlatans mixed rudimentary country and rock music with vintage Western wear (including proper weapons) and drugs. They would be acknowledged as the first psychedelic band, and when they returned to San Francisco, they were central to the new, hip rock scene. Of course, they never had a hit record. On the East Coast, another scene was building, led by Dylan — in Greenwich Village, in recording studios, in concert halls, and at folk festivals — where he would be hailed one year and booed the Peter, Paul & Mary next. And then, of course, hailed again. Michael Ochs Archives/Getty Image In the 1967 film Festival! the changin’ times are documented through the prism of the Newport Folk Festival. Musicians and fans — seemingly mostly of dancing, and outwardly celebrating a college age — gather in Rhode Island, to play, enjoy new community. or learn about music that, as one earnest attendee put As one young man put it, it, is not “Tin Pan Alley drivel,” but reflects “the way “Everybody’s gathering together … to be nonconformists.” things really are.” The film, by Murray Lerner, spans several years of this annual festival. In the early ’60s, folk music Ben Fong-Torres’ latest book, Willin’: The fans look and sound serious, considering they’re Story Of Little Feat, was published in ostensibly there for entertainment. They sit still November. He is a former senior editor of through shows and instructional music workshops. Rolling Stone, and currently senior editor at But by 1965, especially when it’s Howlin’ Wolf Qello, a music documentary and concert film making the music, they can’t help moving … and streaming service.
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GRAMMY Hall of Fame 40th Anniversary
Many of the 20th century’s groundbreaking recordings were created at independent record labels
The
Independent pırıt R S By Holly George-Warren and Robert Burke Warren
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GRAMMY Hall of Fame 40th Anniversary
ecently, GRAMMY winners such as Arcade Fire, Mumford & Sons and Fun. achieved recognition — and mega sales — through independent labels. In fact, indies have a long tradition of discovering artists and cultivating such musical genres as blues, jazz, R&B, folk, and rock. Releasing recordings beyond what is often the major labels’ primary purview, independents have explored and recognized the importance of regional and emerging music outside the mainstream. The result: Independent labels issued numerous essential recordings of the 20th century. Here’s a look at some game changers, many of whose seminal releases have been inducted into the GRAMMY Hall Of Fame.
Blue Note Records When German immigrant dockworker Alfred Lion cofounded Blue Note Records on a shoestring with writer/activist/ musician Max Margulis in 1939, he could not have envisioned a $50 million-per-year business still operating nearly 75 years later, with samples of his artists’ work cropping up in numerous hip-hop and pop songs in the early 21st century. All Lion knew was that jazz moved him like nothing else, and he wanted to be part of it. His childhood friend, photographer Francis Wolff, shared his enthusiasm and soon emigrated from Berlin to help run the label. Almost immediately, they scored a hit with saxophonist Sidney Bechet’s “Summertime,” a song indicative of the label’s early focus on traditional jazz. By the late ’40s, however, Blue Note took on the nascent bebop style, releasing original works
such as Thelonious Monk’s “Round About Midnight” in 1948 and Genius Of Modern Music in 1951 (which was followed by a second volume in 1952), among the label’s first LPs. In 1953 erstwhile optometrist Rudy Van Gelder came onboard and engineered some of the finest jazz recordings in history, including albums by Freddie Hubbard, Horace Silver and McCoy Tyner, among others. With the addition of graphic designer Reid Miles’ distinctive Bauhaus-inspired cover art, Blue Note gained steam in the ’50s, issuing classic albums such as Art Blakey Quintet’s A Night At Birdland, John Coltrane’s Blue Train and Lee Morgan’s Candy. In 1965 Miles Davis Quintet keyboardist Herbie Hancock released his pivotal Maiden Voyage album, ushering in a more avant-garde postbop sound. Liberty Records purchased Blue Note in 1965. Lion retired in 1967 and Wolff died in 1971, leaving the label
Woody Guthrie
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dormant until EMI Music revived it under executive Bruce Lundvall in 1985. The multi-platinum-selling Norah Jones ushered in a new phase for Blue Note in 2002, with a focus on a broader reach of artists, including nonjazz acts such as Van Morrison, Anita Baker and Al Green. Blue Note appointed GRAMMY winner Don Was president in 2012, succeeding Lundvall.
Folkways Records Few labels proclaim a more ambitious mission than Folkways (today known as Smithsonian Folkways), much less germinate from a conversation between Albert Einstein and its founder about the world’s many cultures. That fateful discourse between the renowned physicist and Polishborn radio electronics student Moses Asch (1905–1986), combined with Asch’s discovery of musicologist/folklorist John A. Lomax’s book Cowboy Songs And Other Frontier Ballads, inspired Asch to “record and document the entire world of sound,” beginning in 1939. By 1948 Asch had released 78s by such seminal artists as Woody Guthrie and Lead Belly on the labels Asch and Disc. As part of his campaign to document “the real expression of a people’s culture,” he also recorded writer Langston Hughes and other literary figures. With the changeover to vinyl LPs, Asch and partner Marian Distler started fresh, incorporating Folkways Records & Service Co., and
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Etta James
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Little Richard
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folding Asch and Disc into their new nonprofit (another distinction) venture. Asch, the prime decision-maker for the label, insisted nothing ever be deleted from the Folkways catalog. When the Smithsonian Institution bought Folkways, a transaction that was completed after Asch’s death in 1986, it ensured that all 2,168 titles would always remain available. To this day, they are, from the epochal Woody Guthrie’s This Land Is Your Land: The Asch Recordings, Vol. 1, from 1947, to Anthology Of American Folk Music, compiled by ethnomusicologist Harry Smith and released in 1952. [ 32 ]
During Asch’s four decades at the label, Folkways produced on average one recording per week, capturing the diversity of American culture — from poetry, literature, folk, blues, and children’s songs to regional music, sound effects and more — as well as countless strains of world music via field recordings from around the globe. Today, Smithsonian Folkways continues to record and release product, while abiding by its promise to keep all titles available for the public.
King Records/Specialty Records/Imperial Records/ Modern Records Due to shellac rationing and a musicians’ union strike that began in 1942, records were hard to find during World War II. But following the war, record sales were brisk again, and
GRAMMY Hall of Fame 40th Anniversary
four important independent labels — three in Los Angeles and one in Cincinnati — seized the day. In particular, they helped popularize emerging new sounds in music. The L.A.-based labels — Modern (founded in 1945), Imperial (1946) and Specialty (1946) — concentrated on R&B, paving the way for rock and roll, while Cincinnati’s King Records (formed in 1943) offered an extroardinarily broad musical palette, including R&B, doowop, country and western, bluegrass, rock, soul, and funk. Art Rupe’s Specialty Records roster included Little Richard, whose “Lucille,” “Long Tall Sally” and “Tutti Frutti” helped form the template for rock and roll. Modern Records, founded by brothers Lester, Jules, Saul, and Joe Bihari, gave B.B. King his first exposure, and launched the
Fats Domino Michael Ochs Archives/Getty Images
career of Etta James with her classic “The Wallflower (Roll With Me Henry).” Among the first acts signed to Imperial, founded by Lew Chudd, was R&B artist Fats Domino. The vocalist/pianist scored several Top 10 hits while at Imperial, including “Ain’t It A Shame,” “Blueberry Hill” and “Walking To New Orleans.” In the pop field, the label helped launch Ricky Nelson, arguably rock and roll’s first teen idol. Meanwhile, in Cincinnati, King Records founder Syd Nathan saw a common thread in the neglected “music of the little people” — the tens of thousands of Appalachian and Mississippi Delta immigrants working in his city’s postwar industrial boom. King’s integrated roster included Wynonie Harris, whose “Good Rockin’ Tonight” topped the R&B charts, while the Delmore Brothers’ “Blues Stay Away From Me” hit big in the country market. Ironically, King’s biggest star was James Brown, despite an ongoing antagonistic relationship between he and Nathan. Yet Nathan knew the public could not get enough of Brown, and allowed the Godfather of Soul to record the groundbreaking Live At The Apollo against his wishes. As with his L.A. peers, Nathan knew the “music of the little people” was an untapped natural resource.
and fans of classical music were enjoying lengthier pieces of recorded music on LPs. Brothers Maynard and Seymour Solomon saw a business opportunity and launched Vanguard Records in lower Manhattan as an LP-minded classical label. The ensuing decade saw Vanguard flirt with jazz and blues, releasing recordings of the pivotal 1938–1939 From Spirituals To Swing Carnegie Hall concerts, but the label’s identity gelled when the Solomons decided to meet the hysteria of the McCarthy era by brazenly signing blacklisted folk artists Paul Robeson and the Weavers. Despite the Red Scare, the classic Vanguard LP The Weavers At Carnegie Hall, released in 1957, rose to No. 24 on the Billboard 200 and cemented Vanguard’s reputation as a cutting-edge folk label. After 18-year-old Joan Baez wowed audiences at the 1959 Newport Folk Festival, Vanguard signed
Vanguard Records Wynonie Harris
Gilles Petard/Redferns [ 34 ]
By 1950, the 33 1/3 rpm long play disc market was booming,
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Joan Baez
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her, and Weavers guitarist Fred Hellerman accompanied her on her acclaimed 1960 self-titled debut. Soon Buffy Sainte-Marie, Ian & Sylvia, Hedy West, and Richard & Mimi Fariña joined the Vanguard roster. The label’s recordings of the seismic 1964 Newport Folk Festival, featuring Bob Dylan, Baez and Pete Seeger, documented a cultural force in full flower. As the ’60s rolled on, Vanguard expanded into country/folk with Doc Watson’s self-titled debut album in 1964, then embraced the blues in 1966 with the three-album series Chicago/TheBlues/Today!,
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featuring Otis Spann, Junior Wells and J.B. Hutto. Still active today, Vanguard has successfully aligned itself with artist-run labels, expanding confidently in an ever-changing landscape.
Chess Records More than any other label, Chess Records represents the glorious realization of the American Dream: determined, canny immigrants arrive in search of fortune, transform themselves amid the fertile American soil of possibility, give form and structure to a pre-existing folk art — in this case, the blues — and help create something new: rock and roll. This is the story of Polish brothers Fiszel and Lejzor Czyz, aka Phil and Leonard Chess, who, after owning a liquor store and a nightclub on Chicago’s South Side, founded Chess Records in 1950. They scored straight out of the gate with Mississippi Delta émigré Muddy Waters’ “Rollin’ Stone” (a song that later provided the inspiration for the name of a certain London band), then released “Rocket ‘88’” by Jackie Brenston & His Delta Cats. Due to Willie Kizart’s deeply distorted guitar (a happy accident) and Ike Turner’s aggressive piano, many historians consider “Rocket ‘88’” the first rock and roll record. As with other early labels, Chess was also a studio, and the Chess brothers, in addition to scouting, marketing and promoting talent, soon determined how to best capture
GRAMMY Hall of Fame 40th Anniversary
Chuck Berry Michael Ochs Archives/Getty Images
Howlin’ Wolf’s booming baritone on “Smokestack Lightning,” the Moonglows’ mellifluous choral doo-wop on “Sincerely” and Chuck Berry’s dizzying electric guitar over Johnnie Johnson’s propulsive piano on “Maybellene,” “Roll Over Beethoven” and “Johnny B. Goode.” Berry, arguably the most renowned of all the label’s artists, shares with Chess the distinction of being included — in the form of “Johnny B. Goode” — in the Voyager spacecraft as an
example of Earth’s many pleasures: rock and roll.
Riverside Records Orrin Keepnews and Bill Grauer founded seminal jazz label Riverside Records in 1953 as a means to reissue 1920s jazz and blues 78s from King Oliver, Jelly Roll Morton and Blind Lemon Jefferson, among others. Keepnews, in particular, enjoyed sharing the music he adored, and with the advent of the 33 1/3 LP, traditional jazz on classic 78s was slipping into obscurity. Riverside reissued these early recordings on LP, giving the music new life. Within a couple years, Riverside began courting artists. One of their first signings was the troubled Bill Evans
David Redfern/Redferns
piano genius Thelonious Monk, who was then unable to perform in New York City due to a narcotics conviction. With the label’s steadfast support, however, Monk dazzled again on the Keepnews-produced Riverside LPs Brilliant Corners and Monk’s Music, the latter showcasing young saxophonist John Coltrane. Monk introduced Keepnews and Grauer to the thrilling dissonances of bebop and the not-so-thrilling task of dealing with a temperamental jazz giant. But Keepnews’ love for the end product justified any means of getting there. Soon, word spread throughout the bebop crowd about Riverside, and in 1956 pianist Bill Evans joined the label, releasing classic LPs such as Portrait In Jazz, Waltz For Debby and Sunday At The Village Vanguard. Guitar great Wes Montgomery stunned in 1960 with the aptly titled The Incredible Jazz Guitar Of Wes Montgomery. To everyone’s surprise, the label’s biggest hit was Cannonball Adderley Quintet’s 1959 album In San Francisco, an exuberant jazzfunk crowd pleaser. The Riverside catalog was acquired by Fantasy Inc. in 1972.
Thelonious Monk
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Sun Records When he founded Sun Records in Memphis in 1952, 29-year-old Sam Phillips already had a history of crossing racial borders. As a teen in Alabama, he’d worked alongside AfricanAmericans in the cotton fields, and as a DJ, he played “race music” alongside all-white country. At his Memphis Recording Service, he served as a talent scout, brokering deals between black blues artists and white-owned labels, including a deal in which he licensed Jackie Brenston & His Delta Cats’ “Rocket ‘88’,” which he produced, to Chess. Sun Records, both a label and a small recording studio helmed by Phillips, would profit from this fearless and unprecedented embrace of both white and black folk culture. When 19-year-old truck driver Elvis Presley cut bluesman
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Stan Getz and Astrud Gilberto GAB Archive/Redferns
Arthur “Big Boy” Crudup’s “That’s All Right” in 1954, he embodied that synthesis of white and black, and just as Phillips had long predicted — to much derision — the world took notice. Sun Records, previously a haven for black artists, became synonymous with the ’50s “fad” that would come to be known as rockabilly — and the music that would change the world, rock and roll. When Presley departed for RCA in 1955, Phillips was just hitting his stride as a producer and label owner, flouting categorization and encouraging experimentation and rawness. Johnny Cash’s “Folsom Prison Blues” offered a new edge to country music; Carl Perkins’ “Blue Suede Shoes” gave the world one of the first rock and roll anthems; and Jerry Lee [ 38 ]
Lewis’ “Great Balls Of Fire” and “Whole Lot Of Shakin’ Going On” rose into the firmament, where they remain. Teenagers everywhere — white, black, American, and, quite notably, Liverpudlian — opened their hearts to boundary-defying music, bought it by the truckload, spun it at 45 rpm, and never looked back.
Verve Records In Tad Hershorn’s lauded book Norman Granz: The Man Who Used Jazz For Justice, Granz, founder of Verve Records, said, “Any book on my life would start with my basic philosophy of fighting racial prejudice. I loved jazz, and jazz was my way of doing that.” Indeed, Granz organized the groundbreaking integrated
GRAMMY Hall of Fame 40th Anniversary
Jazz at the Philharmonic concert tours, which, from 1944 to 1959, helped legitimize jazz as an art form. If a venue owner balked at presenting the biracial ensemble that included saxist Lester Young, pianist Oscar Peterson and drummer Buddy Rich, Granz would reject him. He insisted his acts be paid and treated equally, an anomaly at the time, even removing “colored” and “white” signs from auditoriums himself (then a criminal offense). By the time he founded Verve in Los Angeles in 1956, he was renowned as a preeminent music industry figure. He’d licensed the Jazz at the Philharmonic live concert recordings to Mercury Records, but with Verve, he consolidated and, with Ella Fitzgerald as his flagship artist, established the label as a major contender in the emerging LP market. With the 1956 issue of Ella Fitzgerald Sings The Cole Porter Song Book and Fitzgerald and Louis Armstrong’s 1958 album Porgy And Bess, Verve pioneered and mastered the concept of packaging a cohesive album. Granz was also an early proponent of stereo and encouraged aural experimentation. After he sold Verve to MGM in 1960, the label branched out into experimental rock with the Mothers Of Invention’s Freak Out! and the Velvet Underground’s seminal recordings, as well as bossa nova with Stan Getz and Astrud Gilberto’s GRAMMY-winning smash “The Girl From Ipanema.” Although the label has since
Smokey Robinson & The Miracles Michael Ochs Archives/Getty Images
been bought and sold to various conglomerates, Verve continues to release a broad array of music, from contemporary jazz to pop and world music.
Motown Records When 29-year-old LincolnMercury assembly plant worker Berry Gordy co-wrote Jackie Wilson’s 1958 hit “Lonely Teardrops,” he watched with understandable excitement as it rocketed to No. 1 on the Billboard R&B Singles chart and No. 7 on the Billboard Hot 100. The relatively small sum he received in royalties, however, showed him where to make money in music: on the business side. In 1959, with an $800 loan, Gordy founded Motown Records, the name a contraction of “Motor Town” in homage to Detroit’s car industry. He envisioned his label operating like an assembly line, complete with strict quality control: a performer or group comes in one door a talented
amateur and exits another a polished entertainer with impeccable looks, moves and, most importantly, songs that cross over to the pop market. From writers to musicians and performers, Gordy would prove uncannily skillful at recognizing diamonds in the rough and bringing out their best. Hiring family members and friends, such as the brilliant singer/songwriter Smokey Robinson, he opened Motown in a small house, converting the kitchen into a control room and the garage into a studio. In 1961 Robinson’s group the Miracles became the label’s first million seller with “Shop Around.” This set the template for other Motown artists, such as the Temptations and the Four Tops. By 1964, an all-girl equivalent of these groups, the Supremes, hit No. 1 with “Where Did Our Love Go?” As the decade ended, Gordy’s pet project was the Jackson 5, who made good on his investment
with hits such as “I Want You Back” and “I’ll Be There.” By 1971, Motown had scored an astonishing 110 Top 10 hits. Today, the label has expanded successfully into everything from movies to a smash Broadway musical, building on an unmatched legacy of timeless songs, inspiring social achievements and artistic excellence, influencing everyone from the Beatles to hip-hop artists.
Stax Records Stax Records was founded in Memphis in 1959 as Satellite Records (which became known by its more famous name in 1961) by country fiddler Jim Stewart and his sister, erstwhile schoolteacher Estelle Axton. Stax, a blend of their names, is one of the few labels to become an adjective. The classic, impossible-to-recreate “Stax sound” began with integrated house band Booker T. & The MG’s pumping away GRAMMY Hall of Fame 40th Anniversary
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in an idiosyncratic converted movie theater, backing up a distinctive roster of artists singing material from a handful of genius songwriters. These elements all came together by happenstance. Stewart knew virtually nothing of rhythm and blues; his initial aim with Satellite was country and rockabilly. A chance meeting with singer/R&B DJ Rufus Thomas changed everything.
The two hit it off, and Thomas’ 1960 soul single “’Cause I Love You” — performed with his daughter, Carla, and the first song recorded in the converted theater — sold big and netted a distribution deal with Atlantic Records. Soon, a Southern-fried alternative to Motown was born, a rawer approach to soul based less on smooth pop and more on the country and
blues prevalent in Memphis. Before long, Axton was operating a record store out of the theater’s old concession stand, noting customers’ reactions to various singles and passing this “test audience” information on to the writers and musicians. Similar to their contemporaries in Muscle Shoals, Ala., Stax created a biracial world in the heart of the Jim Crow South. Fruits of the label’s golden years include Thomas’ “Walking The Dog,” Booker T. & The MG’s “Green Onions” and Sam And Dave’s exuberant “Soul Man.” Though the assassination of Dr. Martin Luther King Jr. and a falling out with Atlantic didn’t stop Stax (two classics, the Staple Singers’ “Respect Yourself” and “I’ll Take You There,” ushered in the ’70s with an unlikely optimism that still resonates today), the label’s assets were ultimately bought in bankruptcy by Fantasy Records and both labels are now part of the Concord Music Group. A two-time GRAMMY nominee, Holly George-Warren is the author of more than a dozen books, ranging from a biography of singing cowboy Gene Autry to a photographic history of punk. Her biography of Alex Chilton will be published by Viking Press in spring 2014. Robert Burke Warren is a writer, actor and former globetrotting musician who has shared stages with artists such as James Brown, Chuck Berry and RuPaul.
Sam And Dave
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The Making Of
GRAMMY Hall Of Fame Recordings In The Artists’ Words Since its inception in 1973, the GRAMMY Hall Of Fame has enshrined nearly 1,000 timeless recordings across all genres. The wealth of riches lining the Hall spans music that has both reached the top of the charts and often changed our society. But these recordings didn’t just show up one day all nicely shrink-wrapped on record store shelves. They resulted from the creative genius of singers, musicians, songwriters, producers, engineers, and others who went into the studio to realize a vision and came out with a true cultural masterwork. The Making Of … stories on the following pages present firsthand accounts of the creative process behind some of the essential recordings of the 20th century. In the artists’ own words, you’ll learn about their mindset at the time, what inspired the recording, the atmosphere in the studio, as well as a few fun and unique anecdotes. In other words, here’s a personal music history tour from the artists themselves.
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GRAMMY Hall of Fame 40th Anniversary
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The Making Of
“Ain’t No Sunshine”
insecure before Graham Nash came and sat down in front of me. He had had a few drinks, so he was cheerful. He kept saying to me, “You don’t know how frigging good you are.” So he stayed there in front of me for the whole recording, encouraging me. A lot of generous things happened during that recording. [Drummer] Al Jackson Jr. from the MG’s and Booker T. were encouraging me on that “I know” thing. [Editor’s Note: In the third verse of the song, Withers repeats the phrase “I know” 26 times.] I thought maybe I should write some words there, but they said no and so I said, “OK, I’ll make it into something,” and it all just came together. Later on I was surprised that nobody bugged me about playing no intro. There’s no intro on that song — I just start singing. I appreciated that they indulged my being different. I didn’t even think about there being Ed Caraeff/Michael Ochs Archives/Getty Images no intro. That’s the way I was going to do “Ain’t No Sunshine” was it, and they left me alone with it. In later the first song I ever recorded, years, I learned that’s the first thing A&R and what I remember about guys ask you: “How long is the intro?” I it was, that evening, I had to was glad I didn’t have some A&R guy in take off from work early in there bugging me. Because they had their order to get to the recording stock things that they required — “How studio in time. I was working long is the intro, and are you going to at the Weber Aircraft Factory put any horns in it? Where are the girls?” in Burbank. Intros needed horns and girls. But I was Booker T. [Jones, the able to do it the way I wanted to do it. producer,] had basically I have a name for A&R people. I call all the MG’s there, minus [them] “antagonistic and redundant.” [guitarist] Steve Cropper. Because if you left it up to them, all I remember that he saw records would basically sound the same, Stephen Stills walking down because they learn these rules, you know, the hallway from some other “You gotta have this and you gotta have session and he asked him that.” The funny thing is, the more I’ve if he would come in and been around them, I have yet to find one play with us. So there I was who can tap his foot to the music. in the studio with all these Then here’s the funny thing: After we legendary guys, and I was recorded like six songs or something, still working at the factory. we got kicked out of the studio because One thing I remember the bills weren’t being paid. So we had graphically: I was a little bit to wait six months before we could finish
by Bill Withers
I was a little bit insecure before Graham Nash came and sat down in front of me. He kept saying to me, ‘You don’t know how frigging good you are.’
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GRAMMY Hall of Fame 40th Anniversary
that album [Just As I Am], until we could get back in the studio again. It was so much stress. I went back to work at the factory. And then when we finally got back in the studio we recorded the whole B-side in one session, because we didn’t know if we were going to have any money to get back in the studio again. Before we got kicked out, I had this drafting board that somebody threw away. So I sawed it in half, and I put a carpet on it. I would stomp my foot on it. Booker T. told me to bring it to the studio. Al Jackson said, “Yeah, I’ll play with you stomping your foot on that board.” So when we got kicked out, me and my drafting board and everything got kicked out of there, too. I was pissed off for six months. Why did this damn record company sign me? I thought, “Oh my God, I’m never going to get anywhere if this record company doesn’t have enough money to pay the studio.” I thought, “These people are all crooks, and they’re crazy, and they’re evil.” I just wanted to quit my job at the factory. And then I got laid off. And then I remember getting two requests on the same day. One request was for me to come back to my job. The other was for me to go on the Johnny Carson show. I remember sitting up all night trying to figure out which one I was gonna do. I decided, “OK, I’m this far in, I’ve invested my savings in this crap, so I think I’ll go do the Johnny Carson show.” But I almost went back to my job, because the record company didn’t pay the damn studio bill and I had read all these horror stories about how awful the record business is. You can imagine how big a decision it was for me. I was 33 years old. I had spent nine years in the Navy. I was a grown-up, not some kid who had been practicing in his basement all his life. I made decisions differently than somebody with stars in his eyes. As told to Tammy La Gorce
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The Making Of
“Dancing In The Street” Martha And The Vandellas by Martha Reeves
It’s easy for me to remember at Mardi Gras. That’s where my one of the greatest moments of my heart was when I sang the words. recording career. I was an admirer I finished my first take, and they were of Marvin Gaye since [Motown head amazed. They were slapping each of artist development] Harvey Fuqua other’s hands and patting themselves brought him to Hitsville U.S.A. as an on the back. “We’ve got a hit.” To my artist. I had been an A&R secretary dismay, Lawrence Horn, who was the for just 10 months prior to actually engineer at the time, said, “Sorry, but I being able to call myself a Motown didn’t have the tape running.” Ivy Hunter recording artist. Whenever he was in told me later they did that to get what the studio, I would stand by watching. they needed out of me in my emotion. I On this occasion, [Marvin], Ivy Hunter went all the way through the second time and William “Mickey” Stevenson were in without a stop, no overdubbing, nothing. the studio, which was remodeled from We only had four tracks, so when they the garage of the house. I was in the put my voice on, they took Marvin’s off. control room watching the three of them I really would’ve loved for the world to get this song together. Marvin sang it like hear how he executed that song. But he a ballad: “Calling out around the world/ gave it to his sister — we had that kind of Are you ready for a brand-new beat, relationship — one of the greatest gifts baby?” He looked over at me and said, I’ve ever received in this world. out of the blue, “Try this song on Martha.” I knew the words, but I had to change the key. I remember as a kid on Russell Street, near where I grew up, that one of the kids, JD, got killed running in traffic. The family got the city to rope off the block, so we’d set up our record players on the porches. People would cook and we’d have a party. And that was what I had in mind. I’d also seen “dancing in the street” in Rio de Janeiro during Martha And The Vandellas (Martha Reeves, center) Carnival and New Orleans Frank Driggs Collection/Getty Images [ 46 ]
GRAMMY Hall of Fame 40th Anniversary
I didn’t see it as a political protest song. Its message is universal: the freedom to dance in the street without getting run over by a bus or a car. The song only went to No. 2, but it caused so much excitement whenever you heard the trumpets played by the Funk Brothers, the bass line, the keyboards, and all that harmony; it just makes you jump. It sounded like a 20-piece orchestra to me. It was genius to come up with that song right there in the house at 2648 West Grand Boulevard. I’m honored it’s in the [GRAMMY] Hall Of Fame. I didn’t see it as a political protest song. Its message is universal: the freedom to dance in the street without getting run over by a bus or a car. I don’t think it should be taken out of context. Music has been used to soothe the soul for centuries. Motown is about good feelings — love, happiness and joy. Every time I sing it, I feel as young as I did when I first recorded it. As told to Roy Trakin
The Making Of
“My Generation” The Who by Pete Townshend
“My Generation” began as a talking blues song that I demoed on my own. The Who’s manager, Kit Lambert, was my usual mentor as a songwriter, but he missed the song initially. By chance, our co-manager Chris Stamp heard it later and encouraged me to do a new demo more suited to the Who’s gritty energy. It was this new version (of which there were two, the last one featuring fewer key modulations) that unseated any sense of irony in the original song. It just became about the rage of the idiot yobbo. But if you were young, I think you still got the irony. When you’re young you don’t care about being young for its own sake. I’d initially written the song to illuminate the cusp between generations that I think I was more aware of than my peers. That’s because I felt a great alliance with my father’s generation and his world of music, because he and that world were so cool. He was in a swing band that started in the [Royal Air Force]. So in a sense I wanted my work as a musician to flow on from what he had done. But that wasn’t happening. The old music — the ballads and standards of the ’30s, ’40s and
’50s — simply didn’t work for teenagers in the early ’60s. If we went back The Who (Pete Townshend, left) GAB Archive/Redferns/WireImage.com in time, to that earlier era, we certainly found music that worked for us, I both loved Sonny Boy Williamson Jr., who occasionally came onstage with us but it was blues, R&B, protest folk, or world music (like flamenco or klezmer). at the Marquee Club in London; and he stuttered a little and incorporated it into “My Generation” was recorded, his act. But my influence was John Lee with Shel Talmy producing and Glyn Hooker’s “Stuttering Blues.” Young fans Johns engineering, at IBC Studios in of ours who took too many uppers used Portland Place in London, near the to stutter as well, so a connection was BBC headquarters. Next door was the Chinese Embassy, whose transmissions made. Roger didn’t actually use drugs back then, and so he acted a part when sometimes screwed up our recording he sang the song, and was probably sessions. This was very valuable real better able to observe the mannerisms estate. The studio room was Regency, of the “pill heads” among our fans. and had a beautiful high ceiling, but rock bands were squeezed into a John Entwistle’s bass guitar solo on corner. IBC was a “My Generation” also fell into place very three-track studio. naturally. John was the lead guitar player Many elements in the Who. I just played rhythm, then of the master made the noises of war and destruction. recording, such as the It was natural to give him the solo. aforementioned key The guitar feedback at the end of modulations, were the track was probably an overdub, but already in place on Shel was not generous with takes! We the earliest demos. probably got one or two. I have a feeling There was also a Keith Moon may have added some stutter in the lead drums at the same time. Shel just let us vocal on the very first rip in the studio. And he got it all on tape, demo, which Roger which was an achievement in itself. Daltrey incorporated into his performance As told to Alan di Perna on the master recording. Roger and
I’d initially written the song to illuminate the cusp between generations that I think I was more aware of than my peers.
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GRAMMY Hall of Fame 40th Anniversary
The Making Of
“Roxanne,”The Police by Stewart Copeland thought of ourselves. We liked “Roxanne,” we thought it was cool, but it wasn’t punk. So it was sort of at the back of our list. It wasn’t until my big brother Miles came in to check out the recording I was doing with my band that we realized what we had. [Editor’s Note: Miles Copeland III was the Police’s manager.] He listened for a while [to various songs we had recorded]. He said, “Great, great,” and then when he The Police (Stewart Copeland, right) heard “Roxanne” he Fin Costello/Redferns/Getty Images said, “Wait a minute. What’s that?” That was the big “Eureka!” moment. He We recorded it at Surrey Sound took it to A&M Records and it got us Studios in Leatherhead, in Surrey, which is sort of a satellite city of London. a record deal. It was “Roxanne” that got us that record deal, which was our The producer was Nigel Gray, who second record deal, but the one, it could was also the owner of the studio. He be said, that first put us on the map. was also a practicing doctor, so he Sting wrote an incredible song. My would take calls as a doctor while we contributions are miniscule compared were recording. He built up the studio to the writing of the song, but there’s a locally and it was kind of discovered rhythmic trick in it that was my invention. by downtown rock and rollers. It was I took the rhythm and moved it one beat a great room, good atmosphere. And Nigel had a very good bedside manner. to the left. It’s a very simple kind of thing He was a good referee. He understood but it had a dramatic effect. We also used it on “Can’t Stand Losing You.” the dynamic of the band and he was a There’s a rumor about the recording good, good umpire — he kept us from of “Roxanne” that is actually true. Sting throttling each other. With him, we had was sitting there waiting to do his vocal, a very productive band collaboration. they had rewound the tape for him, and The recording of “Roxanne” was interesting in one way because we were he was waiting to do his next take and at one time a punk group. That’s how we he got tired, as you do — it’s amazing [ 50 ] GRAMMY Hall of Fame 40th Anniversary [ 50 ] GRAMMY Hall of Fame 40th Anniversary
the eternity of time it took them to roll the tape back then. The air was leaving the room, it was frustrating. So while he was waiting he leaned back and [sat] on the piano. The lid was usually down, but this time it was up. So he sits down on it and he plays a butt chord. You know how there’s butt dialing now? Sting played a butt chord. And he was so surprised he did a funny little laugh just as the track was starting up, and we kept it. We like to keep those kinds of moments, little moments of reality. And the stakes were low at the time — we were not a world-famous group. We were just three guys making it up as we went along. We didn’t have any expectations at all. As told to Tammy La Gorce
[Producer Nigel Gray] had a very good bedside manner. He was a good referee. He understood the dynamic of the band and he was a good, good umpire — he kept us from throttling each other.
The Making Of
Saxophone Colossus Sonny Rollins Quartet by Sonny Rollins
I recorded Saxophone Colossus at a time when I was very active. In fact I had a recording date with Thelonious Monk around the same time. I remember that I had some top people. I had the great Tommy Flanagan on piano and I had, of course, Max Roach on drums. And I had this fellow Doug Watkins on bass, who was very much underappreciated. No one talks about Doug Watkins now, but he was really an excellent player. So I had some great, great people playing with me. This was when I first did “St. Thomas,” which was a very popular number. I think Randy Weston recorded it a year earlier. But I think maybe our version of it was a little better — because of my background, because of the connection with the Virgin Islands and St. Thomas that I had through my parents. It’s really a folk song from the Caribbean and I learned it as a child, on my mother’s knee. Because of that I think I also had a little more, perhaps, of a direct feeling about that song. “Strode Rode,” another interesting piece, was my homage to the great trumpeter Freddie Webster. He had succumbed to drugs at a hotel in Chicago called the Strode Hotel. When the story got out that it was about Freddie Webster, at least the title, people [who] knew and admired him
I knew it was a good record because of the people on it. But you never know what audiences are going to pick up on.
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GRAMMY Hall of Fame 40th Anniversary
started listening to it. “Blue 7” was also well-received for various reasons. There was a little dance company that used it to dance with. It was just a blues, a long one, and here again I was helped by the presence of a great band. I don’t remember if I included “Mack The Knife” after or before Louis Armstrong’s Bob Parent/Hulton Archive/Getty Images version. [Editor’s Note: The song is titled “Moritat” on Saxophone Colossus.] And, night and in every recording session. of course, Bobby Darin had a big hit with And on some of those dates, when I’m happy with what I’m doing, then I it also. Bertolt Brecht, the composer, was getting a lot of attention at that time. kind of know that everybody’s going And, as it turned out, he died a couple of to like it, too. Usually you’re your own worst critic. But if everybody’s playing months after we recorded his song. good, as they were on this session, I was actually a little surprised that then you have a good sense that the Saxophone Colossus did so well. I audience will like it. And they did. didn’t think of it as anything particularly Everybody seemed to enjoy groundbreaking or anything. I knew playing with each other on the it was a good record because of the Saxophone Colossus recording people on it. But you never know what date. No one got weird, and it went audiences are going to pick up on. I felt very well. It was really just another I was playing pretty good at the time. recording session. In fact it was a sort But you never know. At least I don’t. of harmonious — excuse the pun — I’m always trying something new, and afternoon, with harmonious results. I can never anticipate what sticks on the wall. You just go ahead, you’re a As told to Don Heckman practitioner, and you’re playing and you never know where it’s going to lead. You’re doing what you have to do, every
The Making Of
Abraxas Santana
by Carlos Santana I think there was a lot more confidence going in to make Santana’s second album, Abraxas, than there was when we made our first album. Not arrogance, but confidence. We’d already put our spiritual stamp on Woodstock. We’d played the Fillmore enough times. We’d opened for everybody from Sly & The Family Stone to Creedence Clearwater Revival, the Who and Steppenwolf. And whoever we opened up for, the audience was gravitating to us after the concert. So we knew we were bringing something to the table. What Santana’s keyboardist Gregg Rolie and I wanted for Abraxas was a producer who really knew what he was doing when it came to knowing the board, engineering and sound. And we couldn’t have found anyone better than Fred Catero. Much like Teo Macero, Fred was a master at recording congas because he’d worked with artists like Mongo Santamaría. But he also knew how to record electric guitars. That was rare in those days. Most producers only knew how to do one or the other, but not both. The thing I remember most about the album was Gregg Rolie inviting
me to learn “Black Magic Woman.” I loved Peter Green, but I didn’t know this particular song of his. But Gregg brought it to a soundcheck Michael Ochs Archives/Stringer/Getty Images in Fresno and we just started Davis, so that’s one of the main things playing it verbatim, pretty much the I remember about the whole process. way we recorded it. I said, “Well Cutting “Oye Como Va” and “Samba I’m going to put in a pinch of Otis Pa Ti” was a challenge for some of the Rush, Wes Montgomery and, of guys in the band. Because they were course, ‘Gypsy Queen’ by Gabor like, “Hey man, this is not rock and roll. Szabo.” That’s just the way I think. We’re not doing this.” And I said, “Well We recorded most of Abraxas at this is rock and roll for me. We’re gonna Wally Heider Recording studio in San Francisco. I remember that as we were do these songs.” I pulled rank a little, and I’m glad I stuck to my conviction because getting the sound together the phone “Samba Pa Ti” and “Oye Como Va” are rang and someone really supremely important songs. says, “Hey, it’s for It was our conga player Michael you.” “For me? Who is Carabello who came up with the it?” “It’s Miles Davis.” album cover. He’d seen a magazine And I’m like, “Come that had this painting by Abdul Mati on man, don’t fool Klarwein, who was the same painter around.” “No, I’m for Miles’ Bitches Brew album cover. serious. It’s Miles Davis.” So I pick up the And we immediately knew that Mati’s phone and I hear Miles’ painting “Annunciation” was our album cover. The album title, Abraxas, comes raspy voice: “Hey, from Demian, the novel by Hermann what are you doin’?” “Uh, we’re in the studio Hesse. It also means abracadabra, which means to conjure magic. recording.” Miles called to check on us As told to Alan di Perna and he gave us his blessing and approval. Of course I love Miles
I said, ‘Well this is rock and roll for me. We’re gonna do these songs.’ I pulled rank a little.
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OBERLIN MUSIC OBERLIN MUSIC Oberlin Music. Celebrating and sharing the extraordinary talent and artistic vision of Oberlin Conservatory of Music faculty, students, and alumni. Now distributed by NAXOS and available on iTunes. Superscripts denote personnel on each work: Carter C, Broening B, Albright A, Helgeson H
Violin Timothy Weiss
Conductor
Oboe Annie Gordon B Sarah Pyle C
Flute Adam Bernstein C Will Robbins B; Principal C
Bass Mary Auner, Principal C David Ellis C Madeleine Kabat A Eric Tinkerhess C B Yin Xiong C
Cello
and Allegro. I was completely bowled over by the
also remember the first time I heard Ravel’s Introduction
-Yolanda Kondonassis
you might have dreamed :-)
ing it and that it takes you somewhere you’ve never been, but of which I hope you enjoy this music as much as we enjoyed the process of record-
room in Norman, Oklahoma into a magic carpet of sorts. I
Percussion
[Oberlin Music logo]
and comforting all at once, transforming my small childhood
Shelly Du C Rebekah Efthimiou B
with incredible artists who share a common bond.
almost every night at bedtime when I was a kid. It was exotic
Harp
Jupiter String Quartet Yolanda Kondonassis, harp Ellie Dehn, soprano Alexa Still, flute Richard Hawkins, clarinet Spencer Myer, piano
an album of Ravel transcriptions for small ensemble. I listened to it
Miles Fellenberg C Derek Zinky B
One of my very first records (and I mean record – the vinyl kind), was
Piano Derek Dube C
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Tuba
but differently surreal place each time.
Zachary Guiles C B
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me with every hearing – like a recurring dream that leads to a familiar
Trombone Jacob Flaschen C B
7-9 2-6
the string quartet, which I have heard on countless occasions, transports
Trumpet
1
for the harp, but because his music takes me places I’ve never been. Even
Matthew Berliner C William Eisenberg B
Horn Ryan Wilkins C Carl Gardner B
Bassoon
The Oberlin Contemporary Music Ensemble
of this kind on a college campus, in a world-class recording facility and dent artist. I am struck by how truly unique it is to assemble a recording album is connected to Oberlin in some way – as faculty, alumni, or resilives at the Oberlin Conservatory of Music. Each performer on this to celebrate the wealth of artistry and musical opportunity that
[:]
it with such wonderful players (who are also terrific friends) and This disc is especially meaningful because I was able to make
MAURICE RAVEL INTIMATE MASTERPIECES
not just because he wrote one of the most luscious pieces ever composed my own listening library. I have always had a bit of a Ravel obsession, and
in 1975. to be a rather firm promise to my young self back
the music, but I must admit I had an ulterior motive: I wanted this album for
was good enough to play it. That turned out
Oberlin Conservatory, I was enthusiastic about the prospect of recording
that I would tough it out with the harp until I
When I first brought the idea of an all-Ravel album to Dean David Stull at ACD-71286
The Oberlin Conservatory of Music
A place towrad other places – Richard Hawkins
Introduction et Allegro [ : ] Cinq Mélodies Populaires Grecques Chansons madécasses [ : ] String Quartet in F major [ : ]
RAVEL: INTIMATE MASTERPIECES
Lisa Goddard C Eliot Heaton, Violin I B Holly Jenkins, Concertmaster C; Violin I A Nate Lesser, Violin II A Lauren Manning C Sarah Martin, Violin II B Augusta McKay Lodge, Principal 2nd violin C Marina Kifferstein C Brendan Shea C Jing Qiao C
ĩ 2013 Oberlin Conservatory | 77 W. College St., Oberlin, OH 44074 under license to Azica Records | 1645 Eddy Road, Cleveland, Ohio 44112 216-681-0778 | www.azica.com All Rights Reserved. Unauthorized duplication is a violation of applicable laws. Printed in the U.S.A. ACD-71286
rhapsodic, crashing waves of sound and vowed
Timothy Weiss conducting the Oberlin Contemporary Music Ensemble during a recording session in Clonick Hall, a state of the art recording studio housed in the Bertram and Judith Kohl Building at the Oberlin Conservatory of Music.
Neil Ruby C Ryan Packard C John Langford C Christian Smith B Sean Dowgray B
“… Oberlin Conservatory of Music, a hotbed of contemporary-classical players.” – New York Times About John Pearson: John Pearson has been Professor of Studio Art at Oberlin College since 1972. Over the past five decades, he has developed his style from an intense system-based program to one more attuned to the spiritual influences of the natural environment. With over 100 one-man shows (his first in London in 1963) and numerous accolades and prizes, he continues to perfect his carefully painted and constructed pieces to suggest the beauty of form.
The Oberlin Contemporary Music Ensemble, Timothy Weiss, conductor
Disc 1
Disc 2
Elliott Carter: Clarinet Concerto
[20:04]
William Albright: Quintet for Clarinet and String Quartet
Benjamin Broening: Clarinet Concerto
[26:10]
Movement I: The Wedge of Sighs Movement II: Theme, Adagio Variation 1: Danza rustica, pesante (like an out-of-control carnival ride) Variation 2: Delirious (Pizzicato polka on an idea of Brahms) Variation 3: Largo (Marcia funebre) Variation 4: Andante (Night Music I) Variation 5: Duetto 1 molto rapido Variation 6: Lullabye (Homage to Brahms) Variation 7: Vivo (Homage to Mozart) Variation 8/9: Duetto 2 (Zephyr-mobile)/ Lontano (Night Music II) Variation 10: Canzona lamentosa Variation 11: Adagio (Night Music III) Variation 12: Klezmer Fantasy
Premiere Recording I. Ascenders II. Penumbral Cantilena III. Pulse Arc
This recording was made in Clonick Recording Studio at the Oberlin Conservatory of Music between 2010 and 2012. All of the works on this recording are licensed and reproduced with permission of the composers and publishers. © 2012 Oberlin Conservatory of Music
Aaron Helgeson: A place toward other places for solo clarinet
RAVEL: INTIMATE MASTERPIECES Featuring Oberlin faculty members Yolanda Kondonassis (harp), Richard Hawkins (clarinet), and Alexa Still (flute); alumni soprano Ellie Dehn ’02 and pianist Spencer Myer ’00; and the Jupiter String Quartet prod master: sales order: acct mgr: artist: bus. rel.: contact: ofa date:
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The Oberlin Conservatory of Music The Oberlin Conservatory of Music
A place toward other places
Beauty Surrounds Us Works by members of the Oberlin Conservatory Jazz Faculty
Richard Hawkins, clarinet The Oberlin Contemporary Music Ensemble Timothy Weiss, conductor
[12:56]
Premiere Recording
OC 13-01
THE OBERLIN CONSERVATORY SYMPHONY ORCHESTRA AT CARNEGIE HALL Conducted by Robert Spano
Xiaodi Liu C Megan Kyle C Pablo Moreno B
With special thanks to Dean David H. Stull and all of the alumni, students, faculty and staff involved with this project.
Text by Theodor Geisel (Dr. Seuss)
DR. SEUSS’ THE SNEETCHES Music composed by Lorenzo Palomo, performed by the Oberlin Orchestra, conducted by Raphael Jiménez
English Horn
Dean of the Oberlin Conservatory of Music: David H. Stull Audio Engineers: Paul Eachus, Ryan Miller Producers: Paul Eachus, Timothy Weiss, and Richard Hawkins Editorial Director: Cathleen Partlow Strauss Cover and booklet cover artwork: John Pearson Photography: John Seyfried Design: Kelemen Graphic Design
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prod master: sales order: acct mgr: artist: bus. rel.: contact: ofa date:
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Jupiter String Quartet: Nelson Lee, Meg Freivogel, Liz Freivogel, Daniel McDonough Yolanda Kondonassis, harp Ellie Dehn, soprano Alexa Still, flute Richard Hawkins, clarinet Spencer Myer, piano
Eric Anderson B
TOTAL PLAYING TIME: [ : ]
Clarinet
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ĩ 2013 Oberlin Conservatory, 77 W. College St., Oberlin, OH 44074 under license to Azica Records. 1645 Eddy Road, Cleveland, Ohio 44112 216-681-0778 | www.azica.com All Rights Reserved. Unauthorized duplication is a violation of applicable laws. Printed in the U.S.A. ACD-71286
Viola
Executive Producer: David H. Stull Produced by Yolanda Kondonassis and Erica Brenner Engineered by Paul Eachus
[:]
DJ Cheek C A Lianna Dugan, Principal C Carrie Frey B Jane Mitchell C Jesse Yukimura C
10 - 13
Introduction et Allegro [ : ] Cinq Mélodies Populaires Grecques Chansons madécasses [ : ] String Quartet in F major [ : ]
A place toward other places Richard Hawkins, clarinet
A place towrad other places – Richard Hawkins
1 2-6
7-9
Awarded the 2009 National Medal of Arts by President Barack Obama, the Oberlin Conservatory of Music is renowned internationally as a professional music school of the highest caliber. Praised as a “national treasure” by the Washington Post, the conservatory is the oldest continuously operating conservatory in the United States. Oberlin’s alumni have achieved prominence as solo performers; chamber, orchestral, and jazz musicians; composers; conductors; and music educators, scholars, and administrators. For more information visit www.oberlin.edu.
The Oberlin Conservatory of Music
.: : e:
KEVIN REEVES
Oberlin Orchestra Raphael Jiménez, conductor John de Lancie, narrator
MAURICE RAVEL (1875-1937) INTIMATE MASTERPIECES
ACD-71286
master: rder: gr:
About the Oberlin Conservatory of Music:
RAVEL: INTIMATE MASTERPIECES
rator for nar c poem rchestra o phoni a sym symphony and
ith narrator John de Lancie and nez, in the world premiere Palomo’s Dr. Seuss’ The Sneetches on s Finney Chapel. Photo by John Seyfried.
y of Music www.oberlin.edu/con
jazz cd booklet 6.25.10
The Oberlin Conservatory of Music
Lorenzo Palomo
HYPERSUITE 2: MUSIC FOR SOLO CELLO Associate Professor Darrett Adkins
OC
13-01
A PLACE TOWARD OTHER PLACES Associate Professor of Clarinet Richard Hawkins and the Oberlin Contemporary Music Ensemble, conducted by Timothy Weiss
BEAUTY SURROUNDS US Works by members of the Oberlin Conservatory jazz faculty
The Making Of
“Respect Yourself,”The Staple Singers by Mavis Staples Mack Rice, who wrote “Mustang Sally” and sang with Wilson Pickett and Eddie Floyd in the Falcons, originally brought us the song. He wrote the lyrics, and Luther [Ingram] came up with the title. They were just sitting in a restaurant talking about us as black people. And Luther said, “We’ve got to learn to respect ourselves,” and Mack took it from there. He gave Luther half the song because the title was such a big part of it. We were doing a session when Mack came in and told Pops [Staples], “You all got to do this … it’s strictly for the Staples. You have to sing, ‘Dit-deedle-deedee.’” And Pops said, “Mack, man, that’s not the Staple Singers. We can’t do that.” And Mack answered, “Pops, when you sing, ‘Ain’t nobody gonna give a good cahoot,’ you’ve got the grown-ups. But when you sing, ‘Dit-deedle-deedee,’ you get all the kids, too.” And Pops laughed, “I guess you’re right.” And that’s the way we recorded it. It’s a piece of history as far as black people are concerned. Living in Chicago at the time, [local gang] the Blackstone Rangers were some pretty rough guys. Pops [said] he ran into one of them on the street, who told him, “I’m so glad you and your daughters recorded that song.
If some of these rappers would record ‘Respect Yourself,’ it would be good for the world. It’s a classic.
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GRAMMY Hall of Fame 40th Anniversary
I didn’t realize I wasn’t respecting myself. he just had to be high, ya know? I was taking the bus the other day and Out of all of our songs, “Respect there was this lady who got on with Yourself” is my favorite. It’s still in her grocery bags. I got up and let her the set list. Donny Gerrard sings sit down and it made me feel so much Pops’ part and I do mine. better.” That’s when I realized it’s I heard Whoopi Goldberg one night on about respect … respect your elders, respect women. They were a street gang, but they weren’t bad guys. They provided free breakfast for school kids who would otherwise go hungry. That’s why we sang songs like that. As black people, if we don’t respect ourselves, The Staple Singers (Mavis Staples, bottom center) who’s going Michael Ochs Archives/Stringer/Getty Images to respect us? Pops was a singer’s singer, so cool David Letterman. There was an incident and laid-back. Sly Stone once came in Compton and she said, “Somebody up to him at the GRAMMYs and said, needs to record that Staple Singers “Gimme the bag.” And Pops said, “What song, ‘Respect Yourself.’ These kids are you talking about?” And Sly said, today should hear that.” I had this grin “I know you got it.” Pervis, my brother, on my face, “Thank you, Whoopi.” Ain’t had to explain to daddy, “Pops, these no way we’re going to stop singing that guys think you got a bag of reefer.” song. If some of these rappers would And Pops said, “Sly, you better get record “Respect Yourself,” it would be away from me. I’ll take my belt off good for the world. It’s a classic. to you.” And Sly started running. He As told to Roy Trakin knew dad didn’t have no bag; he just had to do that. Pops was so mellow,
The Making Of
2000 And Thirteen Carl Reiner & Mel Brooks by Mel Brooks
Joe Smith, who was the president of Warner Bros. Records at the time, kept bugging me to do the sequel to the 1960 album [2000 Years With Carl Reiner & Mel Brooks]. But I didn’t want my life to be just about the 2000 Year Old Man. I had other fish to fry, but I finally agreed. Joe said, “I’ll make it easy for you. I’ll bring in club chairs, couches and coffee tables with a live audience.” So he proceeded to turn one of the soundstages at Warner Bros. into a big living room. It was fun. We had very little prepared. Carl [Reiner] would always surprise me.
NBC via Getty Images [ 58 ]
GRAMMY Hall of Fame 40th Anniversary
Half of it we talked about beforehand; the other half, I said, ‘Just surprise me.’
That son of a b**** would always make me prove things … that I was 2,000, or had been to Jerusalem, or married 42,000 women. My favorite was the “Paul Revere” track, where I call him an anti-Semite because I thought he was yelling, “The Yiddish are coming!” My recovery to that was very funny too, where I said I’d have to send him a note [of apology]. Half of it we talked about beforehand; the other half, I said, “Just surprise me. Let’s fool around with ancient poetry, let me confuse the ice cream and Dolley Madison, [President James Madison’s] wife. Let’s talk about the crazy aroma you get when you eat asparagus and make a number one.” I did some things I was very proud of on that album. The telephone conversation between Al Jolson and Irving Berlin was one because that borders on insanity. A lot of people did impressions of Al Jolson, but no one ever did him on the phone. And nobody ever, ever did an impression of Irving Berlin. In This Is The Army, he sings in this little birdlike voice. I just knew what he’d sound like. The audience really got a thrill out of hearing Al Jolson talk. That was spontaneous. Carl’s a control freak,
and he didn’t know what was coming. Every once in a while, he’d just be baffled by what I was doing and really become a member of the audience, and enjoy it, instead of [being] a straight man. I just loved doing that. I started out as a stand-up comic in the mountains, in the Borscht Belt. It was an outlet for the performer in me, which wanted to fly, like a bird. Carl ... knows which buttons to push. He knows I’m going to be cantankerous and angry, much like Larry David is today. I told him, let’s not mention politics, because that gets so quickly dated. Let’s do human condition and all those things that never change … human lust, human need, human greed, human fear. We relied mostly on the animal in us and very little on the intellect, and it just worked. It’s not the Jewish accent. It’s not New York, but jokes about what kept you going, what drove you, and that’s fear. A lion would growl, you’re going two miles a minute out of there. We [humans] run on instinct. We can be in the middle of the most interesting conversation, but if a gorgeous creature with long legs passes, we’re going to turn to look. As told to Roy Trakin
The Making Of
“Coal Miner’s Daughter” by Loretta Lynn
I wrote it on a little $17 guitar. It didn’t stay in tune. And $17 was a lot of money, ’cause at the time we didn’t have any money. But then Gibson gave me a guitar, and I wrote all the others on that one. Every word is true. My daddy would work all night in the coal mine. During the day he would work in the cornfields. There were 10 of us. He had to make a living for us. Eight kids. I was second, so I would take care of the kids while mommy did the sewing and the cleaning and everything else. I think that’s why I sing. I’d rock the babies to sleep and sing to them. The song says mommy’s fingers were Hulton Archive/Getty Images bleeding. I’d seen them bleed many times. In the wintertime we had these old clotheslines made out of wire. It would be so cold that her fingers would stick to that wire. She’d pull them loose and I’d see the hide come off of those fingers. I would hide and cry. Monday was wash day. She’d scrub on those washboards all day and her fingers would bleed. But she didn’t complain. My mommy, to me, was beautiful. I’d see everything she’d do, whether it was crying or laughing. She would [ 60 ]
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rock the babies by the coal oil light, like in the song. That was our light. We didn’t have much light. Butcher Holler, Kentucky, was dark at night. [Editor’s Note: Butcher Holler is the nickname for Butcher Hollow, Ky.] [The song] says we’d go without shoes in the summer. We would wear our shoes out before it would be warm enough to be without shoes. We’d have holes in our shoes, and put pasteboard in our shoes. But halfway to school the pasteboard would come out. You know, you hear about poor people in other countries. There are a lot of poor people in our country if you go to the right places. There are a lot of hollers, not just Butcher Holler. I’ve seen them. I guarantee you there’s kids right to this day in the Kentucky hills [who] don’t have shoes. There’s the line “Daddy always managed to get the money somewhere.” Parents do what they have to do. Daddy would usually try to get two hogs — one to raise and one to sell. So the other hog would pay for itself. We had a rough life. It was a hard life. Mommy would raise a garden in the summer, and we’d help her. She would can, and I would pick wild blackberries. I would go and pick from morning till night. And mommy would pack up 100 quarts of blackberries. The song doesn’t tell half of it. If I told the whole story nobody would believe it now anyway. [Producer] Owen Bradley heard me writing it. It had about 10 verses, and he said it was too long. He said, “There’s already been an ‘El Paso,’ there doesn’t need to be another one.”
The song doesn’t tell half of it. If I told the whole story nobody would believe it now anyway. He knew it was about my life, and he didn’t care about my life and figured nobody else would. So I cut out, I think, four verses. And I cried the whole time. And I have lost those verses, I do not remember them. I wish I did. We cut it in Owen’s studio in his barn. It was my arrangement. I told him exactly how I wanted it, whether I wanted the steel to start it, or the fiddle. Then I sang the song to the band, and said, “This is what we’re gonna do now.” And I sang it live with the band. Just sang, I didn’t play guitar. Just a couple takes at the most. I never did many takes of anything. The more I sing, the worse I get. I like to make it fresh. It was my husband Doo’s idea to put a banjo on it after. He was right. It added so much to the song. None of us could believe it. It was a fun session. I stopped at the store before going to the barn. I’d get half a roll of bologna cut up, and cheese, bread, onion, [and] potato chips. We made everything fun. I didn’t have a drink but whoever had a drink had a drink. A hillbilly party. I didn’t want my sessions not to be fun. As told to Paul Zollo
Traditional reeds | M|O ligatures
The Making Of
Head Hunters by Herbie Hancock
In the early ’70s, around the time I was thinking about doing a new album, I knew I was getting tired of the far-out spacey stuff I had been doing. Something else in me had to get satisfied. I wanted to play something that had a little more urgency. I had been playing with guys like Buster Williams, Billy Hart, Julian Priester, [and] Eddie Henderson. But I was listening to Sly Stone and the Commodores, and people like that. I wasn’t sure what I wanted to do, but I knew I wanted to do something else. At the time, I had been practicing Buddhism for less than a year. One day I was chanting. And one of the things I
Steve Morley/Redferns
was chanting about was, what did I really want to do musically at that time? And all of a sudden, after I was chanting for a while, maybe a half hour, 45 minutes, I got this image in my head of me playing in Sly Stone’s band. And then it switched to an image of Sly Stone playing in my band. And what that led to was me deciding I wanted to do something that was funky. But once we got started working on Head Hunters I began to think, “I don’t know if people are going to like this stuff or not.” So I talked to David Rubinson, my manager. We were recording in San Francisco, so I told him, “Maybe we should play these pieces in some clubs up here in San Francisco and get an idea of what kind of response we’ll get.” So for maybe three weeks we played the Head Hunters music in some local clubs. And people went crazy. They loved it. And that’s how we played it on the record, the same way we played it live. That was the only time I can remember that I had a chance to play music live before I had a chance to record it. And when we actually did the first tour of Head Hunters after the album was released, people were loving it everywhere. The jazz fans got off on it because we were blowing, we were trying stuff. And the audience for funky music loved it, too. I remember one time we played opposite Santana, in a place larger than what I was used to. They opened for us. One of the other gigs we played was opposite Miles and the Commodores. Miles was opening for us, and he actually seemed kind of proud of me — kind of paternal.
There was also an unusual aspect of Head Hunters that a lot of people have commented about — the fact that I played electronic keyboard instruments ranging from the ARP synthesizer to the Hohner clavinet. And what occurred to me was that, if I [did] this record, playing synthesizer for the first time, I might lose the jazz audience that I had, without gaining any new audience. But I knew I had to do the Head Hunters record because I wanted to do it. And I knew that if I didn’t do it, I’d be a coward. And then I’d be kowtowing to something other than my real self. And even though my playing this music this way was perceived by some observers as not my real self, they were absolutely wrong. It’s funny how, when you’re young, you have these ideas. And sometimes there’s almost a naïveté involved. I asked myself, “Hey, why can’t I just play the clavinet instead of using a guitar in the band?” I didn’t know that it actually would work the way it did, that it would become the bestselling jazz album of all time. But it never crossed my mind that it wouldn’t. And it did work out, just as my original desire to play funky music on Head Hunters worked out. And it became another important stage in the way things have happened for me — every 10 or 11 years or so [there’s] something important. Me writing “Watermelon Man” in 1962, me doing Head Hunters in 1973, me doing “Rockit” in 1983. And then, more than 20 years later, the Joni Mitchell album River: The Joni Letters in 2007.
I knew I had to do the Head Hunters record because I wanted to do it. And I knew that if I didn’t do it, I’d be a coward.
As told to Don Heckman
The Making Of
“ Society’s Child (Baby I’ve Been Thinking)” by Janis Ian world was changing so fast. It was 1965 in the height of the civil rights movement. There was no way to avoid those topics. The Estate of David Gahr/Getty Images Especially in a racially mixed environment. The song is about a mixed romance, but it wasn’t a true situation in my life. My I wrote it when I was 14. It wasn’t my parents wouldn’t have cared if I dated first song, that was called “Hair Of Spun Gold.” I had written maybe 12 or 13 songs a black boy. But I wasn’t dating yet at all. Living in the neighborhood, it was a by the time I wrote “Society’s Child.” subject that was much discussed. I grew up in a house surrounded by It was [producer] Shadow [Morton] politics and social issues. My parents were who picked the song. When I first met social activists. It was a pretty conscious household. All the people I admired were him to play my songs, he sat behind a newspaper the whole time. So I lit the doing things like going down south and paper on fire, which got his attention, and working with the civil rights movement, then he listened. Out of all my songs he or working against the Vietnam War: Pete Seeger, Odetta, Dylan. Those were chose “Society’s Child” and the next week we were in the studio. my heroes. Those were the people I He gave me free reign in the studio. He wanted to write like and be like. put me in the studio with seven or eight of But I didn’t want to write what New York’s top musicians, and said, “OK, anybody else was writing. I wanted to write my own songs. tell them what you want,” and disappeared into the control room. Which is remarkable. We moved to East Orange I had written the introduction, and I had from our farm when I was 10. Artie Butler, who came up with the outro. It It was an almost all-black middle-class neighborhood, so was a long session, and I didn’t know how most of my friends were black. to explain what I wanted. By the end of the Now that I’m older I understand day, they had shown me how to write a lead sheet. I had no idea. it better. Parents don’t want There was a point where we took their kids to have any harder a break and Shadow came and said, time than they had. It’s hard “What’s wrong?” And I said, “I don’t enough being black, you don’t need to add a mixed marriage know, but my stomach’s starting to hurt to it. The white parents thought and I hate this.” And George Duvivier, the upright bass player, God bless him, the same thing. Life is hard said, “I know what’s wrong,” and he had enough, so why complicate them all stand around and listen to the it? But within that sphere, the
One man wrote that it was an ‘absolutely brilliant record and song, too bad it will never see the light of day.’ But it did. It changed everything.
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lyrics. He said, “This is a really special song, guys, and we have to make it really special.” And two takes later we were done. Once they started listening, it was not hard to get what I wanted. The ensemble was George on bass, Buddy Saltzman on drums, Al Gorgoni on guitar, Victor Feldman on percussion, Artie on organ and harpsichord, [and] myself on 12-string guitar. Brooks Arthur, who produced “At Seventeen,” was the engineer. Artie was a genius. He is the entire string section on that entire intro and outro. It became a hit over a long time. It was put out three times. Shadow recorded it for Atlantic, and they gave us back the master. Every company in the country turned it down, until Verve picked it up. The subject matter scared them. One man wrote that it was an “absolutely brilliant record and song, too bad it will never see the light of day.” But it did. It changed everything. Leonard Bernstein played it on a Sunday evening special and that was the end of that. It was pretty cool, because suddenly I was legitimate to my parents and my grandparents. This was before this music became an industry, before it became a cultural artifact. The song made a big impact. It became part of the culture. It opened up pop music. If I hadn’t done it, someone else would have. But I don’t think they would get the press that a 15-year-old got. As told to Paul Zollo
The Making Of
“Stand By Me” by Ben E. King
It was based on the Sam Cooke song, “Stand By Me [Father],” when he was the lead singer of the Soul Stirrers. I just pulled the “stand by me” part and started writing. I was attracted to the strength of the words … especially having nothing before or after. It just started my brain popping. I had just finished recording “Spanish Harlem” at Atlantic studios and [producers Jerry Leiber and Mike Stoller] still had some time left over, so they asked me if I had anything in my head to show them. [Editor’s Note: “Spanish Harlem” was inducted into the GRAMMY Hall Of Fame in 2002.] So I brought up “Stand By Me” and they went, “Wow.” They stopped everything, started to call in people, looked it over and the next thing I knew they were lining up a session. I brought in the whole song. I couldn’t work on lyrics with Jerry like that. When you’re writing a song, other writers would put their feeling in it, but I cannot remember that happening on this one. I don’t recall the song not being complete before I got there. I had written songs by myself before. Why do they get co-writing credit? You know what happens in this business; everybody [puts] their hand in the pot when something’s going on. I do remember it being recorded with all the musicians
I hear various stories about what the song means to people from fans who write or ask for autographs. You kind of realize it’s bigger than you’ll ever be.
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at one time, including a string section. That’s the way it was done back then. I had originally written the song for the Drifters, and they had rehearsed it at our first manager’s house, Lover Patterson, and sounded great. When they went downtown to audition for their new manager, he refused it. So I kind of put the song out there. I felt there was something in the lyrics. What fascinated me were all the little bits and pieces that Jerry and Mike left in there … the moans, the groans, the unhs, and the ahhs. The song took on a certain identity and strength because I felt it coming alive while I was singing it. If I walk offstage without performing it, I think I’d be in a little bit of trouble. From the time you hear that bass line, it’s not my song anymore because the audience starts singing it. I hear various stories about what the song means to people from fans who write or ask for autographs. You kind of … realize it’s bigger than you’ll ever be. John Lennon’s version is one of my favorites because I’m a big fan of his writing and performing, and [him] as a person. Otis Redding covered it. Prince Royce [recently] recorded
it for the Latin market and I thought he did a brilliant job. Mickey Gilley did a country and western version. It’s kind of covered all the worlds of music. As a writer, you look at it and say, “I never expected all of this out of three words.” The song has given my family strength, stability and love, just knowing it belongs to me and them. When they say my name and someone doesn’t know it, they’ll mention “Stand By Me,” and nod, “Oh, that guy.” You don’t need awards and plaques on the wall if you have the love of family and fans who feel the song is theirs as well as mine. As told to Roy Trakin
GAB Archive/Redferns
The Making Of
“Mama Tried”
Lincoln with my first royalty payment. She said, “The ladies in church will make fun of me if you get me a Lincoln. I want a Dodge Dart.” We recorded it in 1968 at Capitol in Hollywood. Ken Nelson and Fuzzy Owen produced. We did a good job; that record still I remember writing the first line — sounds unique. It starts “First thing I remember knowing” — and with James Burton on a then it all came fast. Almost wrote itself. Dobro, fingerpicking. I was It was so well describing my life that I felt trying to land somewhere Lynn Pelham/Time & Life Pictures/Getty Images maybe I was too close to it to realize it in between Peter, Paul & was good. It sounded too easy. I wrote it Mary and Johnny Cash. So on the bottom bunk of a bus. we started with folky guitar, and a lot of says I’m the “one and only rebel child.” My mother was left alone when vocal harmony sung by Bonnie Owens I did have two older siblings, but they my father died, and she had a good and Glen Campbell. Glen played rhythm were excellent citizens, never went education but had never been able to guitar and sang a tenor harmony. to jail. I was the one and only rebel. use it, never been out in the world. She Everything was done in one take, Mama was an excellent mother. didn’t know how to drive. She rode a city She was a devout Christian, went to singing live in the studio with the bus for 27 years and was a bookkeeper church twice a week. I was raised in band. I loved being there. I think I at a meat company. And put up with can say, without a doubt, Capitol that atmosphere, and mama had her me. I got in trouble a lot; had too much Records was the premiere recording hands full with me. My daddy died energy. I wanted to know things. I loved when I was 9. I don’t suppose I’ve studio in the world. It has a physical those Jimmie Rodgers songs about echo chamber that sounds great. ever gotten over it. He was a good riding freight trains, and I wanted to do it. father. There aren’t a lot of good All the great voices you can think So I did it. You were supposed to go to of, from Nat Cole to Linda Ronstadt, daddies around. He was a good one. school — they had a truancy law. That’s recorded there, using that echo. First time I ran away from home I was 11. Wasn’t running away from where my problems started. When I It was a morning session. They a bad home, I was running towards was 13 years old I were very prompt and regimental thought I was grown. an adventure. about that studio. You went in at 10, It is true, as in the song, that I was So I got in trouble, you had to be out of there by 1, ’cause in prison when I was 21. I didn’t get and they put me in someone else was coming in. We’d life without parole though, that’s the juvenile hall, and I all meet up in a coffee shop down the didn’t like juvenile hall only line that isn’t factual. I didn’t write street there and prepare our recording. any songs in prison that were worth so I broke out, stole Then drive over our amps and guitars, recording. I wrote “Mama Tried” after cars to get away, run in there and set up, and record I got out. It wasn’t mama’s fault that and one thing led to three No. 1 records in three hours. another. By the time I went to prison. She did everything That song — and that record — seems to me to have always been there. I was 20 years old, I right. She was a wonderful mother. She was a shy person. When I was in San Quentin. played her the song, she said the As told to Paul Zollo And “Mama Tried” ladies at church would razz her about is probably a child it. I told her I wanted to buy her a of all that. The song
by Merle Haggard
First time I ran away from home I was 11. Wasn’t running away from a bad home, I was running towards an adventure. [ 68 ]
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The Making Of
“Fire And Rain” by James Taylor
My friend Suzanne, from New York, had committed suicide a couple of months before my friends let me know. I was in the middle of recording my [debut album for Apple Records] in London, and they didn’t know how the news would hit me, and kept it from me for a couple of months until we were well into mixing that album. Then they told me about it, so that’s why the song starts with that first verse. I started it in London. I had known Suzanne the year before I started writing the song. When I finished making the Apple album, I was institutionalized at Austen Riggs in Massachusetts. I wrote the second two verses there. They put me in a little room and I wrote a lot of songs there. It was very productive. I was getting my strength back, I was getting my nervous system back [and] writing a lot of stuff. “Fire And Rain” came very fast. You’d almost say it happened all at the same time. [The song] is very personal, confrontational and candid. It really is a kind of blues. Not a 12-bar blues, but it has the same intent, in that it’s getting out
Michael Putland/Getty Images
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something hard. It details three different episodes of hard times. The first one learning of Suzanne’s death, the second one coming back to the United States sick and strung out, trying to get back on my feet, physically exhausted, undernourished and addicted. And then the third one is much more general, not as specific as the first few verses. It talks about remembering one’s life, thinking back to my band the Flying Machine — like a postcard from the loony bin. The third verse, I think, is hopeful. It is looking at going back out into the world and re-engaging. [The ending] was not written. It was the ad-lib that happened at the end of that take. It was so much of a piece that I kept it. We recorded it at Sunset Sound [in Hollywood]. That album [Sweet Baby James] was recorded in two weeks for a cost of about $8,000, on two-inch 16-track tape. Bill Lazerus was the staff engineer who recorded us. I was living at Peter [Asher]’s house on Olympic, down in the flats. Carole King came over to Peter’s house and we went through a lot of these songs together, and I played it for her then. At Peter’s piano, I taught her the song. Different producers have different tasks with different artists. Peter didn’t do much arranging as a producer for me, because at that point I was very selfish to keep that to myself as much as possible. Sometimes Danny Kortchmar or Carole would suggest things. But really the way these songs were recorded is that I have a community of musicians I work
[The song] is very personal, confrontational and candid. It really is a kind of blues. with. I’d give them the chords and play them my arrangement of it, then they’d find things that work with it. I’d never write out whole arrangements. Russell Kunkel played drums, Carole King played piano, Bobby West played stand-up bass. I was in a booth, playing [guitar] and singing. Carole has this energy about how she plays. She plays very energetically. She and I share a common language. We were definitely on the same page musically. She is so good at getting the feel of what I was doing. “Fire And Rain” was my first hit. That really changed everything for me in 1971, when that came out and I started working behind that album. I was at the right place at the right time. It’s a wonderful experience to create something, particularly as personal and self-expressive, that takes off and resonates with people over a number of years. It is deeply gratifying. And validating and confirming what I say. And I love to play it. I love playing it for people. And almost always, when I play that song, I get back to the place, to the feeling I had when I wrote it. That’s rare, after playing something maybe 1,500 times. As told to Paul Zollo
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The Making Of
“California Dreamin’” The Mamas And The Papas by Michelle Phillips
I am a California girl, and John [Phillips] and I were living in New York and I was a very unhappy camper. I wanted so badly to come back to California. John swept me off my feet and took me to New York in 1961, and I could not believe how horrible that winter could be! I didn’t have any gloves, hat, scarf, [or] boots. I had never been in cold weather, and I begged John to bring me back to California. But he said he couldn’t, because this was where the music business was. I pined for California. I wanted [California] weather, and I felt trapped. He knew how unhappy I was. And that was the genesis of the song. We were at the Earle Hotel, [in the] middle of January, and he woke me up at 2 in the morning. He had his guitar strapped on, and he said, “Mich, listen, I’m writing this.” He was writing the song that was really a reflection of what I was feeling. He was very sensitive to it. He started playing it: “All the leaves are brown and the sky is gray/I’ve been for a walk on a winter’s day/I’d be safe and warm if I was in L.A./California dreamin’.” It makes me cry today because he really got it. He got exactly how I was feeling. He wanted me to understand that he did understand. He said, “Help me write it.”
I pined for California, and I felt trapped. [John] knew how unhappy I was. And that was the genesis of the song.
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I said, “I will. Tomorrow.” He said, “No, wake up. Help me write it now.” I knew at that point he was not gonna be dismissed. A few days earlier we were walking down Fifth Avenue and he pointed out St. Patrick’s Cathedral. I am a total atheist but I love historic, beautiful churches. The Mamas And The Papas I wanted to go inside. John (Michelle Phillips, right) wouldn’t go. He was sent off Bentley Archive/Popperfoto/Getty Images to a Catholic military school studio and Denny [Doherty] put on the when he was 7, and that was lead, and we put on the flute solo. brutal for a little child. He didn’t like the I had never been in the studio before military, and he didn’t like churches. recording our own material. It was I started writing, “I stopped into foreign to me, but there was an instant a church I passed along the way.” romance between John and Lou. They He didn’t like it, the religiosity of laughed together, they created together. it. It’s as bad as if I had said, “And We had only previously sung with one then we invaded Nicaragua.” guitar, so when we got into the studio The real lyric in that verse is “got with Lou he had Hal Blaine [on drums], down on my knees and I pretend to Larry Knechtel [on piano], Joe Osborn pray,” which I put in for his benefit. [on bass], and Glen Campbell [on That is how I sang it. But Cass [Elliot] guitar]. Bones Howe was our engineer. thought it was “began to pray,” and Lou knew how to make a track. that’s how she sang it. We both P. F. Sloan did the acoustic guitar sang different lyrics on the record. intro. John was not a great guitarist, We did the track originally for Barry and that was a pretty intricate little McGuire. Same track, with all our piece of musical work. The song has vocals. We had decided to give that lasted and is so beloved because song to him because he introduced us people sense it is true. That lyric is to [producer] Lou Adler, so we thought meaningful because we lived it. And it would be a nice gesture. After we we shared it through a song. That is made the track, Lou took us out into how wonderful songs are written. the corridor and said, “We’re not giving this to Barry. This is going to be your As told to Paul Zollo first single.” We went back into the
The Beatles: Under The Covers Tracing the lineage of some of the most covered songs of the Beatles, the group with the most recordings inducted into the GRAMMY Hall Of Fame By Bruce Pollock
Michael Ochs Archives/Stringer/Getty Images
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hen country superstar Carrie Underwood performed the Paul McCartney standard “Yesterday” at the 65th Emmy Awards ceremony in September, McCartney sent her a letter beforehand expressing his approval. And why not? According to Guinness World Records, the GRAMMY-nominated classic has received more covers than any other song in history. In fact, less than a week later, Lea Michele sang it in the season-premiere episode of “Glee,” during a show in which the soundtrack consisted entirely of Beatles songs, including “A Hard Day’s Night,” for which the Fab Four won one of their first two GRAMMYs, for Best Performance By A Vocal Group, in 1964. With seven albums and eight singles, the Beatles have placed more titles in the GRAMMY Hall Of Fame than any other group. Four of those albums are in the top 10 on Rolling Stone’s list of the 500 Greatest Albums of All Time. And four of the singles are among the magazine’s top 10 greatest Beatles songs. Approaching the 50th anniversary of their first U.S. appearance on “The Ed Sullivan Show” on Feb. 9, 1964, that the songs of the Beatles now speak to several generations of artists is a testament not only to their incredible impact on pop culture worldwide, but also to their mastery of craft and timeless creativity. Like Irving Berlin, Bob Dylan and select others, the
Beatles’ catalog has attracted a phenomenal number of covers, from as diverse a cast of artists as pop music contains. In 2010 Paste declared Al Green’s 1989 version of “I Want To Hold Your Hand” the top Beatles cover of all time. Elton John hit the top of the Billboard Hot 100 in 1975 with “Lucy In The Sky With Diamonds.” Billy Bragg and Cara Tivey had a No. 1 UK single in 1988 with “She’s Leaving Home,” which appeared on the tribute album Sgt. Pepper Knew My Father. Rubber Soul was the subject of a 2005 tribute titled This Bird Has Flown: A 40th Anniversary Tribute To The Beatles’ Rubber Soul, featuring covers by Ben Harper, the Cowboy Junkies and the Yonder Mountain String Band, among others. A video of Amy Winehouse singing “All My Loving” in 2004 can be found on YouTube. In 2010 Brit teen pop outfit One Direction tackled “All You Need Is Love” during their thirdplace run on Simon Cowell’s “The X Factor.” Released in October, Beatles Reimagined features covers by 10 indie artists, including Edward Sharpe And The Magnetic Zeros. These are but a tiny sample. Here is a look at 10 of the most covered songs in the Beatles catalog, reflecting the seminal group’s eclectic sphere of influence.
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“Blackbird” (1968) Appears on The Beatles (White Album) GRAMMY Hall Of Fame, 2000 Other than “Revolution,” few Lennon/McCartney songs dealt overtly with politics, especially American politics. Composed by McCartney on acoustic guitar following a trip to India, “Blackbird” symbolically confronts racial hatred on the streets of the United States during the simmering ’60s. With a fingerpicking pattern reminiscent of Johann Sebastian Bach’s “Bourrée In E Minor,” McCartney claimed as his inspiration for the blackbird of the title a composite black woman in Little Rock, Ark. The song boasts perhaps the most hip and eclectic assortment of cover artists of any Beatles tune, from Aimee Mann and Desmond Dekker, to Sting and the Swingle Singers, as well as Blues Traveler, Phish, Eddie Vedder, Elliott Smith, Bobby McFerrin, and Dave Grohl. It was performed by Crosby, Stills & Nash at Woodstock in 1969. Sarah McLachlan sang it for the GRAMMYnominated soundtrack for the 2001 film I Am Sam. A particularly moving version was recorded in 1994 by Dionne Farris, previously from the hiphop group Arrested Development. Its delicate melody is especially treasured by guitarists, evidenced by spirited renditions by Chet Atkins, Al Di Meola, José Feliciano, Adrian Belew, and Tuck Andress of Tuck & Patti, as well as bass guitarist Jaco Pastorius. “In My Life” (1965) Appears on Rubber Soul GRAMMY Hall Of Fame, 2000 Written in 1964 soon after the group’s legendary first meeting with Bob Dylan, whose work they’d been familiar with since George Harrison purchased a copy of The Freewheelin’ Bob Dylan in 1963, “In My Life” marked a distinct phase in Lennon’s attitude toward songwriting. Where previously he’d been a staunch proponent of the Brill Building school of three-minute craftsmanship, preferring to pour his literary energies into his occasional books, now he began to open up to the cathartic possibilities of lyric writing. While ownership of the melody is still an open question, the song is generally considered Lennon’s first serious piece of writing and as such it was accorded an honor only the most gifted of the era’s singers/songwriters would receive, a cover by Judy Collins, who did the same for Leonard Cohen (“Suzanne”), Donovan (“Sunny Goodge Street”), Joni Mitchell (“Both Sides Now,” “Chelsea Morning”), and Randy Newman (“I Think It’s Going To Rain Today”), among others. Lennon’s autobiographical ode to the places he remembered while growing up would be replicated in “Strawberry Fields Forever.” In 2000 Mojo magazine voted “In My Life” the No. 1 song of all time. The song has been covered by artists such as Ozzy Osbourne, Johnny Cash, Lena Horne, Bonnie Tyler, Keith Moon, Maggie Bell, Stephen Stills, Phoebe Snow, and Bette Midler. [[ 76 ] GRAMMY Hall of Fame 40th Anniversary 76 ]G����������Grammy Hall of Fame
“A Hard Day’s Night” (1964) Appears on A Hard Day’s Night GRAMMY Hall Of Fame, 2000 “A Hard Day’s Night” was featured in the Beatles’ first film, the title based on a phrase uttered by Ringo Starr. In the first week of August 1964, the album and title song were No. 1 on both the album and singles charts in both the United States and the UK, marking the first time in chart history that both an album, and a single from that album, reached No. 1 simultaneously in both territories. The Beatles would go on to account for a total of six No. 1 tunes in the United States that year (not including the Lennon/McCartney-penned “A World Without Love,” which they gave to Peter And Gordon), along with five more songs that peaked in the Top 10. Moreover, the charge led by the Beatles resulted in nearly the whole of swinging England following them onto the American charts in succeeding weeks, including artists such as the Dave Clark Five, the Searchers, the Swinging Blue Jeans, Billy J. Kramer & The Dakotas, Cilla Black, the Rolling Stones, the Hollies, Gerry & The Pacemakers, Chad And Jeremy, the Overlanders, the Animals, Billy Strange, Manfred Mann, the Kinks, the Zombies, Marianne Faithful, Sandie Shaw, and Petula Clark. With its instantly recognizable opening chord, this number has been favored by a diverse crop of rockers, among them the Knack, the Hoodoo Gurus, the Kingsmen, Billy Joel, Guided By Voices, Richie Sambora, Billy Strange, Smashing Pumpkins, and the Shadows’ Hank Marvin. “A Hard Day’s Night” was also famously covered in 1965 by comedian Peter Sellers, in the voice of Sir Laurence Olivier. “And I Love Her” (1964) Appears on A Hard Day’s Night GRAMMY Hall Of Fame, 2000 Among the group of musicians most influenced by the music of the Beatles are those who made up the Motown stable. As late as 1970, Levi Stubbs of the Four Tops was quoted as saying, “So often the Beatles will trigger a whole new thing which alters the course of the whole recording industry.” Certainly the Beatles absorbed their share of influences from the world of black music, from Chuck Berry and Little Richard to Smokey Robinson and Arthur Alexander. Shortly after it was released, they added Motown’s first hit single, “Money (That’s What I Want)” by Barrett Strong, into their act, eventually putting it on their second UK album, With The Beatles. Labeled McCartney’s “first ‘Yesterday’” by his fiercest critic, Lennon, “And I Love Her” made its way into the worlds of R&B, reggae and jazz through standout versions by Bob Marley, Carmen McRae, Bobby Womack, Smokey Robinson, Sarah Vaughan, Mary Wells, Kenny Lattimore, Natalie Cole, Rahsaan Roland Kirk, and Count Basie. Esther Phillips’ version reached the Billboard Hot 100 in 1965.
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“Michelle” (1965) Appears on Rubber Soul GRAMMY Hall Of Fame, 2000 Oddly enough, the only Song Of The Year GRAMMY ever won by the Lennon/McCartney team was not released as a single by the Beatles. They gave it to the little-known British folk group, the Overlanders, who brought it straight to the top of the UK singles chart in 1966. In the United States, the Top 20 hit belonged to David And Jonathan (aka Roger Greenaway and Roger Cook, future co-authors of the Hollies’ hit, “Long Cool Woman In A Black Dress,” among others). Other covers include versions by former GRAMMY host Andy Williams, Booker T. & The MG’s, Perry Como, Béla Fleck & The Flecktones, and Diana Ross And The Supremes. Perhaps Lennon wanted the single suppressed because he failed to pardon McCartney’s French, an affectation McCartney had carried with him since his high school days, and finally exhibited before the world in the chorus of this song.
“Hey Jude” (1968) Released as a single GRAMMY Hall Of Fame, 2001 “Hey Jude” clocked in at a whopping 7:11 (four minutes of which consisted entirely of “Na na na na na na ...”), putting it among the lengthiest singles ever to hit the Top 10, easily surpassing Bob Dylan’s “Like A Rolling Stone” (6:00), but not Richard Harris’ “MacArthur Park” (7:20). (Three years later, Don McLean’s “American Pie” raised the bar to 8:36.) The extravaganza proved well worth the cost in studio time and hired hands (it features a 36-piece orchestra), as the single became the first to debut in the Top 10 on the Billboard Hot 100, spent nine weeks at No. 1 (the longest stay at the top spot for a Beatles song) and became the top song of 1968. Since he assumed it was written about him, as he was at the time in transit between his first marriage and a new one, Lennon considered this his favorite McCartney song. But McCartney claims it was written for Lennon’s son, Julian, although he himself was rebounding from his broken engagement to Jane Asher into an affair with future wife Linda Eastman. The first song released on the Beatles’ boutique label, Apple Records, among its many covers is the standout crossover hit by Wilson Pickett, which featured Duane Allman on guitar. [[ 78 ] GRAMMY Hall of Fame 40th Anniversary 78 ]G����������Grammy Hall of Fame
“Let It Be” (1970) Appears on Let It Be GRAMMY Hall Of Fame, 2004 After several years of intense competition with his songwriting partner, compounded by massive fame, in 1968, prior to the recording of what would turn out to be the last Beatles album, McCartney awoke from a dream with this response. Summoning the voice of his departed mother, Mary, he was advising himself to back off, lay low, calm down, and in so doing unintentionally offered this message to a rock and roll generation ravaged by the tears and tear gas of the late ’60s. The song was misinterpreted by Lennon, who was not alone in ascribing a purely religious meaning to the character “Mother Mary.” Artists who have covered the song include Pearl Jam, George Michael, Rod Stewart, David Bowie, and Willie Nelson. Recently, “Let It Be” has been a particular favorite of major television singing competitions, appearing on “American Idol” during Beatles week in 2007, on “The X Factor” in 2011 and “The Voice” in 2012. In 2010 GRAMMY winner Jennifer Hudson teamed with the Roots and brought it to the Billboard Hot 100 as did “American Idol” season eight winner Kris Allen.
“Eleanor Rigby” (1966) Appears on Revolver GRAMMY Hall Of Fame, 2002
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“Eleanor Rigby” is one of the great character portraits in rock and roll literature, along with Leonard Cohen’s “Suzanne,” the Rolling Stones’ “Ruby Tuesday” and Jerry Jeff Walker’s “Mr. Bojangles.” A somber meditation on loneliness and mortality, it marked a real step forward in the Beatles’ lyrical development. Dressed in cellos, violins and violas, it earned McCartney a GRAMMY for Best Contemporary (R&R) Solo Vocal Performance — Male Or Female in 1966. While the song’s downbeat nature probably prevented it from reaching the Top 10 in the United States (it peaked at No. 11), many have gravitated toward its gravity, among them Wes Montgomery (who garnered a GRAMMY nomination for his interpretation), Vanilla Fudge, Kansas, Rick Wakeman, Ides Of March, and the Fray. It has also attracted the attention of some of the greatest voices in music history, including Aretha Franklin, Joan Baez, Richie Havens, Ray Charles, and Tony Bennett. “I don’t think there has ever been a better song written,” the late GRAMMY winner Jerry Leiber once said.
“Something” (1969) Appears on Abbey Road GRAMMY Hall Of Fame, 1995 Once described by Frank Sinatra as “the greatest love song of the past 50 years,” “Something” was Harrison’s showcase. In fact, the Chairman recorded it and thought it was so good he sometimes attributed its authorship to Lennon/McCartney. Not used to his material being highly regarded by Lennon or McCartney, Harrison originally gave the song to Joe Cocker. But before Cocker could release it, the Beatles made it the A-side of the first single from Abbey Road, the only Harrison song to be so rewarded. With a title and a first line obviously copped from then-Apple recording artist James Taylor’s “Something In The Way She Moves,” Harrison’s gem placed at No. 3 on the Billboard Hot 100. In 1970 Shirley Bassey’s cover became a crossover hit. Johnny Rodriguez brought it to the country Top 10 in 1974. Artists such as Peggy Lee, Tony Bennett, Perry Como, Engelbert Humperdinck, Bobby Vinton, and Dionne Warwick made it part of their repertoires. But Harrison’s favorite version of the song “Yesterday” (1965) was the one recorded by James Brown, Appears on Help! released in 1973 as the B-side GRAMMY Hall Of Fame, 1997 of “Think.” Written in 1964, “Yesterday” was another of several tunes that appeared to McCartney almost fully formed in a dream. While Lennon claimed it was among the few songs of McCartney’s he never wished he’d written, Sir Paul himself wasn’t sure he’d written it either. Like some songwriters, he was deathly afraid of unconscious plagiarism. Once convinced he was the legitimate composer, McCartney spent quite a while developing the lyrics (for one thing, changing the title from its original “Scrambled Eggs”). The group were also unsure about the song, and ultimately decided not to release it as a single in the UK. The Beatles did release it stateside and it became their 10th No. 1 single, much aided by George Martin’s classical production flourishes. Since then its gentle message of regret has been taken up by Plácido Domingo, Elvis Presley, Mary Wells, Brenda Lee, Frank Sinatra, Willie Nelson, Eva Cassidy, Marvin Gaye, Tom Jones, David Essex (who sang it in the odd Beatles-themed 1976 documentary, All This And World War II), and more than 2,500 others. UK singer Matt Monro can claim the first-ever cover version. Ray Charles had a Top 25 hit with it in the United States in 1967 and the Scottish band Wet Wet Wet took it to No. 4 in the UK in 1997.
Bruce Pollock is the Deems Taylor Award-winning author of 10 books on music, including If You Like The Beatles (Backbeat Books) and the forthcoming A Friend In The Music Business: The ASCAP Story (Hal Leonard Publishing).
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The GRAMMY Hall Of Fame®: Thriving At 40 “The Recording Academy has given recognition through its annual GRAMMY Awards to all sorts of contemporary recordings in the various creative fields. However, our heritage is so rich and runs so deep that it is the feeling of our National Trustees that those great recordings of lasting qualitative or historical significance released before the inception of the GRAMMY Awards in 1958 certainly should also receive their rightful recognition.” — Bill Lowery, former Recording Academy Chairman/President, 1974
Since approximately the beginning of the 20th century, a vast body of music has been dedicated to “tape.” In all its forms, genres and styles, made by thousands of artists and other contributors, each of whom was influenced by the last, this collection of music has made our world far richer than gold or silver. This wealth of musical riches is reflected not only in the lineage of music’s highest honor, the GRAMMY Award, but also in the nearly 1,000 classic recordings enshrined in the GRAMMY Hall Of Fame. At The Recording Academy’s annual Board of Trustees meeting in May 1972, a proposal was passed to establish a hall of fame to honor recordings of “lasting historical or qualitative significance which have made contributions to our cultural heritage.” And in 1973 the GRAMMY Hall Of Fame was officially launched. Paul Weston, The Recording Academy’s first Chairman/President, communicated the unique distinction of this initiative, stating that the GRAMMY Hall Of Fame would honor not actual individuals, but “the recordings themselves.” Over a subsequent six-month period, various Academy committees culled the history of recorded music in preparation for the selection of the Hall’s first class. A 90-member committee, composed of Recording Academy representatives and individuals with years of experience in various fields within the music industry, ratified the GRAMMY Hall Of Fame’s first five recordings: Louis Armstrong & His Hot Five’s “West End Blues”; Nat “King” Cole’s “The Christmas Song”; Bing Crosby and the Ken Darby Singers’ “White Christmas”; Coleman Hawkins’ “Body And Soul”; and George Gershwin with Paul Whiteman’s “Rhapsody In Blue.” This inaugural class was announced on the 16th Annual GRAMMY Awards telecast on March 2, 1974. Five more recordings were inducted in 1975. The Hall’s first 10 [ 84 ]
recordings were featured in glass and rosewood cases at The Recording Academy’s temporary display within the Universal Studios Tour in Los Angeles. Each case was equipped with a playback button providing visitors the opportunity to hear the recordings and the displays were augmented by the actual original recordings, photographs and historical data. Meanwhile, The Recording Academy formulated plans for a “Recording Arts Museum,” a venue that would not only house the GRAMMY Hall Of Fame but afford visitors an opportunity to learn about music and the recording process. “It will be enjoyed by the public as a tourist attraction; but visitors will also leave it with a better understanding of the recording industry,” said then-Recording Academy Chairman/ President Jay S. Lowy in 1980. Dating back to the early ’70s, several cities were considered as possible sites for the museum project, including Burbank, Calif.; Anaheim, Calif.; Orlando, Fla.; Atlanta; New York; and Philadelphia. At The Academy’s annual Trustees meeting in 2002, New Orleans was proposed as a potential site for the “GRAMMY Exposition And Hall Of Fame,” the latest working title of the project. The museum project ultimately crystalized in 2008 with the opening of the GRAMMY Museum (see page 94). Nestled within the flourishing L.A. Live entertainment complex in downtown Los Angeles, the dynamic four-story facility features educational exhibits and offers an array of public programs while also serving as the permanent home for the GRAMMY Hall Of Fame, and thus representing the fruition of an Academy vision spanning nearly four decades. The GRAMMY Hall Of Fame continued to expand throughout the ’80s and ’90s, adding classic recordings from artists such as Bill Haley And The Comets, the Beatles, Art Tatum, Béla Bartók, Patsy Cline,
GRAMMY Hall of Fame 40th Anniversary
Miles Davis, Carl Reiner & Mel Brooks, the Andrews Sisters, and Mothers Of Invention, among many others. From 1998–1999, the Hall welcomed a robust total of 327 seminal recordings, an influx by The Academy designed to enhance the GRAMMY Hall Of Fame’s depth An original GRAMMY Hall Of Fame award and breadth. Now celebrating its 40th anniversary, the Hall’s legacy grows annually by honoring both single and album recordings of all genres of lasting qualitative or historical significance that are at least 25 years old. With 27 recordings representing the class of 2014, the current number of recordings in the GRAMMY Hall Of Fame is 960. Recordings continue to be reviewed annually by a special member committee comprising eminent and knowledgeable professionals from all branches of the recording arts, with final approval by The Academy’s Board of Trustees. Commemorative certificates are then awarded to recipients. From the Beatles to Beethoven, the Police to Bob Marley, Woody Guthrie to Grandmaster Flash, Prince to Joni Mitchell, Michael Jackson to Carole King, Muddy Waters to Ray Charles, Glen Campbell to Peggy Lee, and George Carlin to Martin Luther King Jr. — the GRAMMY Hall Of Fame embodies the creative spirit and cultural significance of the greatest recorded music of all time. For more information on the GRAMMY Hall Of Fame, visit www.grammyhalloffame.com. For a complete list of inducted recordings, see page 114.
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GRAMMY Hall Of Fame Timeline:
By Paul Grein
G
reat artists never go out of style. Louis Armstrong had one of the five initial recordings that were inducted into the GRAMMY Hall Of Fame in 1974 (“West End Blues,” which he recorded with His Hot Five). The jazz legend also has one of the 27 recordings that were inducted in the class of 2014 (“Nobody Knows The Trouble I’ve Seen,” a gospel track that he recorded with the All Stars). Paul Weston understood the timelessness of great artists and great music. Weston, the first Chairman/President of The Recording Academy, was one of the early proponents of the GRAMMY Hall Of Fame. In 1983, 10 years after the Hall was established by The Academy’s National Trustees, he explained its genesis: “As time went on, we realized that the thousands of records made prior to the first [GRAMMY] Awards for 1958 should not be ignored, and so the Hall Of Fame was born. Those of us involved in its founding have been increasingly proud of the records that have been voted worthy of acceptance, and look forward to the time when the
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Hall Of Fame will be established in a permanent site along with the [GRAMMY] Museum.” In 1991 Hall Of Fame eligibility was expanded to encompass any recording that was at least 25 years old. Three to six recordings were inducted each year from 1974 to 1997. Given the ever-increasing volume of recordings eligible and the widening stylistic range of recordings being considered, that number proved inadequate. In 1998, to enhance the depth and breadth of the Hall, the Hall Of Fame committee added 140 recordings. The following year, it added 187 more. In recent years, the committee has added about 25 recordings per year. Today, the GRAMMY Hall Of Fame is housed in a permanent installation at the GRAMMY Museum at L.A. Live (see GRAMMY Museum page 94), realizing the vision of the Hall’s founders. Here is a look back at 40 milestone achievements from the Hall Of Fame’s first 40 years.
Nat “King” Cole Michael Ochs Archives/Stringer/Getty Images
’ 70s
The first five recordings voted into the Hall are “Rhapsody In Blue,” conducted by Paul Whiteman with George Gershwin; two Christmas classics (Bing Crosby’s “White Christmas” and Nat “King” Cole’s “The Christmas Song”); and two jazz recordings (Coleman Hawkins’ “Body And Soul” and Louis Armstrong & His Hot Five’s “West End Blues”).
1974
1975
Benny Goodman’s Carnegie Hall Jazz Concert (1950) and Artur Schnabel’s Beethoven: Piano Sonatas (32), the latter a series of 12 albums released between 1932 and 1938, are the first albums to be inducted.
Billie Holiday’s “God Bless The Child” (1941) is the first recording by a female artist to be inducted. Holiday co-wrote the standard.
1976
Oklahoma! is the first original cast album to be inducted. The landmark musical opened on Broadway in March 1943. Oklahoma! is the first of four cast albums to Rodgers & Hammerstein shows to be inducted.
1978 1979
Edward R. Murrow’s I Can Hear It Now, Vols. 1–3, released between 1948 and 1950, are the first spoken word recordings to be inducted. Edward R. Murrow
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Bill Haley And The Comets’ earthshaking 1955 smash “Rock Around The Clock” is the first rock & roll recording to be inducted.
Les Paul and Mary Ford
1982 1983
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Bessie Smith’s “Empty Bed Blues” (1928) is the first blues recording inducted.
Hank Williams’ “Your Cheatin’ Heart” (1953) is the first country recording inducted. Williams has five recordings in the Hall, more than any other country artist.
Bill Haley
Hank Williams
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“A-Tisket, A-Tasket” by Chick Webb And His Orchestra is inducted. The 1938 smash featured a vocal chorus by a 21-yearold Ella Fitzgerald (who co-wrote the song). It’s the first of seven Fitzgerald recordings to be voted into the Hall, which is more than any other female artist.
Les Paul And Mary Ford’s silky 1951 smash “How High The Moon” is the first recording by a duo to be inducted.
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1986 1987
1989
’80s
The Ink Spots’ “If I Didn’t Care” (1939) is the first R&B recording inducted. Woody Guthrie’s “This Land Is Your Land” (1947) is the first folk recording inducted. GRAMMY Hall of Fame 40th Anniversary
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’90s Berg: Wozzeck by Dimitri Mitropoulos conducting the New York Philharmonic Orchestra is inducted. It’s the first of nine Hall Of Fame citations for the orchestra, which is more than any other classical orchestra. Dimitri Mitropoulos
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The Andrews Sisters’ 1938 smash “Bei Mir Bist Du Schon” is the first recording by an allfemale group inducted. The Andrews Sisters have three recordings in the Hall, which puts them in a tie with the Supremes for the most by a “girl group.”
1990 1993
1995
1996
1997
The Beatles’ landmark 1967 album Sgt. Pepper’s Lonely Hearts Club Band is the first rock album inducted. It’s the first of 15 recordings by the Fab Four to be inducted, which is more than any other group or duo.
A 1927 recording of “Star Dust” by the song’s composer, Hoagy Carmichael (And His Pals), is inducted seven years after a 1940 version by Artie Shaw And His Orchestra was voted in. “Star Dust” is the first song to be inducted twice. In 2009 a 1931 recording by Louis Armstrong is voted in, making it the first song inducted three times.
Ray Charles’ The Genius Of Ray Charles (1960) is the first R&B album inducted.
Ray Charles
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The Andrews Sisters
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Henry Mancini’s The Music From Peter Gunn (1958) is the first TV soundtrack to be inducted.
Mahalia Jackson’s “Move On Up A Little Higher” (1948) is the first gospel recording inducted. Jackson has three recordings in the Hall, more than any other gospel artist. Mahalia Jackson
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1998
Nitty Gritty Dirt Band’s Will The Circle Be Unbroken is the first country album to be inducted. The 1972 album featured collaborations with several famous bluegrass and country musicians, including Roy Acuff, “Mother” Maybelle Carter, Doc Watson, and Earl Scruggs.
Snow White And The Seven Dwarfs (1938), Gigi (1958), The Sound Of Music (1965), and Superfly (1972) are the first film soundtracks inducted.
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Sousa’s Band’s “The Stars And Stripes Forever” (1897) is the first (and so far only) recording from the 19th century to be inducted. John Philip Sousa composed the famous march.
1998
Simon & Garfunkel’s classic 1970 power ballad “Bridge Over Troubled Water” is inducted. It’s the first of four recordings by the pair to be inducted, which is more than any other duo.
A Christmas Gift For You From Phil Spector (1963) is the first holiday album inducted. The album features Darlene Love, the Ronettes, the Crystals, and Bob B. Soxx & The Blue Jeans.
1999
The Jackson 5’s “I Want You Back” (1969) is inducted. Michael Jackson was just 11 when the recording was released, younger than any other artist upon the release of a future Hall Of Fame recording.
“Imagine,” the 1971 classic by John Lennon Plastic Ono Band, is voted into the Hall. It’s the first recording by a former Beatle to be voted in. In 2013 Paul McCartney & Wings’ 1973 album Band On The Run is voted in. George Harrison’s 1970 album All Things Must Pass is inducted in 2014. Counting their Beatles output, Lennon, McCartney and Harrison each have 16 Hall Of Fame entries, which is more than anyone else.
Led Zeppelin IV (1971) is the first recording by a hard rock band inducted. The album’s most famous song, “Stairway To Heaven,” is inducted separately four years later. Led Zeppelin have four recordings in the Hall, more than any other hard rock act.
Stan Freberg’s Stan Freberg Presents The United States Of America (1961) and Carl Reiner & Mel Brooks’ 2000 And Thirteen (1973) are the first comedy albums inducted.
Led Zeppelin
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Bob Marley & The Wailers’ “Get Up, Stand Up” (1973) is the first reggae recording inducted. It’s the first of five recordings by Marley & The Wailers to be saluted, which is more than any other reggae artist.
The original recordings of “Mr. Tambourine Man” and “You’ve Got A Friend,” by Bob Dylan and Carole King, respectively, are inducted. The Byrds’ hit version of “Mr. Tambourine Man” and James Taylor’s hit version of “You’ve Got A Friend” had been previously inducted. These are the first songs by contemporary pop or rock songwriters to be saluted twice.
Lester Flatt And Earl Scruggs’ “Foggy Mountain Breakdown” (1950) is the first bluegrass recording inducted.
2002
Tito Puente’s “Oye Como Va” (1953) is the first Latin recording inducted. The song, which Puente wrote, gained broader fame when it was featured on Santana’s 1970 album, Abraxas. Tito Puente
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’00s [ 90 ]
GRAMMY Hall of Fame 40th Anniversary
CONGRATULATIONS TO THOMAS GLENN, 54th GRAMMY® WINNER AND BRIGHAM YOUNG UNIVERSITY SCHOOL OF MUSIC ALUMNUS. THOMAS GLENN PLAYED ROBERT WILSON IN “DOCTOR ATOMIC” BY JOHN ADAMS. BEST WISHES TO THE 56th GRAMMY® WINNERS BYU’s School of Music is dedicated to cultivating individual talents and fostering some of the most respected music ensembles in a unique academic setting. music.byu.edu
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BYU SCHOOL OF MUSIC
A 1935 recording of Porgy And Bess, which was recorded under the supervision of its composer, George Gershwin, is inducted. It’s the only version of Porgy And Bess to be supervised (or even heard) by Gershwin, who died in 1937. It’s the fifth recording of this masterwork to be saluted, which constitutes a record.
2002
Arlo Guthrie’s 1967 recording “Alice’s Restaurant” is voted into the Hall. The song inspired an era-defining 1969 film of the same name. His father Woody Guthrie has two recordings in the Hall: Dust Bowl Ballads, Volumes 1 & 2 (1940) and “This Land Is Your Land” (1947). This is the only case of a parent and child each with a recording in the Hall. (Honorable mention goes to Judy Garland and Liza Minnelli. Six Garland recordings have been inducted. Minnelli headlined the Cabaret soundtrack, which was inducted in 2008).
2004
The West Side Story film soundtrack (1961) is inducted, 13 years after the 1958 Broadway cast album was voted in. This marks the first (and so far only) time that both a cast album and soundtrack from the same work have been saluted. Leonard Bernstein and Stephen Sondheim collaborated on the score.
George Gershwin
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Elvis Presley’s “Don’t Be Cruel” is inducted 14 years after “Hound Dog,” the other side of his blockbuster 1956 hit, was voted in. This marks the first time that both sides of a single were voted into the Hall.
Solomon Linda & The Evening Birds’ “Mbube” (1939) is the first world music recording to be inducted. The song became the basis for the much-covered “Wimoweh” and “The Lion Sleeps Tonight.”
“The Message” by Grandmaster Flash & The Furious Five Featuring Melle Mel & Duke Bootee (1982) is the first rap recording inducted.
2007 2009
2012
Grandmaster Flash
Jimmy Dorsey & His Orchestra’s 1942 hit “Brazil (Aquarela Do Brasil)” is voted into the Hall. Dorsey’s younger brother Tommy has three recordings in the Hall, including “I’ll Never Smile Again” (with Frank Sinatra & The Pied Pipers). The bandleader brothers are the only siblings who each have recordings in the Hall. Tommy Dorsey and Jimmy Dorsey
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2014
B.B. King’s 1951 breakthrough hit “3 O’Clock Blues” is inducted. It’s his fourth recording to be voted into the Hall, which puts him in a tie with Muddy Waters for the most entries by a blues artist. Paul Grein, a veteran music journalist, writes the Chart Watch blog for Yahoo Music.
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HERE’S TO RECOGNIZING GRE A T SOUND.
CONGRATULATIONS TO ALL GRAMMY HALL OF FAME ® INDUCTEES.
©2013 Harman International Industries, Incorporated. All rights reserved.
The GRAMMY Museum®
Part of The Recording Academy’s early development of the GRAMMY Hall Of Fame (see page 84) included plans to create a “Recording Arts Museum,” a venue that would house the GRAMMY Hall Of Fame and afford visitors an opportunity to learn about music and the recording process. After more than three decades since those first steps, the museum project ultimately materialized in December 2008 in the form of the GRAMMY Museum in downtown Los Angeles. Today, the GRAMMY Museum, a joint venture of The Academy and Anschutz Entertainment Group, serves as a dynamic educational and interactive institution dedicated to the power of music, and the home to a living archive of the GRAMMY Awards’ colorful history.
The four-story, 30,000-square-foot facility is part of L.A. Live, the premier sports and entertainment destination in downtown Los Angeles, and features dedicated computer databases containing information on more than 50 years of GRAMMY recordings and artists, and every piece of music inducted into the GRAMMY Hall Of Fame. Touch-screen displays allow visitors to explore the Hall Of Fame by artist, recording title and induction year, and each entry is complemented with biographical information and an audio sample of the inducted recording. Although the GRAMMY Museum isn’t a traditional museum, there are many iconic and historical artifacts on display, including rare items and special exhibits that connect visitors to the
Janis Joplin’s Porsche displayed as part of the Strange Kozmic Experience exhibit from April 2010 – January 2011 Courtesy of the GRAMMY Museum [ 94 ]
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A jacket worn by Michael Jackson on display at the GRAMMY Museum Courtesy of the GRAMMY Museum
legendary recordings and artists that have been honored by the GRAMMY Hall Of Fame and The Recording Academy’s Special Merit Awards. Since its inaugural year, the Museum has housed exhibits spotlighting artists who have recordings in the Hall Of Fame, including Elvis At 21, a Smithsonian-curated collection of Alfred Wertheimer’s insightful photographs chronicling arguably the most pivotal year in Elvis Presley’s career; Strange Kozmic Experience, exploring the innovations, legacies and continued impact of the Doors, Jimi Hendrix and Janis Joplin; a Woody Guthrie exhibit, This Land Is Your Land: Woody At 100; Bob Marley, Messenger; a Michael Jackson retrospective; and Good Vibrations: 50 Years Of The Beach Boys. As the group with the most inducted recordings in the Hall
Of Fame, members of the Beatles have been the subjects of exhibits such as John Lennon, Songwriter; George Harrison: Living In The Material World; and Ringo: Peace & Love. The GRAMMY Museum also hosts a wide range of public programs in the 200-seat, state-of-the-art Clive Davis Theater. Programs include artist interviews, live performances, film series, lectures, continuing education classes, town hall meetings, and more. The Museum has hosted programs with artists such as the Beach Boys, Judy Collins, Glen Campbell, Don Felder, Jackie DeShannon, Robby Krieger, Stevie Nicks, Michelle Phillips, and Bill Withers, among others. Additional artists who have participated in Museum programs include Colbie Caillat, Heart, Kaskade, John Mayer, Orianthi, Public Enemy, LeAnn Rimes, Raphael Saadiq, Rufus Wainwright, and Jack White, among others. At its core, the Museum explores and celebrates the enduring legacies of all forms of music; the creative process; the art and technology of the recording process; and not least, the history of the GRAMMY Awards, the premier recognition of accomplishment in the recording arts. Four floors of cuttingedge exhibits, interactive experiences and films provide a one-of-a-kind visitor experience — engaging, educational, celebratory, and inspirational. In summer 2015 the Museum will expand its reach
Items from the Bob Marley, Messenger exhibit displayed at the GRAMMY Museum from May – October 2011 Rebecca Sapp/WireImage.com
Items from the Ringo: Peace & Love exhibit on display at the GRAMMY Museum Rebecca Sapp/WireImage.com
to Cleveland, Miss., with the opening of the first official GRAMMY Museum location outside of Los Angeles. GRAMMY Museum Mississippi will be housed on 4.5 acres on the Delta
State University golf course along Highway 8 and is planned to be the most technologically advanced musicthemed museum in the world.
To learn more about the GRAMMY Museum and its various programs, or to become a member, visit www.grammymuseum.org or call 213.765.6800. For updates and news, visit the Museum on Twitter (@TheGRAMMYMuseum) and Facebook (The GRAMMY Museum).
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The Recording Academy®
As the GRAMMY Awards celebrates its 56th annual ceremony on Jan. 26, 2014, The Recording Academy continues its rich tradition as the premier outlet for honoring achievements in the recording arts and for supporting the music community. In 1957 a visionary group of music professionals and label executives in Los Angeles recognized the need to create an organization that would acknowledge and celebrate the artistic achievements of not only talented musicians and singers, but also important behind-the-scenes contributors such as producers and engineers. Conceived as a way to create a real recording industry community, The Recording Academy was born and the GRAMMY Awards process began. The GRAMMYs are the only peerpresented award to honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position. The GRAMMY Awards themselves have grown right along with the organization that presents them. Initially a series of taped network TV specials titled “The Best On Record,” the GRAMMYs have long been a state-of-the-art live extravaganza (in 2003 the GRAMMYs became the first awards show to broadcast in high-definition television
Justin Timberlake and Jay-Z perform on the 55th Annual GRAMMY Awards telecast on Feb. 10, 2013
and 5.1 surround sound) and the premier music awards show on television. In addition to the GRAMMY Award, The Recording Academy presents several other awards to honor important music and music professionals. The Lifetime Achievement Award celebrates performers and other music professionals who have made outstanding contributions to recording in their lifetimes. The Trustees Award recognizes primarily nonperforming contributors. The Technical GRAMMY Award is presented to individuals and/or companies who have made contributions of outstanding technical significance to the recording field. The GRAMMY Legend Award is presented on occasion to individuals or groups for ongoing contributions and influence in the recording field. And the GRAMMY Hall Of Fame — celebrated in this book for 40 years of recognizing the best recordings of all time — was established in 1973 to commemorate recordings, at least 25 years old, of lasting qualitative or historical significance. A new Music Educator Award will be added to the lineup of recognitions starting in conjunction with the 56th Annual GRAMMY Awards. As the music industry continues its evolution from analog to digital, The Recording Academy has continued its mission to be the leading force in honoring, celebrating and advancing music. The Academy has been at the forefront of critical issues affecting both the music community and the general population, such as legislation affecting the arts community, protection of intellectual property rights, piracy, archiving and preservation issues, censorship concerns, and creating dialogue between the music and technology sectors. To accomplish this mission, The Recording Academy has developed a network of 12 field offices across the country to provide industry service and program development to our more than
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20,000 members. The Academy also launched the Producers & Engineers Wing in 2000 to create an organized voice for the important technical and creative community. Through its Washington, D.C.-based Advocacy & Industry Relations office, The Academy seeks to amplify the voice of music creators in national policy matters. The Academy was instrumental in helping form the Recording Arts and Sciences Congressional Caucus in 2005, and in 2007 co-founded the musicFIRST Coalition, which has taken a leadership role in the fight to expand radio performance royalties to all music creators. Through its affiliated MusiCares Foundation and GRAMMY Foundation, The Academy works to protect and support music people in crisis, and provide young people with real-world exposure to music and the music industry. Since 2008, The Recording Academy has worked with the Natural Resources Defense Council to focus its awareness on the carbon footprint of The Academy and GRAMMY Awards production to help educate telecast guests on environmental issues, and to aid The Academy in communicating to its vendors an interest in sustainable solutions. In 2009 The Academy’s headquarters in Santa Monica, Calif., attained LEED gold-level certification, further demonstrating the organization’s positive environmental impact. Finally, The Academy opened the doors to the GRAMMY Museum in December 2008, launching a state-of-the-art cultural facility at the exciting L.A. Live complex in downtown Los Angeles. Celebrating it’s five-year anniversary in 2013, the Museum brings the mission, impact and legacy of The Recording Academy and GRAMMYs to the public year-round. You can learn more details about The Recording Academy’s many programs at www.grammy.org.
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From the gramophone to Spotify, browse through generations of music formats
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ating back to the late 19th century, recorded music has been played back via a potpourri of audio formats. Indeed, the process of playing recorded music has come a long way, evolving from tinfoil cylinders to streaming a vast catalog of songs with the click of a mouse. As innovation continued to change the way we listen to music, ultimately some formats proved to be flawed (we’re looking at you 8-track cartridge) by technical limitations or substandard fidelity while
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some simply failed to catch on with listeners or were replaced by the next “new thing.� But some formats, despite having passed their supposed expiration date, have made rarified encores by continuing to resonate with audiophiles and music collectors alike. Of course, the following is not an exhaustive list of every format ever invented, but many notable technologies are included, along with a few formats that may either surprise you or stir some fond memories. However you choose to listen, we invite you to turn it up.
Gramophone Disc/Phonograph Cylinder Like many inventions, the histories of the gramophone and phonograph are complicated by many hardware and software iterations and inventors. It’s a story too detailed to tell in this space, so let’s break it down to the maximum recording length of an original wax cylinder: two minutes. The first recording machine is credited as the French phonautograph. Patented in 1857, its recordings could not be played back. Bad start. In 1877 Thomas Edison created the precursor to the phonograph that recorded on an impractical tinfoil cylinder. (Imagine rolling out a sheet of Reynolds Wrap every time you wanted to hear a song.) In 1888 Edison followed with wax cylinders that proved a (slightly) better medium on which to hear primordial music recordings. Around the same time, Emile Berliner created flat wax discs played by a vibrating stylus, around which was built the gramophone. Later, Berliner’s company made discs out of hard vulcanite rubber, though the vulcanite period in recording history is often sadly overlooked. By the late 1890s, Fred Gaisberg, who worked for Berliner, discovered shellac as a recording medium, and the 78 rpm record, which wore out needles rather than vice versa, was born. But like crude initial attempts at automobiles, airplanes, electric lights, and brick-sized mobile phones, the recording industry had to start somewhere.
and major recording artists (the Beatles). As newer and more affordable formats such as the cassette and 8-track tape were introduced, the number of albums released on reel-to-reel dropped significantly. Mail-order clubs such as Columbia Record Club continued to offer select titles into 2009, but the format all but vanished in the era of cassettes and compact discs. Similar to vinyl, reel-to-reel tapes have emerged as a favorite for audiophiles, who praise the format’s sound quality. Today, boutique companies such as the Tape Project release select titles on reel-to-reel tape, claiming “you just aren’t going to get any closer to the original master, short of buying a record label or two.” And in 2012 the Shins put their own spin on the medium by releasing a limited reel-to-reel tape edition of their album Port Of Morrow. Vinyl LP It’s hard to not love the vinyl format, warps and all. Though long since supplanted for commercial use by the compact disc and digital formats, the LP (long play) is currently enjoying a renaissance among those who still believe it offers superior
Reel-To-Reel Tape Emerging from Germany and coming to the United States after World War II, reel-to-reel tape was the original format for magnetic tape sound reproduction. The format ultimately proved too expensive and impractical for home use. (Loading a reel of tape onto a reel-to-reel machine and threading it through the various guides and rollers proved daunting to some consumers, tougher than getting the color right on that new-fangled TV.) The format found some popularity by the ’60s, though releases were generally limited to classical recordings (Horowitz At Carnegie Hall — An Historic Return), soundtracks (The Graduate), Chaloner Woods/Getty Images original cast albums (Bye Bye Birdie), GRAMMY Hall of Fame 40th Anniversary
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Dusty Springfield relaxes to the warm sound of vinyl Popperfoto/Getty Images
sound quality (or the warm tingle of nostalgia), cool artwork and enhancements such as credits and lyrics. In 2012 vinyl album sales grew by 52 percent to their highest dollar value since 1997. The vinyl album was born for consumer purposes when Columbia Records staged an introductory event at the Waldorf Astoria hotel in New York in June 1948. The first release (by catalog number) for a 12-inch, 33 1/3 rpm album was Mendelssohn Concerto In E Minor For Violin And Orchestra, Op. 64, by Nathan Milstein and the Philharmonic Symphony Orchestra of New York. The vinyl LP advantages: longer playing time and nearly noise-free high fidelity, setting the stage for concept albums and bachelor pads. In 1949 RCA Victor, unwilling to license the LP format, brought the 45 rpm record to market. Within 10 years, the two formats commanded approximately 98 percent of the market, replacing the fragile, scratchy shellac 78. Ultimately, LPs and 45s would define radio formats (album-oriented rock versus Top 40 hit singles) and the musiclistening experience for every baby boomer. 8-Track Tape Though now a garage sale perennial, 8-track tapes rose to prominence in the mid-’60s as a viable portable listening alternative. In 1965 Bill Lear, founder of Lear Jet Corporation, announced he had developed a cartridge with eight tracks that promised to lower the price of recorded tapes [ 100 ]
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without any sacrifice in sound quality. Encased in a cartridge shell, the format soon took off when Ford Motor Company installed 65,000 8-track decks as an option in their vehicles in 1966. Companies such as Akai, Realistic, Soundesign, Panasonic, and Sanyo began producing standalone 8-track players for home entertainment. Though an 8-track copy of one’s favorite album cost about the same as a vinyl copy, the format began to decline due to some of its inherent deficiencies, including high wow and flutter and the tendency for tape to jam and get dirty. By 1983 major record labels began phasing out 8-tracks in favor of cassette tapes. The format was gone for good by 1988, with the last commercial 8-track release by a major label being the now-highly collectible Fleetwood Mac’s Greatest Hits. More than 20 years later, in 2009 Cheap Trick released a limitededition version of their album The Latest on 8-track. Could an 8-track revival be in the cards? Cassette Tape For many music fans, cassette tapes presented the first opportunity to record sound and carry music around. They were perfect for making mixtapes and, for artists, a way to demo early samples of their music. The first compact cassette was introduced in the United States in 1964 by global electronics manufacturer Philips. In 1966 Mercury Records announced the release of approximately 50 titles on cassette by artists such as the Four Seasons, Johnny Mathis, Roger Miller, and the Smothers Brothers. The cassette grew increasingly popular in the ’80s given the 1979 debut of the Sony Walkman, a 14-ounce portable cassette player that, by the standards of digital music players, felt like a piece of heavy machinery. While portable cassette recorders had been
The first commercial CD release, Billy Joel’s 52nd Street
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around since the late ’60s, mainly for use by secretaries and journalists, the Walkman’s combination of portability and privacy made it the ideal product for consumers looking for a compact portable music listening experience. The Walkman sold upward of 50,000 units in its first two months. The popularity of the Walkman, and similar devices by Aiwa, Panasonic and Toshiba, helped the cassette tape outsell vinyl records for the first time in 1983, and in 1986 Walkman entered the Oxford English Dictionary. However, the decline of the format began as early as 1982 with the introduction of the compact disc. In 2011 “cassette tape” was removed from the dictionary. In recent years, cassette tapes have experienced a revival, with labels such as Los Angeles-based Leaving Records releasing music on cassettes, and indie artists and DJs turning to the format for an accessible and affordable way to record. Ready for a rewind? Compact Disc When the first commercial compact disc — Billy Joel’s 52nd Street — hit shelves in Japan in 1982 the player was described as a “new digital record player, using laser beams.” Developed through a joint effort between Philips and Sony, the lasers were used to record and play back audio on a 12 cm disc, which was unveiled by Philips at a press conference in 1979. The first CD, made out of polycarbonate plastic, held 74 minutes of audio — to accommodate Beethoven’s Ninth Symphony — and allowed musicians to compose longer works without the threat of side breaks. With uninterrupted playback, (unless, of course, a pesky scratch surfaced) and its smaller size, music lovers embraced CDs and [ 102 ]
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their crisp, crackle-free sound. In 1982 some music fans even dished out a staggering $1,000 ($2,420, inflation adjusted) to purchase the first commercial CD player, the Sony CDP-101. By 1985, British rock band Dire Straits became the first artist to sell more than 1 million CDs, with their GRAMMY-winning album Brothers In Arms, leading other artists to abandon vinyl and cassette for the sleeker CD. The price of CD players eventually dropped, which led to widespread adoption and the sale of more than 200 billion CDs worldwide over the next 20 years. The format dominated the market until MP3s ushered in a new era of music consumption in the 21st century. In 2011 digital music sales finally surpassed physical sales of CDs, making what was once heralded as a digital breakthrough appear as outdated as some of its predecessors. Digital Audio Tape and Digital Compact Cassette Developed as a response to Philips’ popular cassette player, Sony introduced digital audio tape in 1987. DAT looked similar in appearance to cassettes but was roughly half the size, and boasted higher sound quality at 48kHz and longer storage capacity than CDs. Touted as the next step in digital formats, the emergence of DAT prompted an eager Los Angeles Daily News reporter to speculate the new format “might do to conventional cassettes what compact discs have done to albums.” Despite Sony’s best attempt to push cassettes off the map, and the format being embraced widely by professionals, DAT never gained popularity among consumers due to the inability of high-speed replicators to work correctly. In 1992 Philips, in collaboration with fellow
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electronics manufacturer Matsushita, responded to Sony’s chess move with digital compact cassettes. DCCs were marketed as a cheaper alternative to DAT, but like DAT, the format failed to catch on and Philips discontinued it in 1996. MiniDisc Following the limited success of DAT, Sony went back to the drawing board and introduced the MiniDisc in 1992. The new format resembled floppy disks, with a 2.8-inch wide by 2.8-inch tall square design, and could store up to 80 minutes of digital audio. Although the MiniDisc offered sound quality similar to MP3s with its ATRAC (Adaptive Transform Acoustic Coding) lossy 292 KBps bitrate, it had two distinct advantages over its predecessor: MiniDiscs were smaller and included cutting-edge skip protection. The MiniDisc also held 1 GB of data compared to the CD’s 700 MB of data. There were two types of MiniDiscs: prerecorded, which operated like a compact disc, and recordable, which could be recorded over repeatedly like a cassette. GRAMMY winner Mariah Carey’s 1992 live album MTV Unplugged was the first MiniDisc released in the United States. Unfortunately for Sony, Carey’s Top 5 album fared better than the MiniDisc, which failed to stick with U.S. consumers due in part to a high price tag and other record labels’ refusal to release music via the format. More than 20 years after it was introduced, and considerably outsold by the even smaller MP3 player, Sony finally announced the shipment of its last MiniDisc player in March 2013. DTS Music Disc Launched in 1997 by DTS Entertainment, the DTS Music Disc (also known as the DTS Audio CD
or 5.1 Music Disc) carried 5.1 surround sound via a CD. It utilized the same technology DTS used in movie theaters to deliver surround sound. DTS Music Discs were recorded or remixed in 5.1 (or even 6.1) channel surround sound from the original multitrack masters to provide a more realistic and cinematic music experience. As opposed to other formats such as the Super Audio CD and DVD-Audio, DTS Music Discs were playback compatible with most standard CD players with a proper digital output feeding a DTS decoder and many DVD players. Still lurking somewhere online or at your local music store are DTS Music Disc copies of albums such as Eric Clapton’s 461 Ocean Boulevard, Eagles’ Hell Freezes Over, Santana’s Abraxas, and the Police’s Every Breath You Take: The Singles. With the right setup for the DTS Music Disc of the Moody Blues’ 1972 album Seventh Sojourn, rumor has it background vocals can be heard floating in the distance like ghosts. Could they be the ghosts of 8-track tapes? DVD-Audio, Super Audio CD and DualDisc Not to be confused with the video-delivery format included in its name, DVD-Audio (or DVD-A) delivers high-fidelity audio via DVD disc. Introduced by DVD Forum (a collective founded by 10 companies), DVD-A titles ultimately spanned rock and pop to jazz and classical. With multiple configurations of audio channels, ranging from single-channel mono to 5.1 channel surround sound, the format attempted to deliver the best high-resolution audio experience consumers could buy. Unfortunately, DVD-A got lost in the shuffle of a format war with Super Audio CD. GRAMMY Hall of Fame 40th Anniversary
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SanDisk co-founder Eli Harari holds a slotMusic card Andrew Harrer/Bloomberg via Getty Images
(The format’s incompatibility with DVD players and a price tag upward of $1,000 for DVD-A players didn’t help either.) In recent years, select DVD-A titles have been released in limited quantities in some European markets. While the format has all but vanished in the United States, boutique labels such as Los Angeles-based AIX Records continue to offer DVD-A titles. Introduced in 1999, Super Audio CD was developed jointly by Sony and Philips. Intended to be the next step in compact disc technology, SA-CDs fell into three subformats: hybrid SA-CDs, a dual-layer audio disc, the red book layer readable by most conventional compact disc players; and single-layer and dual-layer SA-CDs that were not backward-compatible with conventional CD players. Dual-layer discs stored nearly twice as much data as a single-layer SA-CD. Though artists such as the Rolling Stones and Bob Dylan released classic titles on SA-CD, the format did not connect with consumers in the face of the onslaught and convenience of MP3 players. Further complicating issues, similar formats such as DVD-Audio and DualDisc infiltrated the music industry, creating competition on the high-end market. Today, collectors are lucky to find an SA-CD section consisting of sporadic titles at the local record store (which they’re also lucky to find). Proving there are some gems to be had, some SA-CD titles, such as Aerosmith’s Toys In The Attic, have fetched more than $500 on eBay. DualDisc was a type of double-sided optical disc featuring an audio layer similar to a CD on one side and a standard DVD layer on the other. [ 104 ]
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The format emerged in the United States in 2004 as part of a marketing test in select cities such as Boston and Seattle. The test was deemed a success with 82 percent of respondents reporting that the format met or exceeded their expectations. Obviously, the test group was lying, as DualDisc’s thickness (it was approximately 30 percent fatter than either a CD or DVD) caused it to jam some car players and computer CD drives. Adding insult to injury, some confused consumers asked, “What is it? A CD or a DVD?” DualDiscs were all but extinct by the end of the decade given the competition of rival formats SA-CD and DVD-A discs. If you ever find yourself in the mood for a topic of conversation with a hardcore audiophile, ask her to opine on which format sounds best: SA-CD, DVD-Audio or DualDisc. slot Music With digital sales booming and CD sales slumping, in 2008 memory card manufacturer SanDisk emerged with slotMusic, a postagestamp-sized physical format alternative featuring entire albums. With backing from all four major record labels, the format found its way into retailers such as Walmart and Best Buy, but was met with choruses of “why?” from the technology sector and a tepid response from consumers. The initial selection of albums offered via slotMusic was sparse, including albums by artists such as Keith Urban, Kanye West, Lady Gaga, and Kelly Clarkson. The portable cards were compatible with mobile phones with a microSD card slot and computers with a microSD USB
CONGRATULATIONS TO ALL THE LEGENDARY RECORDINGS AND ARTISTS HONORED IN THE GRAMMY HALL OF FAME.® Celebrating over 25 years as the official hotel partner of the GRAMMY Awards®, Hilton Hotels & Resorts proudly supports the music community, the artistic endeavors that music inspires and the culture it creates within us. HILTON.COM/GRAMMYS
GRAMMY®, GRAMMY Awards® and the gramophone logo are registered trademarks of The Recording Academy® and are used under license. ©2013 The Recording Academy.
Apple Corp. via Getty Images
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reader or an SD card adapter. The audio files were encoded at 320 KBps, a higher quality than most download services, and labels saw potential to add extra goodies such as liner notes, lyrics and video. In an era when digital sales were growing exponentially, slotMusic didn’t stick, maybe because the thumbnail-sized cards were too easy to lose between the couch cushions. Additionally, the new physical format prompted a Portfolio.com writer in 2008 to ask whether the product was “aimed at, like, old people.” MP3 and Streaming Services Now considered the “Father of the MP3,” Germany’s Karlheinz Brandenburg was a university student in the ’80s when his professor instructed him to research how to transmit music over a digital ISDN phone line without sacrificing the audio quality. Brandenburg’s test case was Suzanne Vega’s 1987 a cappella recording of “Tom’s Diner,” which subsequently earned the GRAMMY winner the informal title of “Mother of the MP3.” After listening to “Tom’s Diner” hundreds of times, Brandenburg’s algorithm was perfected and in 1995 the MP3 was “christened.” In 1998 South Korean company Saehan Information Systems sold the first portable MP3 player, the aptly titled MPMan. Apple joined the portable player party in October 2001 with the debut of the iPod. Two years later, Apple launched the iTunes Store, which the late Steve Jobs dubbed as “music downloads done right.” By 2008 iTunes had emerged as the No. 1 retailer of music in the United States. In 2012 Apple added fidelity to the download mix with Mastered for iTunes, a digital audio workflow, encoding and submission process that includes a series of guidelines [ 106 ]
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and tools designed to provide users highquality downloads. Members of The Recording Academy’s Producers & Engineers Wing consulted on some of the initiative’s earliest test cases, including Colbie Caillat’s 2011 album All Of You. While it can be said the invention of the MP3 helped give birth to two of the Internet’s (and music industry’s) greatest threats — online piracy and the creation of Napster in 1999 — today’s music streaming services such as iTunes Radio, Rdio and Spotify are providing music fans a legal way to listen to music. What may be lacking in sound quality — Spotify Premium users can stream music at 320 KBps — is perhaps made up for by convenience and the potential for discovery. (Another thing lacking with digital services is credit information, which The Recording Academy is attempting to rectify with its “Give Fans The Credit” initiative.) Are MP3s and streaming services helping the industry? In 2012 music sales were up 0.3 percent to $16.5 billion, the first sign of industry growth since 1999. Spanning various sizes, shapes, degrees of audio quality and, of course, more than a century, the evolution of music formats marks a continuing quest for the ideal combination of sound quality and ease-of-use. While the debate regarding which format reigns supreme rages on, who knows, the perfect listening solution may only be a pop, hiss or click away. Kiana Butler, David Konjoyan, Crystal Larsen, and Tim McPhate contributed to this story.
GRAMMY Hall Of Fame
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wo rap classics, Sugarhill Gang’s “Rapper’s Delight” and Run-D.M.C.’s “Walk This Way,” are among the 27 recordings that were inducted into the GRAMMY Hall Of Fame this year. These are the second and third rap recordings to be inducted, following “The Message” by Grandmaster Flash & The Furious Five Featuring Melle Mel & Duke Bootee. In January 1980 “Rapper’s Delight” became the first rap hit to make the Top 40 on the Billboard Hot 100. The song, which borrowed the rhythm track from Chic’s 1979 smash “Good Times,” introduced the concept of rap to a mass audience: “Now what you hear is not a test/I’m rapping to the beat.” The good-natured storytelling, especially the humorous tale of an unsatisfactory meal at a friend’s house, had broad appeal. Aerosmith’s Steven Tyler and Joe Perry were featured on Run-D.M.C.’s 1986 remake of the rock band’s “Walk This Way.” The pairing seemed to represent the blessing of the rock establishment on the bourgeoning rap movement. The merger of rock and rap paved the way for numerous similar collaborations. (It also did wonders for Aerosmith’s “street cred” and ushered in their most successful period.) Gil Scott-Heron, who helped set the stage for rap, was cited for his 1970 single, “The Revolution Will Not Be Televised.” The piece casts a satiric eye on advertising slogans, TV news, race relations, and the public’s obsession with celebrity. (In lampooning American popular culture, the song ranks with Paddy Chayefsky’s screenplay for Network, which arrived six years later.) This is the third spoken word recording to make the Hall, following Edward R. Murrow’s I Can Hear It Now, Vols. 1–3 and Dr. Martin Luther King Jr.’s “I Have A Dream” speech. This year’s class of inductions includes two recordings by Creedence Clearwater Revival, which makes them the only act with multiple titles selected this year. CCR were cited for their 1970 album Cosmo’s Factory and their 1969 single “Fortunate Son.” (The band’s biggest hit, “Proud Mary,” was inducted in 1998.) Cosmo’s Factory spawned such hits as “Travelin’ Band” and “Up Around The Bend.” The snarling “Fortunate Son” made a strong statement about inequitable draft policies at the height of the Vietnam War. (Two previously inducted songs — Edwin Starr’s “War” and Crosby, Stills, Nash & Young’s “Ohio” — were also
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protests against that war.) George Harrison’s 1970 solo album All Things Must Pass was inducted. The triple-disc set was Harrison’s first major solo release. The collection, which spawned the hits “My Sweet Lord” and “What Is Life,” became the first album by an ex-Beatle to receive a GRAMMY nomination for Album Of The Year. Harrison is the third former Beatle to make the Hall on his own. He follows John Lennon, who was honored for “Imagine,” his 1971 single with Plastic Ono Band, and Paul McCartney, who was cited for Band On The Run, his 1973 album with Wings. Including the 15 Beatles recordings inducted into the Hall, these three artists have the most entries by any individual or group (16). The Hall saluted two wildly different film soundtracks: Mary Poppins — Original Cast Sound Track (1964) and Woodstock — Music From The Original Soundtrack And More (1970). Julie Andrews won an Oscar for Mary Poppins, which spawned the Oscarwinning song “Chim Chim Cher-ee.” This is Andrews’ second movie soundtrack to be voted into the Hall,
Dick Van Dyke and Julie Andrews Hulton Archive/Getty Images
following The Sound Of Music. Andrews also starred in two Broadway musicals that spawned original cast albums that have been inducted: My Fair Lady and Camelot. Woodstock was recorded at the legendary 1969 rock festival. Like All Things Must Pass, it was a triple-disc album. A track from the album, Jimi Hendrix’s “The Star-Spangled Banner,” was inducted into the Hall in 2009. The album also features three songs that have been inducted into the Hall via their studio versions: Hendrix’s “Purple Haze,” Joe Cocker’s “With A Little Help From My Friends” and Sly & The Family Stone’s “Dance To The Music.” The Hall Of Fame also saluted one of the most famous movie songs of the 1960s, B.J. Thomas’ “Raindrops Keep Fallin’ On My Head.” Burt Bacharach and Hal David wrote the genial song for Butch Cassidy And The Sundance Kid. The song won an Oscar and was a GRAMMY nominee for Song Of The Year. Bacharach and David also produced Thomas’ smash single. U2’s 1987 album The Joshua Tree now stands as the most recent recording to
The GRAMMY Hall Of Fame was created in 1973 to honor recordings of lasting significance that were issued prior to the 1958 inception of the GRAMMY Awards. The Hall is now open to any recording that has been in release for at least 25 years. New submissions are voted on annually by a special member committee of experts and historians drawn from all branches of the recording arts. Their choices are subject to final approval by the Trustees of The Recording Academy. The GRAMMY Hall Of Fame is unique in that it is open to all genres of music — popular as well as specialized forms. AFTER THE GOLD RUSH Neil Young Reprise (1970) Album ALL THINGS MUST PASS George Harrison Apple (1970) Album THE CHICAGO TRANSIT AUTHORITY Chicago Columbia (1969) Album COSMO’S FACTORY Creedence Clearwater Revival Fantasy (1970) Album
GET UP — I FEEL LIKE BEING LIKE A SEX MACHINE James Brown King (1970) Single HONKY TONK WOMEN The Rolling Stones London (1969) Single JOLENE Dolly Parton RCA (1973) Single THE JOSHUA TREE U2 Island (1987) Album
DOC WATSON Doc Watson Vanguard (1964) Album
KRISTOFFERSON Kris Kristofferson Monument (1970) Album
FORTUNATE SON Creedence Clearwater Revival Fantasy (1969) Single
LOW RIDER War United Artists (1975) Single
GEORGIA (ON MY MIND) Hoagy Carmichael And His Orchestra Victor (1930) Single
MARY POPPINS — ORIGINAL CAST SOUND TRACK Julie Andrews, Dick Van Dyke & Various Artists Buena Vista (1964) Album
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NOBODY KNOWS THE TROUBLE I’VE SEEN Louis Armstrong And The All Stars Decca (1938) Single RAINDROPS KEEP FALLIN’ ON MY HEAD B.J. Thomas Scepter (1969) Single RAPPER’S DELIGHT Sugarhill Gang Sugar Hill (1979) Single RELAXIN’ WITH THE MILES DAVIS QUINTET Miles Davis Prestige (1958) Album
James Brown
Tom Copi/Michael Ochs Archives/ Getty Images
THE REVOLUTION WILL NOT BE TELEVISED Gil Scott-Heron Flying Dutchman (1970) Single STRANGE THINGS HAPPENING EVERY DAY Sister Rosetta Tharpe Decca (1945) Single SWEET HOME CHICAGO Robert Johnson Vocalion (1937) Single
Sister Rosetta Tharpe
James Kriegsmann/Michael Ochs Archives/Getty Images
3 O’CLOCK BLUES B.B. King RPM (1952) Single UNDER THE BOARDWALK The Drifters Atlantic (1964) Single WALK THIS WAY Run-D.M.C. Profile (1986) Single WONDERFUL WORLD Sam Cooke Keen (1960) Single
U2
Neal Preston/Corbis
WOODSTOCK — MUSIC FROM THE ORIGINAL SOUNDTRACK AND MORE Various Artists Cotillion (1970) Album YARDBIRD SUITE Charlie Parker Septet Dial (1946) Single War
CEA/Cache Agency
be inducted into the Hall. The album, which spawned the hits “With Or Without You” and “I Still Haven’t Found What I’m Looking For,” propelled U2 to the top ranks of rock stardom. It won a GRAMMY for Album Of The Year. Hoagy Carmichael And His Orchestra’s 1930 rendition of his composition “Georgia (On My Mind)” is the oldest recording to be inducted this year. The track features such all-stars as Bix Beiderbecke, Jack Teagarden and Jimmy Dorsey. Ray Charles’ classic 1960 recording of the song is already in the Hall. This is Carmichael’s second song to make the Hall Of Fame two or more times. Three recordings of his immortal “Star Dust” have been inducted. Louis Armstrong And The All Stars’ 1938 recording of the spiritual “Nobody Knows The Trouble I’ve Seen” was cited. It’s Armstrong’s 15th entry in the Hall, but his first in the gospel field. Armstrong’s affable spoken interlude demonstrates his great personal charm. Armstrong had one of the five initial recordings inducted into the Hall Of Fame in 1974 — “West End Blues,” which he recorded with His Hot Five. He’s the only member of that first class of inductees who is represented in the current class. Miles Davis made the Hall for the ninth time with Relaxin’ With The Miles Davis Quintet. The 1958 album (recorded two years earlier) featured tenor saxophonist John Coltrane, pianist Red Garland,
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bassist Paul Chambers, and drummer Philly Joe Jones. The Rolling Stones and James Brown were each honored for the sixth time. The Stones were recognized for their “gin-soaked” 1969 classic “Honky Tonk Women.” It’s the band’s second song to make the Hall, following 1965’s “(I Can’t Get No) Satisfaction.” (The band also has four albums in the Hall.) Brown was cited for his 1970 hit “Get Up — I Feel Like Being Like A Sex Machine.” The song is considered a defining moment in the evolution of soul into modern funk. The record featured 18-year-old William “Bootsy” Collins on bass. Two debut albums were recognized: Chicago’s The Chicago Transit Authority (1969) and Kris Kristofferson’s Kristofferson (1970). Chicago (like their contemporaries Blood, Sweat & Tears) melded elements of pop, rock and jazz. This double-disc album spawned such hits as “Does Anybody Really Know What Time It Is?” and “Beginnings.” Kristofferson’s album included the original versions of three of the five songs nominated for Best Country Song in 1971: Janis Joplin’s “Me And Bobby McGee,” Sammi Smith’s “Help Me Make It Through The Night” and Ray Price’s “For The Good Times.” (“Help Me Make It Through The Night” won.) The GRAMMY-winning Joplin and Smith recordings would ultimately make it into the Hall. Kristofferson’s album, which was rereleased in 1971 as
Gil Scott-Heron
Michael Ochs Archives/Getty Images
Sugar Hill Gang
Michael Ochs Archives/Getty Images
B.J. Thomas
Michael Ochs Archives/Getty Images
Chicago
Michael Ochs Archives/Getty Images
Me And Bobby McGee, also included the original version of Johnny Cash’s “Sunday Morning Coming Down.” Doc Watson’s 1964 debut solo album Doc Watson was inducted. The folk album has influenced countless acts, including two recent Album Of The Year winners, Robert Plant & Alison Krauss and Mumford & Sons. Watson was previously cited for “Black Mountain Rag.” Two pop/R&B classics from the 1960s were honored. The Drifters were recognized for their 1964 hit “Under The Boardwalk.” The graceful, Latin-accented single is the Drifters’ fifth recording in the Hall, which is more than any other R&B group. Sam Cooke’s charming 1960 hit “Wonderful World” is his third entry in the Hall, following “You Send Me” and “A Change Is Gonna Come.” Cooke cowrote “Wonderful World” with two future music titans, Lou Adler and Herb Alpert. Two blues recordings were inducted. B.B. King was cited for his 1951 breakthrough hit “3 O’Clock Blues.” It’s his fourth entry in the Hall, which puts him in a tie with Muddy Waters as the blues artist with the most entries. Robert Johnson’s 1937 classic “Sweet Home Chicago” was also cited. Johnson was previously recognized for “Cross Road Blues.” Last August was the 75th anniversary of Johnson’s death at age 27. Two songs that were written by the women who made them
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hits — Dolly Parton’s 1973 country hit “Jolene” and Sister Rosetta Tharpe’s 1945 gospel recording “Strange Things Happening Every Day” — were inducted into the Hall. The title of Tharpe’s song is a reference to miracles. The upbeat song, which was an R&B hit, constitutes making a joyful noise. Such varied artists as Olivia Newton-John, the White Stripes and Miley Cyrus have covered “Jolene,” in which a woman whose man is unfaithful pleads with the “other woman.” It’s Parton’s second Hall Of Fame entry, following her original version of “I Will Always Love You.” Neil Young’s 1970 album After The Gold Rush was cited. The album, which includes “Southern Man” and “Only Love Can Break Your Heart,” was at the forefront of the singer/songwriter movement of the early 1970s. This is Young’s first solo entry in the Hall. He has also been cited for the Buffalo Springfield classic (“For What It’s Worth”) and two recordings with Crosby, Stills, Nash & Young. War were honored for their spicy 1975 smash “Low Rider,” a celebration of customized car culture. The song blends elements of pop, R&B and Latin music. The Charlie Parker Septet were honored for their mellifluous 1946 jazz classic, “Yardbird Suite.” This is Parker’s fifth recording in the Hall. Paul Grein, a veteran music journalist and historian, writes the Chart Watch blog for Yahoo.com.
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A ABBEY ROAD The Beatles Apple (1969) Album Inducted 1995 ABRAXAS Santana Columbia (1970) Album Inducted 1999 AC-CENT-TCHU-ATE THE POSITIVE Johnny Mercer And The Pied Pipers Capitol (1945) Single Inducted 1998 ACT NATURALLY Buck Owens Capitol (1963) Single Inducted 2013 AIN’T IT A SHAME Fats Domino Imperial (1955) Single Inducted 2002 AIN’T MISBEHAVIN’ (PIANO SOLO) Thomas “Fats” Waller Victor (1929) Single Inducted 1984 AIN’T NOBODY HERE BUT US CHICKENS Louis Jordan And His Tympany Five Decca (1946) Single Inducted 2013 AIN’T NO MOUNTAIN HIGH ENOUGH Marvin Gaye And Tammi Terrell Tamla (1967) Single Inducted 1999 AIN’T NO SUNSHINE Bill Withers Sussex (1971) Single Inducted 1999 AJA Steely Dan ABC (1977) Album Inducted 2003
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ALEXANDER’S RAGTIME BAND Arthur Collins & Byron Harlan Victor (1911) Single Inducted 2005 ALFIE Dionne Warwick Scepter (1967) Single Inducted 2008 ALICE’S RESTAURANT Arlo Guthrie Reprise (1967) Single Inducted 2002 ALL ALONG THE WATCHTOWER The Jimi Hendrix Experience Reprise (1968) Single Inducted 2001 ALL I HAVE TO DO IS DREAM The Everly Brothers Cadence (1958) Single Inducted 2004 ALL I WANT FOR CHRISTMAS (IS MY TWO FRONT TEETH) Spike Jones & His City Slickers RCA Victor (1948) Single Inducted 2007 ALL OF ME Louis Armstrong & His Orchestra Columbia (1932) Single Inducted 2005
AMAZING GRACE The Dixie Hummingbirds Apollo (1946) Single Inducted 2000 AMAZING GRACE Aretha Franklin With James Cleveland & The Southern California Comm. Choir Atlantic (1972) Album Inducted 1999 AMERICA THE BEAUTIFUL Ray Charles ABC/TRC (1972) R&B (Track) Inducted 2005 AMERICAN PIE Don McLean U.A. (1971) Single Inducted 2002 AN AMERICAN IN PARIS — SOUNDTRACK Gene Kelly & Various Artists MGM (1951) Album Inducted 2006 AN EVENING WITH ANDRES SEGOVIA Andres Segovia Decca (1954) Album Inducted 1999
ALLONS À LAFAYETTE (LAFAYETTE) Joe Falcon Columbia (1928) Single Inducted 2013
AND THE ANGELS SING Benny Goodman And His Orchestra, Martha Tilton, Vocal And Ziggy Elman, Trumpet RCA Victor (1939) Single Inducted 1987
ALWAYS ON MY MIND Willie Nelson Columbia (1982) Single Inducted 2008
ANNIE GET YOUR GUN Original Broadway Cast Decca (1946) Album Inducted 1998
AM I BLUE? Ethel Waters Columbia (1929) Single Inducted 2007
ANTHOLOGY OF AMERICAN FOLK MUSIC Various Artists Folkways (1952) Album Inducted 2012
ANY OLD TIME Artie Shaw Victor Records (1938) Single Inducted 2001 ANYTHING GOES Cole Porter His Master’s Voice (1934) Single Inducted 2012 APRIL IN PARIS Count Basie & His Orchestra Clef (1955) Single Inducted 1985 AQUARIUS/LET THE SUNSHINE IN (THE FLESH FAILURES) 5th Dimension Soul City (1969) Single Inducted 2004 ARE YOU EXPERIENCED? The Jimi Hendrix Experience Reprise (1967) Album Inducted 1999 ARE YOU LONESOME TONIGHT? Elvis Presley RCA Victor (1960) Single Inducted 2007 ARTISTRY IN RHYTHM Stan Kenton And His Orchestra Capitol (1945) Single Inducted 1985 AS TIME GOES BY Dooley Wilson Decca (1944) Single Inducted 2010 THE ASTAIRE STORY Fred Astaire & The Oscar Peterson Quintet Mercury (1953) Album Inducted 1999 ASTRAL WEEKS Van Morrison Warner Bros. (1968) Album Inducted 1999 AT FILLMORE EAST The Allman Brothers Band Capricorn (1971) Album Inducted 1999 AT LAST Etta James Argo (1961) Single Inducted 1999 AT SEVENTEEN Janis Ian Columbia (1975) Single Inducted 2008
A-TISKET, A-TASKET Chick Webb And His Orchestra With Ella Fitzgerald Decca (1938) Single Inducted 1986 AXIS: BOLD AS LOVE The Jimi Hendrix Experience Reprise (1968) Album Inducted 2006
B BACH: GOLDBERG VARIATIONS Glenn Gould Columbia (1956) Album Inducted 1983 BACH: GOLDBERG VARIATIONS FOR HARPSICHORD Wanda Landowska RCA Victor (1945) Album Inducted 1986 BACH: SONATA NO. 1 FOR UNACCOMPANIED VIOLIN, BWV 1001 Joseph Szigeti Columbia (1931) Album Inducted 1998 BACH: SUITES FOR UNACCOMPANIED CELLO (6) Pablo Casals RCA Victor (1936–39) Album Inducted 1985 BACH: THE WELL-TEMPERED CLAVIER (COMPLETE) Wanda Landowska RCA Victor (1949–54) Album Inducted 1977 BACH-STOKOWSKI: TOCCATA & FUGUE IN D MINOR Leopold Stokowski cond. Philadelphia Orchestra Victrola (1927) Single Inducted 1978 BACK IN BLACK AC/DC Albert/Atlantic (1980) Album Inducted 2013 BACK IN THE SADDLE AGAIN Gene Autry Vocalion (1939) Single Inducted 1997 BALLAD FOR AMERICANS Paul Robeson Victor (1940) Album Inducted 1980
BANANA BOAT (DAY-O) Harry Belafonte RCA (1956) Single Inducted 2009 THE BAND The Band Capitol (1969) Album Inducted 1999 BAND ON THE RUN Paul McCartney & Wings Apple (1973) Album Inducted 2013 BARBER: VIOLIN CONCERTO Leonard Bernstein cond. New York Philharmonic with Isaac Stern Columbia (1964) Album Inducted 2007 THE BARBRA STREISAND ALBUM Barbra Streisand Columbia (1963) Album Inducted 2006 BARTÓK: CONCERTO FOR ORCHESTRA Fritz Reiner cond. Chicago Symphony Orchestra RCA Victor (1956) Album Inducted 1998 BARTÓK: CONTRASTS FOR VIOLIN, CLARINET & PIANO Béla Bartók, Piano; Joseph Szigeti, Violin; Benny Goodman, Clarinet Columbia (1940) Album Inducted 1989 BARTÓK: QUARTETS Juilliard Quartet Columbia (1950) Album Inducted 1987 THE BATTLE OF NEW ORLEANS Johnny Horton Columbia (1959) Single Inducted 2002 BE MY BABY The Ronettes Philles (1963) Single Inducted 1999 THE BEATLES (WHITE ALBUM) The Beatles Apple (1968) Album Inducted 2000 BE-BOP-A-LULA Gene Vincent And His Blue Caps Capitol (1956) Single Inducted 1999
BALLADS John Coltrane Quartet Impulse/MCA (1962) Album Inducted 2008 GRAMMY Hall of Fame 40th Anniversary
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BEETHOVEN: CONCERTO IN D MAJOR FOR VIOLIN AND ORCHESTRA Jascha Heifetz; Arturo Toscanini cond. NBC Symphony Orchestra Victor (1940) Album Inducted 1996 BEETHOVEN: CONCERTOS FOR PIANO NOS. 1–5 Artur Schnabel & Malcolm Sargent cond. London Symphony (1, 5) & London Philharmonic (2, 3, 4) Victor (1955) Album Inducted 1989 BEETHOVEN: THE FIVE PIANO CONCERTI (COMPLETE) George Szell cond. Cleveland Orchestra; Leon Fleisher, piano Columbia (1959–61) Album Inducted 2008 BEETHOVEN: PIANO SONATAS (32) Artur Schnabel Beethoven Sonata Society/HMV (1932–38) Album Inducted 1975 BEETHOVEN: QUARTETS FOR STRINGS Budapest String Quartet Columbia (1952) Album Inducted 1981 BEETHOVEN: SYMPHONIES Arturo Toscanini cond. NBC Symphony Orchestra RCA Victor (1950–53) Album Inducted 1977 BEETHOVEN: SYMPHONY NO. 5 Arthur Nikisch cond. Berlin Philharmonic Grammophon/Polydor (1914) Album Inducted 2008 BEETHOVEN: SYMPHONY NO. 7 IN A MAJ. OP. 92 Arturo Toscanini cond. New York Philharmonic Symphony Orchestra RCA Victor (1936) Album Inducted 2007 BEGGARS BANQUET The Rolling Stones London (1968) Album Inducted 1999
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BELAFONTE AT CARNEGIE HALL Harry Belafonte RCA Victor (1959) Album Inducted 1999 BELLINI: CASTA DIVA (FROM NORMA) Rosa Ponselle; Giulio Setti cond. The Metropolitan Opera Orchestra and Chorus Victor (1929) Single Inducted 2008 BELLS ARE RINGING Original Broadway Cast Columbia (1958) Album Inducted 2000 BERG: WOZZECK Dimitri Mitropoulos cond. New York Philharmonic Orchestra, Mack Harrell, Eileen Farrell Columbia (1952) Album Inducted 1990 BILL Helen Morgan Victor (1928) Single Inducted 1998 BILLIE’S BOUNCE Charlie Parker And His Re-Boppers Savoy (1945) Single Inducted 2002 BIRDLAND Weather Report Columbia (1977) Single Inducted 2010 BIRTH OF THE COOL Miles Davis Capitol (1957) Album Inducted 1982 BITCHES BREW Miles Davis Columbia (1969) Album Inducted 1999
BEGIN THE BEGUINE Artie Shaw And His Orchestra Bluebird (1938) Single Inducted 1977
BIZET: CARMEN Rise Stevens, Jan Peerce, Licia Albanese and Robert Merrill; Fritz Reiner, conductor; Robert Shaw, choral director; RCA Victor Orchestra; Robert Shaw Chorale RCA (1951) Album Inducted 2008
BEHIND CLOSED DOORS Charlie Rich Epic (1973) Single Inducted 1999
BLACK AND TAN FANTASY Duke Ellington & His Orchestra Victor (1928) Single Inducted 1981
BEI MIR BIST DU SCHON The Andrews Sisters Decca (1938) Single Inducted 1996
BLACK, BROWN AND BEIGE Duke Ellington & His Famous Orchestra RCA Victor (1944) Single Inducted 1990
GRAMMY Hall of Fame 40th Anniversary
BLACK MOUNTAIN RAG Doc Watson Vanguard (1964) Single Inducted 2006 BLOCH: SCHELOMO Emanuel Feuermann, Leopold Stokowski cond. Philadelphia Orchestra RCA Victor (1940) Album Inducted 1999 BLONDE ON BLONDE Bob Dylan Columbia (1966) Album Inducted 1999 BLOOD, SWEAT & TEARS Blood, Sweat & Tears Columbia (1969) Album Inducted 2002 BLOWIN’ IN THE WIND Bob Dylan Columbia (1963) Single Inducted 1994 BLOWIN’ IN THE WIND Peter, Paul & Mary Warner Bros. (1963) Single Inducted 2003 BLUE Joni Mitchell Reprise (1971) Album Inducted 1999 BLUE MOON OF KENTUCKY Bill Monroe And His Blue Grass Boys Columbia (1945) Single Inducted 1998 BLUE SUEDE SHOES Carl Perkins Sun (1956) Single Inducted 1986 BLUE TRAIN John Coltrane Blue Note (1957) Album Inducted 1999 BLUE YODEL #9 (STANDING ON THE CORNER) Jimmie Rodgers (Featuring Louis Armstrong) Victor (1930) Single Inducted 2007 BLUE YODEL (T FOR TEXAS) Jimmie Rodgers Victor (1928) Single Inducted 1985 BLUEBERRY HILL Fats Domino Imperial (1956) Single Inducted 1987
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BLUES STAY AWAY FROM ME The Delmore Brothers King (1949) Single Inducted 2007
BRAZIL (AQUARELA DO BRASIL) Jimmy Dorsey & His Orchestra Decca (1942) Single Inducted 2009
BYE BYE LOVE The Everly Brothers Cadence (1957) Single Inducted 1998
BO DIDDLEY Bo Diddley Checker (1955) Single Inducted 1998
BREEZIN’ George Benson Warner Bros. (1976) Album Inducted 2008
C
BODY AND SOUL Coleman Hawkins Bluebird (1939) Single Inducted 1974 BOGALUSA BOOGIE Clifton Chenier Arhoolie (1976) Album Inducted 2011 BOHEMIAN RHAPSODY Queen Elektra (1976) Single Inducted 2004 BONAPARTE’S RETREAT W.H. Stepp Library of Congress (1937) Single Inducted 2013 BOOGIE CHILLUN John Lee Hooker Modern (1948) Single Inducted 1999 BOOGIE WOOGIE BUGLE BOY The Andrews Sisters Decca (1941) Single Inducted 2000 BORN IN THE U.S.A. Bruce Springsteen Columbia (1984) Album Inducted 2012 BORN TO BE WILD Steppenwolf Dunhill (1968) Single Inducted 2002 BORN TO RUN Bruce Springsteen Columbia (1975) Album Inducted 2003 BORN UNDER A BAD SIGN Albert King Stax (1967) Album Inducted 1999
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BRIDGE OVER TROUBLED WATER Simon & Garfunkel Columbia (1970) Single Inducted 1998
CABARET — Original Motion Picture Soundtrack Various Artists ABC (1972) Album Inducted 2008 CALDONIA BOOGIE Louis Jordan And His Tympany Five Decca (1945) Single Inducted 1998
BRIGADOON Original Broadway Cast RCA Victor (1947) Album Inducted 2011
CALIFORNIA DREAMIN’ The Mamas And The Papas Dunhill (1966) Single Inducted 2001
BRILLIANT CORNERS Thelonious Monk Quintet Riverside (1956) Album Inducted 1999
CALIFORNIA GIRLS The Beach Boys Capitol (1965) Single Inducted 2010
BRINGING IT ALL BACK HOME Bob Dylan Columbia (1965) Album Inducted 2006
CALIFORNIA, HERE I COME Al Jolson With The Isham Jones Orchestra Brunswick (1924) Single Inducted 2005
BRITTEN: WAR REQUIEM OP. 66 Benjamin Britten cond. London Symphony Chorus & Orchestra, Highgate School Choir, Melos Ensemble; Vishnevskaya, Pears, Fischer-Dieskau London (1963) Album Inducted 1998 BROTHER, CAN YOU SPARE A DIME? Bing Crosby Brunswick (1932) Single Inducted 2005 BROWN EYED GIRL Van Morrison Bang (1967) Single Inducted 2007 THE BUTTONDOWN MIND OF BOB NEWHART Bob Newhart Warner Bros. (1960) Album Inducted 2007
CALL IT STORMY MONDAY T-Bone Walker Black & White (1948) Single Inducted 1991 CAMELOT Original Broadway Cast Columbia (1960) Album Inducted 2006 CAN THE CIRCLE BE UNBROKEN (BYE AND BYE) The Carter Family ARC (1935) Single Inducted 1998 CANDIDE Original Broadway Cast Columbia (1956) Album Inducted 1998 CANDY Big Maybelle Savoy (1956) Single Inducted 1999
BOTH SIDES NOW Judy Collins Elektra (1968) Single Inducted 2003
BY THE TIME I GET TO PHOENIX Glen Campbell Capitol (1967) Single Inducted 2004
CARAVAN Duke Ellington & His Famous Orchestra Master (1937) Single Inducted 2009
BRAHMS: TRIO NO. 1 IN B MAJOR Jascha Heifetz, Emanuel Feuermann, Artur Rubinstein Victor (1942) Album Inducted 1999
BYE BYE BLACKBIRD Gene Austin Victor (1926) Single Inducted 2005
CARNEGIE HALL JAZZ CONCERT Benny Goodman Columbia (1950) Album Inducted 1975
GRAMMY Hall of Fame 40th Anniversary
CAROUSEL Original Broadway Cast Decca (1945) Album Inducted 1998
CHET BAKER SINGS Chet Baker Pacific Jazz (1956) Album Inducted 2001
COAL MINER’S DAUGHTER Loretta Lynn Decca (1970) Single Inducted 1998
CATCH A FIRE Bob Marley & The Wailers Island (1973) Album Inducted 2010
CHILD IS FATHER TO THE MAN Blood, Sweat & Tears Columbia (1968) Album Inducted 1999
COCKTAILS FOR TWO Duke Ellington & His Orchestra Victor (1934) Single Inducted 2007
CHIMES BLUES King Oliver’s Creole Jazz Band Gennett (1923) Single Inducted 1996
COCKTAILS FOR TWO Spike Jones And His City Slickers RCA Victor (1945) Single Inducted 1995
CHOO CHOO CH’BOOGIE Louis Jordan And His Tympany Five Decca (1946) Single Inducted 2008
COME FLY WITH ME Frank Sinatra Capitol (1958) Album Inducted 2004
CHOPIN: 14 WALTZES Dinu Lipatti Columbia (1952) Album Inducted 1998
COMPANY Original Broadway Cast Columbia (1970) Album Inducted 2008
CAT’S IN THE CRADLE Harry Chapin Elektra (1974) Single Inducted 2011 CHAIN OF FOOLS Aretha Franklin Atlantic (1967) Single Inducted 2001 CHANCES ARE Johnny Mathis Columbia (1957) Single Inducted 1998 A CHANGE IS GONNA COME Sam Cooke RCA Victor (1965) Single Inducted 2000 A CHARLIE BROWN CHRISTMAS Vince Guaraldi Trio Fantasy (1965) Album Inducted 2007 CHARLIE PARKER WITH STRINGS Charlie Parker Mercury (1950) Album Inducted 1988 CHATTANOOGA CHOO CHOO Glenn Miller Orchestra With Tex Beneke And The Modernaires Bluebird (1941) Single Inducted 1996 CHEAP THRILLS Big Brother & The Holding Company Columbia (1968) Album Inducted 2007 CHEEK TO CHEEK Fred Astaire With Leo Reisman And His Orchestra Brunswick (1935) Single Inducted 2000 CHEGA DE SAUDADE João Gilberto Odeon (1958) Single Inducted 2000 CHEROKEE Charlie Barnet & His Orchestra Bluebird (1939) Single Inducted 1998
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CHOPIN: MAZURKAS (COMPLETE) Artur Rubinstein RCA Red Seal (1967) Album Inducted 2003 CHOPIN: THE COMPLETE NOCTURNES Artur Rubinstein RCA Red Seal (1965) Album Inducted 2004 CHOPIN WALTZES Artur Rubinstein RCA Victor (1965) Album Inducted 2006
CONCERT BY THE SEA Erroll Garner Trio Columbia (1956) Album Inducted 1999 CONVERSATIONS WITH MYSELF Bill Evans Verve (1963) Album Inducted 2000 COOL WATER Sons Of The Pioneers Decca (1941) Single Inducted 1986
A CHORUS LINE Original Broadway Cast Columbia (1975) Album Inducted 2007
COPLAND: APPALACHIAN SPRING Aaron Copland cond. The Boston Symphony RCA Victor (1959) Album Inducted 2000
A CHRISTMAS GIFT FOR YOU FROM PHIL SPECTOR Phil Spector And Various Artists Philles (1963) Album Inducted 1999
COPLAND: APPALACHIAN SPRING Leonard Bernstein cond. New York Philharmonic Columbia (1961) Single Inducted 2009
THE CHRISTMAS SONG Nat “King” Cole Capitol (1946) Single Inducted 1974
COPLAND: FANFARE FOR THE COMMON MAN Aaron Copland cond. The London Symphony Orchestra Columbia (1968) Single Inducted 2009
CISSY STRUT The Meters Josie (1969) Single Inducted 2011 CLASS CLOWN George Carlin Little David (1972) Album Inducted 2010 CLIFFORD BROWN & MAX ROACH Clifford Brown, Max Roach Emarcy (1954) Album Inducted 1999
COPLAND: SYMPHONY NO. 3 Antal Dorati cond. Minneapolis Symphony Orchestra Mercury (1951) Album Inducted 2007 COURT AND SPARK Joni Mitchell Asylum (1974) Album Inducted 2004
THE CRADLE WILL ROCK Original Broadway Cast Musicraft (1938) Album Inducted 1998
DANG ME Roger Miller Smash (1964) Single Inducted 1998
DINAH Ethel Waters Columbia (1925) Single Inducted 1998
CRAZY Patsy Cline Decca (1962) Single Inducted 1992
THE DARK SIDE OF THE MOON Pink Floyd Harvest (1973) Album Inducted 1999
DIPPER MOUTH BLUES King Oliver & His Jazz Band Okeh (1923) Single Inducted 2010
CRAZY ARMS Ray Price Columbia (1956) Single Inducted 1999 CRAZY BLUES Mamie Smith & Her Jazz Hounds Okeh (1920) Jazz (Single) Inducted 1994 CRAZY HE CALLS ME Billie Holiday Decca (1949) Single Inducted 2010 CROSBY, STILLS & NASH Crosby, Stills & Nash Atlantic (1969) Album Inducted 1999 CROSSCURRENTS Lennie Tristano Sextet Capitol (1949) Album Inducted 2013 CROSS ROAD BLUES Robert Johnson Vocalion (1936) Single Inducted 1998 CRY Johnnie Ray Okeh (1951) Single Inducted 1998 CRY ME A RIVER Julie London Liberty (1955) Single Inducted 2001 CRYING Roy Orbison Monument (1961) Single Inducted 2002 CRYING IN THE CHAPEL The Orioles Jubilee (1953) Single Inducted 2008
D DANCE TO THE MUSIC Sly & The Family Stone Epic (1968) Single Inducted 1998 DANCING IN THE STREET Martha And The Vandellas Gordy (1964) Single Inducted 1999
DARK WAS THE NIGHT — COLD WAS THE GROUND Blind Willie Johnson Columbia/Vocalion (1927) Single Inducted 2011 DARKTOWN STRUTTERS’ BALL Original Dixieland Jazz Band Columbia (1917) Single Inducted 2006 DAYS OF WINE AND ROSES Henry Mancini RCA (1963) Single Inducted 2003 DEAD MAN’S CURVE Jan & Dean Liberty (1964) Single Inducted 2008 (DEAR MR. GABLE) YOU MADE ME LOVE YOU Judy Garland Decca (1937) Single Inducted 1998 DEBUSSY: PRELUDES, BOOK I AND II Walter Gieseking Columbia (1953–55) Album Inducted 1998 DEEP IN THE HEART OF TEXAS Gene Autry Columbia (1942) Single Inducted 2012 DÉJÀ VU Crosby, Stills, Nash & Young Atlantic (1970) Album Inducted 2012 DESAFINADO Stan Getz & Charlie Byrd Verve (1962) Single Inducted 2000 DESPERADO Eagles Asylum (1972) Album Inducted 2000 DIMINUENDO AND CRESCENDO IN BLUE Duke Ellington & His Orchestra Columbia (1956) Single Inducted 1999
DISRAELI GEARS Cream Atco (1967) Album Inducted 1999 DJANGOLOGY Quintet Of The Hot Club Of France Featuring Django Reinhardt And Stephane Grappelli Decca (1935) Single Inducted 1999 DO NOTHIN’ TILL YOU HEAR FROM ME Duke Ellington & His Orchestra Featuring Al Hibbler Victor (1944) Single Inducted 2011 DO YOU BELIEVE IN MAGIC The Lovin’ Spoonful Kama Sutra (1965) Single Inducted 2002 DON’T BE CRUEL Elvis Presley RCA Victor (1956) Single Inducted 2002 DON’T FENCE ME IN Bing Crosby And The Andrews Sisters Decca (1944) Single Inducted 1998 DON’T GET AROUND MUCH ANYMORE (NEVER NO LAMENT) Duke Ellington & His Famous Orchestra Victor (1940) Single Inducted 2010 DON’T GO TO STRANGERS Etta Jones Prestige (1960) Album Inducted 2008 DON’T LET YOUR DEAL GO DOWN BLUES Charlie Poole Columbia Records (1925) Single Inducted 2007 DON’T MAKE ME OVER Dionne Warwick Scepter (1962) Single Inducted 2000 THE DOORS The Doors Elektra (1967) Album Inducted 2002 GRAMMY Hall of Fame 40th Anniversary
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DOWNHEARTED BLUES Bessie Smith Columbia (1923) Single Inducted 2006
ELEANOR RIGBY The Beatles Capitol (1966) Track Inducted 2002
DOWNTOWN Petula Clark Warner Bros. (1964) Single Inducted 2003
ELECTRIC LADYLAND Jimi Hendrix Reprise (1968) Album Inducted 1999
DUKE OF EARL Gene Chandler Vee Jay (1961) Single Inducted 2002
ELGAR: VIOLIN CONCERTO Yehudi Menuhin with Sir Edward Elgar cond. London Symphony Orchestra Victor (1932) Album Inducted 2007
DUST BOWL BALLADS, VOLUMES 1 & 2 Woody Guthrie Victor (1940) Album Inducted 1998 DUST MY BROOM Elmore James Trumpet (1952) Single Inducted 1998 DUSTY IN MEMPHIS Dusty Springfield Atlantic (1969) Album Inducted 2001 DVORÁK: CONCERTO IN B MINOR FOR CELLO AND ORCHESTRA Pablo Casals, George Szell cond. Czech Philharmonic Orchestra Victor (1938) Album Inducted 1998
E EARLY AUTUMN Woody Herman And His Orchestra Capitol (1949) Single Inducted 2000 EARTH ANGEL (WILL YOU BE MINE) Penguins Dootone (1954) Single Inducted 1998
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ELLA AND BASIE! Ella Fitzgerald/Count Basie Verve (1963) Album Inducted 2010 ELLA FITZGERALD SINGS THE COLE PORTER SONG BOOK Ella Fitzgerald Verve (1956) Album Inducted 2000
EVERYDAY I HAVE THE BLUES Count Basie Orchestra, Joe Williams, Vocal Clef (1955) Single Inducted 1992 EVERYDAY I HAVE THE BLUES B.B. King RPM (1955) Single Inducted 2004 EXILE ON MAIN ST. The Rolling Stones Rolling Stones/Atlantic (1972) Album Inducted 2012 EXODUS Bob Marley & The Wailers Island/Tuff Gong (1977) Album Inducted 2006
F FAR EAST SUITE Duke Ellington & His Orchestra RCA (1967) Album Inducted 1999
ELLA FITZGERALD SINGS THE RODGERS AND HART SONG BOOK Ella Fitzgerald Verve (1957) Album Inducted 1999
FASCINATING RHYTHM Fred and Adele Astaire accompanied by George Gershwin English Columbia (1926) Single Inducted 2006
ELLA IN BERLIN Ella Fitzgerald Verve (1960) Album Inducted 1999
FAVORITE GOSPEL SONGS AND SPIRITUALS The Blackwood Brothers Quartet RCA (1951) Album Inducted 1999
ELLINGTON AT NEWPORT Duke Ellington & His Orchestra Columbia (1957) Album Inducted 2004 ELTON JOHN Elton John Uni (1970) Album Inducted 2013
FELIZ NAVIDAD Jose Feliciano RCA Victor (1970) Single Inducted 2010 FEVER Peggy Lee Capitol (1958) Single Inducted 1998
EAST-WEST The Paul Butterfield Blues Band Elektra (1966) Single Inducted 1999
EMBRACEABLE YOU Billie Holiday Commodore (1944) Single Inducted 2005
EIGHT MILES HIGH The Byrds Columbia (1966) Single Inducted 1999
EMPTY BED BLUES Bessie Smith Columbia (1928) Single Inducted 1983
FINIAN’S RAINBOW Original Broadway Cast Columbia (1947) Album Inducted 1998
EL DÍA QUE ME QUIERAS Carlos Gardel Paramount (1935) Single Inducted 2013
EVERYBODY LOVES SOMEBODY Dean Martin Reprise (1964) Single Inducted 1999
FIRE AND RAIN James Taylor Warner Bros. (1970) Single Inducted 1998
EL PASO Marty Robbins Columbia (1959) Single Inducted 1998
EVERYBODY’S TALKIN’ Harry Nilsson RCA Victor (1969) Single Inducted 1999
FIXIN’ TO DIE Bukka White Okeh (1940) Single Inducted 2012
GRAMMY Hall of Fame 40th Anniversary
FIDDLER ON THE ROOF Original Broadway Cast RCA Victor (1964) Album Inducted 1998
FLYING HOME Lionel Hampton And His Orchestra Decca (1942) Single Inducted 1996
FRANKIE Mississippi John Hurt Okeh (1928) Single Inducted 2011
FOCUS Stan Getz Verve (1961) Album Inducted 1999
FREAK OUT! Mothers Of Invention Verve (1967) Album Inducted 1999
FOGGY MOUNTAIN BANJO Lester Flatt And Earl Scruggs And The Foggy Mountain Boys Columbia (1961) Album Inducted 2013
FREE BIRD Lynyrd Skynyrd MCA (1973) Single Inducted 2008
FOGGY MOUNTAIN BREAKDOWN Lester Flatt And Earl Scruggs Mercury (1950) Single Inducted 1999 FOGGY MOUNTAIN JAMBOREE Lester Flatt And Earl Scruggs Columbia (1957) Album Inducted 2012 FOLSOM PRISON BLUES Johnny Cash Sun (1956) Single Inducted 2001 FOR DANCERS ONLY Jimmie Lunceford And His Orchestra Decca (1937) Single Inducted 1999 FOR ME AND MY GAL Judy Garland & Gene Kelly Decca (1942) Single Inducted 2010 FOR ONCE IN MY LIFE Stevie Wonder Tamla (1968) Single Inducted 2009 FOR WHAT IT’S WORTH Buffalo Springfield Atco (1967) Single Inducted 2000 FOREVER CHANGES Love Elektra (1967) Album Inducted 2008 FOUR BROTHERS Woody Herman And His Orchestra Columbia (1948) Single Inducted 1984 FRANK SINATRA SINGS FOR ONLY THE LONELY Frank Sinatra Capitol (1958) Album Inducted 1999
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FRENESI Artie Shaw And His Orchestra Victor (1940) Single Inducted 2000 FUNNY GIRL Original Broadway Cast Capitol (1964) Album Inducted 2004
G GADE: JALOUSIE Arthur Fiedler cond. Boston Pops Orchestra RCA Victor (1935) Single Inducted 2008 THE GENIUS OF ART TATUM, VOLS. 1–13 Art Tatum Clef (1954–55) Album Inducted 1978 THE GENIUS OF MODERN MUSIC, VOLS. 1 & 2 Thelonious Monk Blue Note (1949) Album Inducted 2003 THE GENIUS OF RAY CHARLES Ray Charles Atlantic (1960) Album Inducted 1997
GERSHWIN: PORGY & BESS (OPERA VERSION) Lehman Engel, cond. (Lawrence Winters, Camilla Williams) Columbia (1951) Album Inducted 1976 GERSHWIN: RHAPSODY IN BLUE George Gershwin, Piano With Paul Whiteman, conductor Victor (1927) Single Inducted 1974 GERSHWIN: RHAPSODY IN BLUE Oscar Levant, Eugene Ormandy cond. Philadelphia Orchestra Columbia (1945) Album Inducted 1990 GET UP, STAND UP Bob Marley & The Wailers Island (1973) Single Inducted 1999 (GET YOUR KICKS ON) ROUTE 66 The King Cole Trio Capitol (1946) Single Inducted 2002 GETZ/GILBERTO Stan Getz & João Gilberto Verve (1964) Album Inducted 1999 GIANT STEPS John Coltrane Atlantic (1960) Album Inducted 2001 GIGI — SOUNDTRACK Various Artists MGM (1958) Album Inducted 1998 GIMME SOME LOVIN’ Spencer Davis Group United Artists (1966) Single Inducted 1999
GENIUS + SOUL = JAZZ Ray Charles Impulse (1961) Album Inducted 2011
THE GIRL FROM IPANEMA Stan Getz & Astrud Gilberto Verve (1964) Single Inducted 2000
GENTLE ON MY MIND Glen Campbell Capitol (1967) Single Inducted 2008
GIVE MY REGARDS TO BROADWAY Billy Murray Columbia (1905) Single Inducted 2008
GEORGIA ON MY MIND Ray Charles ABC-Paramount (1960) Single Inducted 1993
GLORIA Them Parrot (1965) Single Inducted 1999
GERSHWIN: AN AMERICAN IN PARIS George Gershwin, Celesta; Nathaniel Shilkret cond. Victor Symphony Orchestra Victor (1929) Single Inducted 1997
GOD BLESS AMERICA Kate Smith Victor (1939) Single Inducted 1982
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GOD BLESS THE CHILD Billie Holiday Okeh (1941) Single Inducted 1976
THE GREAT PRETENDER The Platters Mercury (1956) Single Inducted 2002
HE STOPPED LOVING HER TODAY George Jones Epic (1980) Single Inducted 2007
GOLDEN JUBILEE CONCERT: RACHMANINOFF CONCERTO NO. 3 Vladimir Horowitz With Eugene Ormandy cond. New York Philharmonic Orchestra RCA Red Seal (1978) Album Inducted 2004
GREAT SPECKLED BIRD Roy Acuff & The Crazy Tennesseans Vocalion (1936) Single Inducted 2009
HEAD HUNTERS Herbie Hancock Columbia (1973) Album Inducted 2009
GREEN ONIONS Booker T. & The MG’s Stax (1962) Single Inducted 1999
HEARTBREAK HOTEL Elvis Presley RCA Victor (1956) Single Inducted 1995
GROOVIN’ The Young Rascals Atlantic (1967) Single Inducted 1999
HEAVY WEATHER Weather Report Columbia (1977) Album Inducted 2011
GROOVIN’ HIGH Dizzy Gillespie & His Sextet Guild (1945) Single Inducted 2000
HEEBIE JEEBIES Louis Armstrong & His Hot Five Okeh (1926) Single Inducted 1999
GUYS AND DOLLS Original Broadway Cast Decca (1950) Album Inducted 1998
HE’LL HAVE TO GO Jim Reeves RCA (1959) Single Inducted 1999
GYPSY Original Broadway Cast Columbia (1959) Album Inducted 1998
HELLO DARLIN’ Conway Twitty Decca (1970) Single Inducted 1999
H
HELLO, DOLLY! Louis Armstrong Kapp (1964) Single Inducted 2001
GOLDFINGER Shirley Bassey United Artists (1964) Single Inducted 2008 GONE WITH THE WIND — SOUNDTRACK Max Steiner, conductor MGM (1967) Album Inducted 2006 GOOD ROCKIN’ TONIGHT Wynonie Harris King (1948) Single Inducted 2009 THE GOOD, THE BAD AND THE UGLY Ennio Morricone United Artists (1967) Album Inducted 2009 GOOD VIBRATIONS The Beach Boys Capitol (1966) Single Inducted 1994 GOODBYE YELLOW BRICK ROAD Elton John MCA (1973) Album Inducted 2003 GOODNIGHT IRENE Gordon Jenkins And His Orchestra And The Weavers Decca (1950) Single Inducted 2006 GOODNIGHT IRENE Huddie “Leadbelly” Ledbetter Library of Congress (1936) Single Inducted 2002 GOT MY MOJO WORKING Muddy Waters Chess (1957) Single Inducted 1999 GRACELAND Paul Simon Warner Bros. (1986) Album Inducted 2012 GREAT BALLS OF FIRE Jerry Lee Lewis Sun (1957) Single Inducted 1998
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HAIR Original Broadway Cast RCA Victor (1968) Album Inducted 2006 HAPPY DAYS ARE HERE AGAIN Ben Selvin & His Orchestra Columbia (1930) Single Inducted 2007 HAPPY TOGETHER The Turtles White Whale (1967) Single Inducted 2007 HAPPY TRAILS Roy Rogers & Dale Evans RCA Victor (1952) Single Inducted 2009 A HARD DAY’S NIGHT The Beatles United Artists (1964) Album Inducted 2000 THE HARDER THEY COME Jimmy Cliff & Various Artists Island (1973) Album Inducted 2008
HELLO, DOLLY! Original Broadway Cast RCA Victor (1964) Album Inducted 2002 HELLO WALLS Faron Young Capitol (1961) Single Inducted 2000 HELP! The Beatles Capitol (1965) Single Inducted 2008 HELP ME MAKE IT THROUGH THE NIGHT Sammi Smith Mega (1970) Single Inducted 1998 HERB ALPERT PRESENTS SERGIO MENDES & BRASIL ‘66 Sergio Mendes & Brasil ‘66 A&M (1966) Album Inducted 2012 HERE’S LITTLE RICHARD Little Richard Specialty (1957) Album Inducted 2013
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HE’S A REBEL The Crystals Philles (1962) Single Inducted 2004 HE’S GOT THE WHOLE WORLD IN HIS HANDS Marian Anderson RCA Victor (1936) Single Inducted 2008 HEY GOOD LOOKIN’ Hank Williams MGM (1951) Single Inducted 2001 HEY JUDE The Beatles Apple (1968) Single Inducted 2001 HEY THERE Rosemary Clooney Columbia (1954) Single Inducted 1999 HIDE AWAY Freddy King Federal (1961) Single Inducted 1999 HIGHWAY 61 REVISITED Bob Dylan Columbia (1965) Album Inducted 2002 THE HI-LO’S AND ALL THAT JAZZ The Hi-Lo’s Columbia (1958) Album Inducted 1998 HIS EYE IS ON THE SPARROW Mahalia Jackson Columbia (1958) Single Inducted 2010 HIT THE ROAD JACK Ray Charles ABC-Paramount (1961) Single Inducted 2013 HOLIDAY FOR STRINGS David Rose And His Orchestra RCA Victor (1943) Single Inducted 2004 HONEYSUCKLE ROSE Thomas “Fats” Waller Victor (1934) Single Inducted 1999 HONKY TONK (PARTS 1 & 2) Bill Doggett King (1956) Single Inducted 1998 HOODOO MAN BLUES Junior Wells Delmark (1966) Album Inducted 2008 [ 128 ]
GRAMMY Hall of Fame 40th Anniversary
HOROWITZ AT CARNEGIE HALL — AN HISTORIC RETURN Vladimir Horowitz Columbia (1965) Album Inducted 2002 HOTEL CALIFORNIA Eagles Asylum (1977) Single Inducted 2003 HOTEL CALIFORNIA Eagles Asylum (1976) Album Inducted 2008 HOUND DOG Elvis Presley RCA Victor (1956) Single Inducted 1988 HOUND DOG Willie Mae “Big Mama” Thornton Peacock (1953) Single Inducted 2013 THE HOUSE I LIVE IN Frank Sinatra Columbia (1946) Single Inducted 1998 THE HOUSE OF THE RISING SUN The Animals MGM (1964) Single Inducted 1999 HOW HIGH THE MOON Ella Fitzgerald Decca (1947) Single Inducted 2002 HOW HIGH THE MOON Les Paul And Mary Ford Capitol (1951) Single Inducted 1979 HOW LONG, HOW LONG BLUES Leroy Carr Vocalion (1928) Single Inducted 2012
I I APOLOGIZE Billy Eckstine MGM (1949) Single Inducted 1999 I CAN HEAR IT NOW, VOLS. 1–3 Edward R. Murrow Columbia (1948–50) Album Inducted 1978 (I CAN’T GET NO) SATISFACTION The Rolling Stones London (1965) Single Inducted 1998
I CAN’T GET STARTED Bunny Berigan Victor (1937) Single Inducted 1975 I CAN’T STOP LOVING YOU Ray Charles ABC-Paramount (1962) Single Inducted 2001 I FALL TO PIECES Patsy Cline Decca (1961) Single Inducted 2001 I FEEL LIKE GOING HOME Muddy Waters Aristocrat (1948) Single Inducted 2010 I GOT YOU (I FEEL GOOD) James Brown King (1965) Single Inducted 2013 I HAVE A DREAM Dr. Martin Luther King Jr. 20th Century Fox (1963) Track Inducted 2012 I HEARD IT THROUGH THE GRAPEVINE Marvin Gaye Tamla (1968) Single Inducted 1998 I LEFT MY HEART IN SAN FRANCISCO Tony Bennett Columbia (1962) Single Inducted 1994 I LOVES YOU, PORGY Nina Simone Bethlehem (1959) Single Inducted 2000 I MISS YOU SO The Cats And The Fiddle Bluebird (1939) Single Inducted 1999 I NEVER LOVED A MAN THE WAY I LOVE YOU Aretha Franklin Atlantic (1967) Album Inducted 2009 I ONLY HAVE EYES FOR YOU The Flamingos End (1959) Single Inducted 2003 I SHOT THE SHERIFF Eric Clapton RSO (1974) Single Inducted 2003 I STARTED OUT AS A CHILD Bill Cosby Warner Bros. (1964) Album Inducted 2012
The Clive Davis Institute of Recorded Music TISCH SCHOOL OF THE ARTS, NYU
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We aim to provide students with the necessary business, creative, intellectual and social skills so that they might emerge as visionary creative entrepreneurs. We encourage students to assume leadership roles in the art and commerce of creating and selling recorded music.
Taking a holistic approach to learning, our curriculum focuses on business, musicianship & performance, production, and history & criticism, and places special emphasis on experiential education, giving our students a competitive edge in the demanding music industry.
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The Clive �avis Institute of Recorded Music is the �rst program of its kind to provide professional business and artistic training toward a BFA in Recorded Music. It’s where the real world and the classroom converge.
Please visit our website at http://clivedavisinst.tisch.nyu.edu to learn more about our program and to schedule a tour to visit the Institute. We hope to see you soon!
I WALK THE LINE Johnny Cash Sun (1956) Single Inducted 1998
I’LL TAKE YOU THERE The Staple Singers Stax (1972) Single Inducted 1999
IN THE MOOD Glenn Miller And His Orchestra Bluebird (1939) Single Inducted 1983
I WANNA BE LOVED BY YOU Helen Kane Victor (1928) Single Inducted 2009
I’M A KING BEE Slim Harpo Excello (1957) Single Inducted 2008
IN THE STILL OF THE NIGHT The Five Satins Ember (1956) Single Inducted 1998
I WANT TO BE A COWBOY’S SWEETHEART Patsy Montana & The Prairie Ramblers Vocalion (1935) Single Inducted 2007
I’M GETTING SENTIMENTAL OVER YOU Tommy Dorsey And His Orchestra Victor (1936) Single Inducted 1998
IN THE WEE SMALL HOURS Frank Sinatra Capitol (1955) Album Inducted 1984
I WANT TO HOLD YOUR HAND The Beatles Capitol (1964) Single Inducted 1998 I WANT YOU BACK Jackson 5 Motown (1969) Single Inducted 1999 I WILL ALWAYS LOVE YOU Dolly Parton RCA (1974) Single Inducted 2007 I WILL SURVIVE Gloria Gaynor Polydor (1978) Single Inducted 2012 I WONDER WHY Dion And The Belmonts Laurie (1958) Single Inducted 1999 IF I DIDN’T CARE The Ink Spots Decca (1939) Single Inducted 1987 IF YOU COULD SEE ME NOW Sarah Vaughan Musicraft (1946) Single Inducted 1998 IF YOU’VE GOT THE MONEY, I’VE GOT THE TIME Lefty Frizzell Columbia (1950) Single Inducted 1999 I’LL BE THERE The Jackson 5 Motown (1970) Single Inducted 2011 I’LL NEVER SMILE AGAIN Tommy Dorsey With Frank Sinatra & The Pied Pipers Victor (1940) Single Inducted 1982
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I’M MOVIN’ ON Hank Snow RCA Victor (1950) Single Inducted 2000 I’M SO LONESOME I COULD CRY Hank Williams MGM (1949) Single Inducted 1999 I’M SORRY Brenda Lee Decca (1960) Single Inducted 1999 (I’M YOUR) HOOCHIE COOCHE MAN Muddy Waters Chess (1954) Single Inducted 1998 IMAGINE John Lennon Plastic Ono Band Apple (1971) Single Inducted 1999 IN A MIST Bix Beiderbecke Okeh (1927) Single Inducted 1980 IN A SILENT WAY Miles Davis Columbia (1969) Album Inducted 2001 THE “IN” CROWD The Ramsey Lewis Trio Argo (1965) Single Inducted 2009
THE INCREDIBLE JAZZ GUITAR OF WES MONTGOMERY Wes Montgomery Riverside (1960) Album Inducted 1999 INDIAN LOVE CALL Jeanette MacDonald & Nelson Eddy Victor (Red Seal) (1936) Single Inducted 2008 INNERVISIONS Stevie Wonder Tamla (1973) Album Inducted 1999 IS THAT ALL THERE IS? Peggy Lee Capitol (1969) Single Inducted 1999 ISRAELITES Desmond Dekker & The Aces Uni (1969) Single Inducted 2007 IT DON’T MEAN A THING (IF IT AIN’T GOT THAT SWING) Duke Ellington & His Famous Orchestra Brunswick (1932) Single Inducted 2008 IT HAD TO BE YOU Isham Jones & His Orchestra Brunswick (1924) Single Inducted 2007
IN MY ROOM The Beach Boys Capitol (1963) Single Inducted 1999
IT WASN’T GOD WHO MADE HONKY TONK ANGELS Kitty Wells Decca (1952) Single Inducted 1998
IN THE JAILHOUSE NOW Jimmie Rodgers Victor (1928) Single Inducted 2007
IT’S A MAN’S MAN’S MAN’S WORLD James Brown King (1966) Single Inducted 2010
IN THE MIDNIGHT HOUR Wilson Pickett Atlantic (1965) Single Inducted 1999
IT’S NOT FOR ME TO SAY Johnny Mathis Columbia (1957) Single Inducted 2008
IT’S TOO LATE Carole King Ode (1971) Single Inducted 2003 I’VE BEEN LOVING YOU TOO LONG Otis Redding Volt (1965) Single Inducted 2011 I’VE GOT A TIGER BY THE TAIL Buck Owens Capitol (1965) Single Inducted 1999 I’VE GOT A WOMAN Ray Charles Atlantic (1954) Single Inducted 1990 I’VE GOT THE WORLD ON A STRING Frank Sinatra Capitol (1953) Single Inducted 2004 I’VE GOT YOU UNDER MY SKIN Frank Sinatra Capitol (1956) Single Inducted 1998 IVES: SYMPHONY NO. 2 Leonard Bernstein, cond. New York Philharmonic Columbia (1958) Album Inducted 2008
J JAMBALAYA (ON THE BAYOU) Hank Williams MGM (1952) Single Inducted 2002 THE JAMES BOND THEME The John Barry Seven And Orchestra United Artists (1962) Single Inducted 2008 JAZZ AT MASSEY HALL Charlie Parker, Dizzy Gillespie, Bud Powell, Max Roach, Charles Mingus Debut (1953) Album Inducted 1995 JAZZ SAMBA Stan Getz/Charlie Byrd Verve (1962) Album Inducted 2010 JELLY ROLL MORTON: THE SAGA OF MR. JELLY LORD (LIBRARY OF CONGRESS RECORDING) Jelly Roll Morton Circle Sound (1949–50) Album Inducted 1980 JOAN BAEZ Joan Baez Vanguard (1960) Album Inducted 2011
JOHN COLTRANE AND JOHNNY HARTMAN John Coltrane And Johnny Hartman Impulse! (1963) Album Inducted 2013 JOHNNY B. GOODE Chuck Berry Chess (1958) Single Inducted 1999 JOHNNY CASH AT SAN QUENTIN Johnny Cash Columbia (1969) Album Inducted 2004
KHACHATURIAN: CONCERTO FOR PIANO & ORCHESTRA William Kapell With Serge Koussevitzky cond. Boston Symphony Orchestra RCA (1943) Album Inducted 1999 KILLING ME SOFTLY WITH HIS SONG Roberta Flack Atlantic (1973) Single Inducted 1999
JUDY AT CARNEGIE HALL Judy Garland Capitol (1961) Album Inducted 1998
KIND OF BLUE Miles Davis Columbia (1959) Album Inducted 1992
JUKE Little Walter Checker (1952) Single Inducted 2008
THE KING AND I Original Broadway Cast Decca (1951) Album Inducted 2000
JUST BECAUSE Frankie Yankovic And His Yanks Columbia (1948) Single Inducted 1999
KING OF THE ROAD Roger Miller Smash (1965) Single Inducted 1999
JUST THE WAY YOU ARE Billy Joel Columbia (1978) Single Inducted 2004
KING PORTER (STOMP) Benny Goodman And His Orchestra Victor (1935) Single Inducted 2008
JUST YOU, JUST ME Lester Young Quartet Keynote (1944) Single Inducted 1999
KISS ME, KATE Original Broadway Cast Columbia (1949) Album Inducted 1998
K KANSAS CITY Wilbert Harrison Fury (1959) Single Inducted 2001
KO-KO Duke Ellington & His Famous Orchestra Victor (1940) Single Inducted 2011
KANSAS CITY STOMPS Jelly Roll Morton Victor (1928) Single Inducted 2010
THE KÖLN CONCERT Keith Jarrett ECM (1975) Album Inducted 2011
KASSIE JONES Furry Lewis Victor (1928) Single Inducted 2012 KEEP MY SKILLET GOOD AND GREASY Uncle Dave Macon Vocalion Records (1924) Single Inducted 2007 KEEP ON THE SUNNY SIDE The Carter Family Victor (1928) Single Inducted 2006
KEY TO THE HIGHWAY Big Bill Broonzy Okeh (1941) Single Inducted 2012
KORNGOLD: VIOLIN CONCERTO Jascha Heifetz with Alfred Wallenstein cond. Los Angeles Philharmonic RCA Victor (1949) Album Inducted 2008
L LA BAMBA Ritchie Valens Del-Fi (1958) Single Inducted 2000
GRAMMY Hall of Fame 40th Anniversary
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LA VIE EN ROSE Edith Piaf Columbia (1950) Single Inducted 1998
LET IT BE The Beatles Apple (1970) Single Inducted 2004
LONDON CALLING The Clash Epic (1979) Album Inducted 2007
LADY IN SATIN Billie Holiday Columbia (1958) Album Inducted 2000
LET IT BLEED The Rolling Stones London (1969) Album Inducted 2005
LADY MARMALADE LaBelle Epic (1975) Single Inducted 2003
LET THE GOOD TIMES ROLL Louis Jordan And His Tympany Five Decca (1946) Single Inducted 2009
THE LONELY BULL The Tijuana Brass Featuring Herb Alpert A&M (1962) Single Inducted 1998
LAST DATE Floyd Cramer RCA (1960) Single Inducted 2004
LET’S GET IT ON Marvin Gaye Tamla (1973) Album Inducted 2004
LAURA NYRO Laura Nyro Verve (1966) Album Inducted 1999
LET’S STAY TOGETHER Al Green Hi (1971) Single Inducted 1999
LAYLA Derek And The Dominos Atco (1971) Single Inducted 1998
LONG TALL SALLY Little Richard Specialty (1956) Single Inducted 1999 THE LOOK OF LOVE Dusty Springfield RCA (1967) Single Inducted 2008
THE LETTER The Box Tops Mala (1967) Single Inducted 2011
LOST IN THE STARS Original Broadway Cast Decca (1949) Album Inducted 2013
LIGHT MY FIRE The Doors Elektra (1967) Track Inducted 1998
LOUIE LOUIE The Kingsmen Wand (1963) Single Inducted 1999
LAZY RIVER Louis Armstrong Okeh (1931) Single Inducted 2010
LIKE A ROLLING STONE Bob Dylan Columbia (1965) Single Inducted 1998
LOUIS ARMSTRONG PLAYS W. C. HANDY Louis Armstrong & His All-Stars Columbia (1954) Album Inducted 2010
LEAN ON ME Bill Withers Sussex (1972) Single Inducted 2007
LISZT: SONATA IN B MINOR Vladimir Horowitz RCA Victor (1932) Album Inducted 2008
LOVE IS STRANGE Mickey And Sylvia Groove/RCA (1957) Single Inducted 2004
LED ZEPPELIN Led Zeppelin Atlantic (1969) Album Inducted 2004
THE LITTLE OLD LOG CABIN IN THE LANE Fiddlin’ John Carson Okeh (1923) Single Inducted 1998
LOVE ME OR LEAVE ME Ruth Etting Columbia (1928) Single Inducted 2005
LAYLA AND OTHER ASSORTED LOVE SONGS Derek And The Dominos Atco (1970) Album Inducted 2000
LED ZEPPELIN IV Led Zeppelin Atlantic (1971) Album Inducted 1999 LEONCAVALLO: PAGLIACCI, ACT I: VESTI LA GIUBBA Enrico Caruso Victrola (1907) Single Inducted 1975 LESTER LEAPS IN Count Basie’s Kansas City 7 Featuring Lester Young Vocalion (1939) Single Inducted 2005
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LONELY TEARDROPS Jackie Wilson Brunswick (1958) Single Inducted 1999
GRAMMY Hall of Fame 40th Anniversary
LIVE AT THE APOLLO James Brown King (1962) Album Inducted 1998 LIVE AT THE REGAL B.B. King ABC Paramount (1965) Album Inducted 2006 LIVE IN SAN FRANCISCO Cannonball Adderley Riverside (1959) Album Inducted 1999
A LOVE SUPREME John Coltrane Impulse (1964) Album Inducted 1999 LOVE THEME FROM THE GODFATHER Carlo Savina Paramount (1972) Track Inducted 2009 LOVE TRAIN The O’Jays Philadelphia International (1973) Single Inducted 2006 LOVER MAN (OH, WHERE CAN YOU BE?) Billie Holiday Decca (1945) Single Inducted 1989
CONGRATULATES THE RECORDING ACADEMY速 ON THE 40TH ANNIVERSARY OF THE GRAMMY HALL OF FAME速
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LOVESICK BLUES Emmett Miller & His Georgia Crackers Okeh (1928) Single Inducted 2007
MAIDEN VOYAGE Herbie Hancock Blue Note (1965) Album Inducted 1999
MEET THE BEATLES! The Beatles Capitol (1964) Album Inducted 2001
LOVESICK BLUES Hank Williams With His Drifting Cowboys MGM (1949) Single Inducted 2011
MAKE THE WORLD GO AWAY Eddy Arnold RCA (1965) Single Inducted 1999
LUCILLE Little Richard Specialty (1957) Single Inducted 2002
MAMA TRIED Merle Haggard Capitol (1968) Single Inducted 1999
MENDELSSOHN: CONCERTO FOR VIOLIN IN E MINOR Fritz Kreisler; Leo Blech cond. Berlin State Opera Orchestra RCA Victor (1926) Album Inducted 1998
LULLABY OF BROADWAY Dick Powell Brunswick (1935) Single Inducted 2005
MAN OF LA MANCHA Original Broadway Cast Kapp (1965) Album Inducted 2009
LUSH LIFE John Coltrane And Johnny Hartman Impulse (1963) Single Inducted 2000
MANHATTAN TOWER Gordon Jenkins & His Orchestra Capitol (1956) Album Inducted 1998
M
MANTECA Dizzy Gillespie & His Orchestra Victor (1947) Single Inducted 1999
MACK THE KNIFE Louis Armstrong & The All-Stars Columbia (1955) Single Inducted 1997 MACK THE KNIFE Bobby Darin Atco (1959) Single Inducted 1999 MAHLER: DAS LIED VON DER ERDE Bruno Walter cond. Vienna Philharmonic Orchestra With Kathleen Ferrier & Julius Patzak London (1952) Album Inducted 1981 MAHLER: SYMPHONY NO. 1 IN D MAJOR “TITAN” Dimitri Mitropoulos cond. Minneapolis Symphony Orchestra Columbia (1941) Album Inducted 1999 MAHLER: SYMPHONY NO. 2 Otto Klemperer cond. Philharmonia Orchestra EMI-Angel (1963) Album Inducted 2008 MAHLER: SYMPHONY NO. 8 IN E FLAT MAJOR (THE SYMPHONY OF A THOUSAND) Georg Solti cond. Chicago Symphony; Balatsch, dir. Chorus Of The Vienna State Opera; Froschauer dir. Vienna Singverein London (1972) Album Inducted 1998 MAHLER: THE COMPLETE SYMPHONIES Leonard Bernstein cond. New York Philharmonic, London Symphony Columbia (1967) Album Inducted 2002 [ 134 ]
GRAMMY Hall of Fame 40th Anniversary
MANY RIVERS TO CROSS Jimmy Cliff A&M (1969) Single Inducted 2011 MARIE Tommy Dorsey And His Orchestra; Jack Leonard, Vocal Victor (1937) Single Inducted 1998 MATCH BOX BLUES Blind Lemon Jefferson Okeh (1927) Single Inducted 1999 MAYBELLENE Chuck Berry Chess (1955) Single Inducted 1988 MBUBE Solomon Linda & The Evening Birds Singer (1939) Single Inducted 2007 ME AND BOBBY MCGEE Janis Joplin Columbia (1971) Single Inducted 2002 MEET ME IN ST. LOUIS — SOUNDTRACK Judy Garland & Various Artists Decca (1944) Album Inducted 2005
MERCY MERCY ME (THE ECOLOGY) Marvin Gaye Tamla (1971) Single Inducted 2002 THE MESSAGE Grandmaster Flash & The Furious Five Featuring Melle Mel & Duke Bootee Sugar Hill (1982) Single Inducted 2012 MEXICANTOS Los Panchos Coda (1945) Album Inducted 2012 MIDNIGHT SPECIAL Huddie “Leadbelly” Ledbetter With The Golden Gate Quartet Victor (1940) Album Inducted 2002 MIDNIGHT TRAIN TO GEORGIA Gladys Knight And The Pips Buddah (1973) Single Inducted 1999 MILES AHEAD Miles Davis +19 Gil Evans cond. Columbia (1957) Album Inducted 1994 MILESTONES Miles Davis Sextet Columbia (1958) Album Inducted 2004 MINGUS AH UM Charles Mingus Columbia (1959) Album Inducted 2013 MINGUS DYNASTY Charles Mingus Columbia (1959) Album Inducted 1999 MINNIE THE MOOCHER Cab Calloway & His Orchestra Brunswick (1931) Single Inducted 1999 MISTY Erroll Garner Trio Mercury (1954) Single Inducted 1991
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Pursue Your Passion ... Located in Dix Hills, Long Island only 35 miles from New York City is Five Towns College. Our small campus offers students an intimate class setting taught by experienced faculty utilizing our state-of-the-art equipment. So if you’re looking to take your passion for music to the next level, then check out Five Towns College. For more information about our degree programs, attend one of our monthly Open Houses. Go to www.ftc.edu for dates now!
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MISTY Johnny Mathis Columbia (1959) Single Inducted 2002
MOVE ON UP A LITTLE HIGHER Mahalia Jackson Apollo (1948) Single Inducted 1998
MOANIN’ Art Blakey Blue Note (1957) Album Inducted 2001
MOZART: DIE ZAUBERFLÖTE Sir Thomas Beecham cond. Berlin Philharmonic Orchestra; Berger, Lemnitz, Roswaenge, Strienz & Others RCA Victor (1938) Album Inducted 1999
MOANIN’ Art Blakey & The Jazz Messengers Blue Note (1958) Single Inducted 1998 MODERN SOUNDS IN COUNTRY AND WESTERN MUSIC Ray Charles ABC-Paramount (1962) Album Inducted 1999 MONA LISA Nat “King” Cole Capitol (1950) Single Inducted 1992 MONDAY, MONDAY The Mamas & The Papas Dunhill (1966) Single Inducted 2008 MONEY HONEY Clyde McPhatter And The Drifters Atlantic (1953) Single Inducted 1999 MONK’S MUSIC Thelonious Monk Featuring Coleman Hawkins & John Coltrane Riverside (1957) Album Inducted 2001
MR. FANTASY Traffic United (1968) Album Inducted 1999 MR. SANDMAN The Chordettes Cadence (1954) Single Inducted 2002 MR. TAMBOURINE MAN The Byrds Columbia (1965) Single Inducted 1998 MR. TAMBOURINE MAN Bob Dylan Columbia (1965) Track Inducted 2002 MRS. ROBINSON Simon & Garfunkel Columbia (1968) Single Inducted 1999
MOOD INDIGO Duke Ellington Brunswick (1931) Single Inducted 1975
MULE SKINNER BLUES Bill Monroe And His Blue Grass Boys Bluebird (1940) Single Inducted 2009
MOODY’S MOOD FOR LOVE James Moody Prestige (1952) Single Inducted 2001
MUSIC FROM BIG PINK The Band Capitol (1968) Album Inducted 1998
MOON RIVER Henry Mancini RCA (1961) Single Inducted 1999
THE MUSIC FROM PETER GUNN Henry Mancini RCA Victor (1959) Album Inducted 1998
MOONDANCE Van Morrison Warner Bros. (1970) Album Inducted 1999
THE MUSIC MAN Original Broadway Cast Capitol (1958) Album Inducted 1998
MOONGLOW Benny Goodman Quartet Victor (1936) Single Inducted 1998
MUSIC OF ALBÉNIZ & GRANADOS Andres Segovia Decca (1944) Album Inducted 1998
MOONLIGHT SERENADE Glenn Miller And His Orchestra Bluebird (1939) Single Inducted 1991 [ 136 ]
MR. BOJANGLES Nitty Gritty Dirt Band Liberty (1970) Single Inducted 2010
GRAMMY Hall of Fame 40th Anniversary
MUSSORGSKY: PICTURES AT AN EXHIBITION Vladimir Horowitz RCA (1951) Album Inducted 1999 MUSSORGSKY: PICTURES AT AN EXHIBITION Rafael Kubelik cond. Chicago Symphony Orchestra Mercury (1951) Album Inducted 1998 MUSSORGSKY: SONG OF THE FLEA Feodor Chaliapin Victor (1926) Single Inducted 1999 MUSTANG SALLY Wilson Pickett Atlantic (1967) Single Inducted 2000 MY AIM IS TRUE Elvis Costello Columbia (1977) Album Inducted 2007 MY BLACK MAMA (PARTS 1 & 2) Son House Paramount (1930) Single Inducted 2013 MY BLUE HEAVEN Gene Austin Victor (1928) Single Inducted 1978 MY COUNTRY ‘TIS OF THEE Marian Anderson Victor (1939) Single Inducted 2009 MY FAIR LADY Original Broadway Cast Columbia (1956) Album Inducted 1977 MY FAVORITE THINGS John Coltrane Quartet Atlantic (1961) Album Inducted 1998 MY GENERATION The Who Decca (1965) Single Inducted 1999 MY GIRL The Temptations Gordy (1965) Single Inducted 1998 MY GUY Mary Wells Motown (1964) Single Inducted 1999
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MY HEART BELONGS TO DADDY Mary Martin Decca (1938) Single Inducted 2007
NIGHTS IN WHITE SATIN The Moody Blues Deram (1972) Single Inducted 1999
OLIVER! Original Broadway Cast RCA Victor (1962) Album Inducted 2008
MY MAMMY Al Jolson Brunswick (1927) Single Inducted 2011
1999 Prince Warner Bros. (1982) Album Inducted 2008
ON BROADWAY The Drifters Atlantic (1963) Single Inducted 2013
MY MAN (FROM ZIEGFELD FOLLIES OF 1921) Fanny Brice Victor (1922) Single Inducted 1999
NO WOMAN, NO CRY Bob Marley & The Wailers Island (1975) Single Inducted 2005
ON THE ROAD AGAIN Willie Nelson CBS (1980) Single Inducted 2011
NOBODY Bert Williams Columbia (1906) Single Inducted 1981
ONE FOR MY BABY Frank Sinatra Capitol (1958) Single Inducted 2005
NOW HE SINGS, NOW HE SOBS Chick Corea Blue Note (1968) Single Inducted 1999
ONE LOVE Bob Marley & The Wailers Coxsone (1965) Single Inducted 2007
NUAGES Django Reinhardt And Stephane Grappelli With The Quintet Of The Hot Club Of France Decca (1946) Single Inducted 2000
ONE O’CLOCK JUMP Count Basie Decca (1937) Single Inducted 1979
MY WAY Frank Sinatra Reprise (1969) Single Inducted 2000
N A NATURAL WOMAN (YOU MAKE ME FEEL LIKE) Aretha Franklin Atlantic (1967) Single Inducted 1999 NATURE BOY Nat “King” Cole Capitol (1948) Single Inducted 1999
ODE TO BILLIE JOE Bobbie Gentry Capitol (1967) Single Inducted 1999
NEGRO SINFUL SONGS Huddie “Leadbelly” Ledbetter Musicraft (1939) Album Inducted 1998
OFF THE WALL Michael Jackson Epic (1979) Album Inducted 2008
NEW SAN ANTONIO ROSE Bob Wills And His Texas Playboys Okeh (1940) Single Inducted 1998 NIGHT AND DAY Leo Reisman And His Orchestra; Vocal Refrain By Fred Astaire RCA Victor (1932) Single Inducted 2004
OH HAPPY DAY Edwin Hawkins Singers Buddah (1969) Single Inducted 1999 OH, PRETTY WOMAN Roy Orbison Monument (1964) Single Inducted 1999
A NIGHT AT BIRDLAND Art Blakey Quintet Blue Note (1954) Album Inducted 2000
OHIO Crosby, Stills, Nash & Young Atlantic (1970) Single Inducted 2009
A NIGHT IN TUNISIA Dizzy Gillespie & His Sextet Victor (1946) Single Inducted 2004
OKLAHOMA! Original Broadway Cast Decca (1943) Album Inducted 1976
NIGHT TRAIN Jimmy Forrest United (1952) Single Inducted 2006
[ 138 ]
O
NEAR YOU Francis Craig And His Orchestra Bullet (1947) Single Inducted 2013
GRAMMY Hall of Fame 40th Anniversary
OL’ MAN RIVER Paul Robeson With Paul Whiteman & His Concert Orchestra Victor (1928) Single Inducted 2006
ONLY THE LONELY (KNOW HOW I FEEL) Roy Orbison Monument (1960) Single Inducted 1999 ONLY YOU (AND YOU ALONE) The Platters Mercury (1955) Single Inducted 1999 ORNITHOLOGY Charlie Parker Sextet Dial (1946) Single Inducted 1989 O VER THE RAINBOW Judy Garland Decca (1939) Single Inducted 1981 OVER THERE Nora Bayes Victor (1917) Single Inducted 2008 OYE COMO VA Tito Puente Tico (1953) Single Inducted 2002
P PAN AMERICAN BLUES DeFord Bailey Brunswick (1927) Single Inducted 2007 PAPA WAS A ROLLIN’ STONE The Temptations Gordy (1972) Single Inducted 1999
PAPA’S GOT A BRAND NEW BAG (PART I) James Brown King (1965) Single Inducted 1999 PAPER DOLL Mills Brothers Decca (1943) Single Inducted 1998 PARSLEY, SAGE, ROSEMARY & THYME Simon & Garfunkel Columbia (1966) Album Inducted 1999 PEACE BE STILL Rev. James Cleveland Savoy (1962) Album Inducted 1999 PEARL Janis Joplin Columbia (1971) Album Inducted 2010 PEG O’ MY HEART The Harmonicats Vitacoustic (1947) Single Inducted 1999 PEGGY SUE Buddy Holly Coral (1957) Single Inducted 1999 PENNIES FROM HEAVEN Bing Crosby Decca (1936) Single Inducted 2004 PENNY LANE The Beatles Capitol (1967) Single Inducted 2011 PEOPLE Barbra Streisand Columbia (1964) Single Inducted 1998 PEOPLE GET READY The Impressions ABC-Paramount (1965) Single Inducted 1998 PET SOUNDS The Beach Boys Capitol (1966) Album Inducted 1998 PETER GUNN Henry Mancini RCA (1959) Track Inducted 2005 PIANO MAN Billy Joel Columbia (1973) Single Inducted 2013
PIECE OF MY HEART Big Brother & The Holding Company (Featuring Janis Joplin) Columbia (1968) Single Inducted 1999
PORGY & BESS, SELECTIONS FROM GEORGE GERSHWIN’S FOLK OPERA Original Broadway Cast Decca (1940–42) Album Inducted 1990
PINE TOP’S BOOGIE WOOGIE Pine Top Smith Vocalion (1928) Single Inducted 1983
PORTRAIT IN JAZZ Bill Evans Trio Riverside (1960) Album Inducted 2007
THE PINK PANTHER Henry Mancini RCA (1964) Album Inducted 2001
PRECIOUS LORD, TAKE MY HAND Mahalia Jackson Columbia (1956) Single Inducted 2012 THE PRISONER’S SONG Vernon Dalhart Victor (1925) Single Inducted 1998
PINOCCHIO — SOUNDTRACK Various Artists Victor (1940) Album Inducted 2002
PROKOFIEV: PETER AND THE WOLF (OPUS 67) Serge Koussevitzky cond. Boston Symphony Orchestra; Richard Hale, narrator Victor (Red Seal) (1939) Album Inducted 2008
PISTOL PACKIN’ MAMA Al Dexter Okeh (1943) Single Inducted 2000 THE PLAY OF DANIEL New York Pro Musica, Noah Greenberg, Director Decca (1958) Album Inducted 1998
PROKOFIEV: PIANO CONCERTO NO. 3 IN C MAJOR, OP. 26 Sergei Prokofiev; Piero Coppola cond. The London Symphony Orchestra His Master’s Voice (1932) Album Inducted 2009
PLEASE MR. POSTMAN The Marvelettes Tamla (1961) Single Inducted 2011 PLEASE, PLEASE, PLEASE James Brown & The Famous Flames Federal (1956) Single Inducted 2001 PLEASE SEND ME SOMEONE TO LOVE Percy Mayfield Specialty (1950) Single Inducted 1999 PONY BLUES Charley Patton Paramount (1929) Single Inducted 1999 PORGY AND BESS Louis Armstrong & Ella Fitzgerald Verve (1958) Album Inducted 2001 PORGY AND BESS Miles Davis & Gil Evans Columbia (1958) Album Inducted 2000 PORGY AND BESS Alexander Smallens, cond. The Original Broadway Orchestra And Chorus Victor (1935) Album Inducted 2002
PROUD MARY Creedence Clearwater Revival Fantasy (1969) Single Inducted 1998 PROUD MARY Ike & Tina Turner Liberty (1971) Single Inducted 2003 PUCCINI: LA BOHÈME Sir Thomas Beecham cond., Soloists: de Los Angeles, Björling, Merrill, Tozzi, Amara RCA Victor (1956) Album Inducted 2000 PUCCINI: TOSCA Victor DeSabata cond. Orchestra & Chorus Of Teatro Alla Scala, Milan; Maria Callas, Giuseppe DiStefano, Tito Gobbi Angel (1953) Album Inducted 1987 PURPLE HAZE The Jimi Hendrix Experience Reprise (1967) Single Inducted 2000 PURPLE RAIN Prince & The Revolution Warner Bros. (1984) Album Inducted 2011
GRAMMY Hall of Fame 40th Anniversary
[ 139 ]
PUTTIN’ ON THE RITZ Harry Richman With Earl Burtnett And His Los Angeles Biltmore Hotel Orchestra Brunswick (1930) Single Inducted 2005
Q QUE SERA, SERA (WHATEVER WILL BE, WILL BE) Doris Day Columbia (1956) Single Inducted 2012
R RACHMANINOFF: PIANO CONCERTO NO. 2 IN C MINOR Sergei Rachmaninoff (Piano), Leopold Stokowski cond. Philadelphia Orchestra RCA Victor (1929) Album Inducted 1976
ROXANNE The Police A&M (1978) Single Inducted 2008
RESPECT YOURSELF The Staple Singers Stax (1971) Single Inducted 2002
ROY HARRIS SYMPHONY NO. 3 Serge Koussevitzky, cond. Boston Symphony Orchestra RCA Victor (1940) Album Inducted 2012
REVOLVER The Beatles Capitol (1966) Album Inducted 1999 RIDERS ON THE STORM The Doors Elektra (1971) Single Inducted 2010 RING OF FIRE Johnny Cash Columbia (1963) Single Inducted 1999
RUBBER SOUL The Beatles Capitol (1965) Album Inducted 2000 RUDOLPH, THE RED-NOSED REINDEER Gene Autry Columbia (1949) Single Inducted 1985 RUMOURS Fleetwood Mac Warner Bros. (1977) Album Inducted 2003
RACHMANINOFF: RHAPSODY ON A THEME OF PAGANINI Sergei Rachmaninoff (Piano), Leopold Stokowski cond. Philadelphia Orchestra RCA Victor (1934) Album Inducted 1979
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS David Bowie RCA (1972) Album Inducted 1999
RAMONES Ramones Sire (1976) Album Inducted 2007
RIVER DEEP, MOUNTAIN HIGH Ike & Tina Turner Philles (1966) Single Inducted 1999
RUNAWAY Del Shannon Big Top (1961) Single Inducted 2002
RAUNCHY Bill Justis And His Orchestra Phillips (1957) Single Inducted 1998
ROCK-A-BYE YOUR BABY WITH A DIXIE MELODY Al Jolson Columbia (1918) Single Inducted 2004
S
RAVEL: BOLERO Maurice Ravel cond. Lamoureux Orchestra Brunswick (1937) Album Inducted 1992
ROCK AROUND THE CLOCK Bill Haley And The Comets Decca (1955) Single Inducted 1982
RAVEL: DAPHNIS ET CHLOE (COMPLETE BALLET) Charles Munch cond. Boston Symphony Orchestra RCA Victor (1955) Album Inducted 2008 RAY CHARLES IN PERSON Ray Charles Atlantic (1959) Album Inducted 1999 REACH OUT I’LL BE THERE Four Tops Motown (1966) Single Inducted 1998 RED HEADED STRANGER Willie Nelson Columbia (1975) Album Inducted 2002
[ 140 ]
RESPECT Aretha Franklin Atlantic (1967) Single Inducted 1998
GRAMMY Hall of Fame 40th Anniversary
ROCKET “88” Jackie Brenston & His Delta Cats Chess (1951) Single Inducted 1998 ROCKIN’ CHAIR Mildred Bailey Vocalion (1937) Single Inducted 2011 ROLL OVER BEETHOVEN Chuck Berry Chess (1956) Single Inducted 1990 ROLLIN’ STONE Muddy Waters Chess (1950) Single Inducted 2000 ‘ROUND ABOUT MIDNIGHT Thelonious Monk Quintet Blue Note (1948) Single Inducted 1993
RUNAROUND SUE Dion Laurie (1961) Single Inducted 2002
SANTANA Santana Columbia (1969) Album Inducted 2012 SARAH VAUGHAN Sarah Vaughan Mercury (1955) Album Inducted 1999 SATURDAY NIGHT FEVER — SOUNDTRACK Various Artists RSO (1977) Album Inducted 2004 SAVE THE LAST DANCE FOR ME The Drifters Atlantic (1960) Single Inducted 2001 SAXOPHONE COLOSSUS Sonny Rollins Quartet Prestige (1956) Album Inducted 1999 SCHOENBERG: GURRE-LIEDER Leopold Stokowski cond. Philadelphia Orchestra, Soloists, Choruses Victor (1932) Album Inducted 2007
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SCHUBERT: AVE MARIA Marian Anderson RCA Victor (1936) Single Inducted 1999 SCHUMANN: CARNAVAL OP.9 Sergei Rachmaninoff RCA Victor (1929) Album Inducted 2011 SECRET LOVE Doris Day Columbia (1953) Single Inducted 1999 SEE SEE RIDER BLUES Ma Rainey Paramount (1925) Single Inducted 2004 SENTIMENTAL JOURNEY Les Brown & His Orchestra; Doris Day, Vocal Columbia (1945) Single Inducted 1998 SEPTEMBER OF MY YEARS Frank Sinatra Reprise (1965) Album Inducted 1999 SEPTEMBER SONG Walter Huston Brunswick (1938) Single Inducted 1984 SGT. PEPPER’S LONELY HEARTS CLUB BAND The Beatles Capitol (1967) Album Inducted 1993 SEVEN COME ELEVEN Benny Goodman Sextet Columbia (1940) Single Inducted 2008 SH-BOOM The Chords Cat (1954) Single Inducted 2008 SHAKE, RATTLE AND ROLL Joe Turner Atlantic (1954) Single Inducted 1998 SHE THINKS I STILL CARE George Jones United Artists (1962) Single Inducted 1999 SHINING STAR Earth, Wind & Fire Columbia (1975) Single Inducted 2008 SHOP AROUND The Miracles Tamla (1960) Single Inducted 2006 [ 142 ]
GRAMMY Hall of Fame 40th Anniversary
SHOSTAKOVICH: CELLO CONCERTO NO. 1 IN E FLAT, OP. 107 Eugene Ormandy cond. Philadelphia Orchestra; Mstislav Rostropovich, cellist Columbia (1960) Album Inducted 2008 SHOSTAKOVICH: SYMPHONY NO. 5 Leonard Bernstein cond. New York Philharmonic Columbia (1959) Album Inducted 2007 SHOSTAKOVICH: VIOLIN CONCERTO NO. 1 IN A MINOR, OP. 99 David Oistrakh; Dimitri Mitropoulos cond. New York Philharmonic Columbia (1956) Album Inducted 2003
(SITTIN’ ON) THE DOCK OF THE BAY Otis Redding Volt (1968) Single Inducted 1998 SITTIN’ ON TOP OF THE WORLD The Mississippi Sheiks Okeh (1930) Single Inducted 2008 SIXTEEN TONS “Tennessee” Ernie Ford Capitol (1955) Single Inducted 1998 SKETCHES OF SPAIN Miles Davis And Gil Evans Columbia (1959) Album Inducted 1997
SHOTGUN Jr. Walker And The All-Stars Soul (1965) Single Inducted 2002
SMOKESTACK LIGHTNING Howlin’ Wolf Chess (1956) Single Inducted 1999
SHOUT — PART I The Isley Brothers RCA (1959) Single Inducted 1999
SNOW WHITE AND THE SEVEN DWARFS — SOUNDTRACK Various Artists Victor (1938) Album Inducted 1998
SHOW BOAT Original Cast Brunswick (1932) Album Inducted 1991 THE SIDEWINDER Lee Morgan Blue Note (1956) Album Inducted 2000 SINCERELY The Moonglows Chess (1955) Single Inducted 2002 SING A SONG OF BASIE Lambert, Hendricks And Ross ABC-Paramount (1957) Album Inducted 1998 SING, SING, SING Benny Goodman Victor (1937) Single Inducted 1982 SINGIN’ IN THE RAIN (FROM THE SOUNDTRACK) Gene Kelly MGM (1952) Single Inducted 1999 SINGIN’ THE BLUES Frankie Trumbauer And His Orchestra Featuring Bix Beiderbecke On Cornet Okeh (1927) Single Inducted 1977
SOCIETY’S CHILD (BABY I’VE BEEN THINKING) Janis Ian Verve (1967) Single Inducted 2002 SOME OF THESE DAYS Sophie Tucker Edison (1911) Single Inducted 1995 SOMEONE TO WATCH OVER ME Gertrude Lawrence Victor (1927) Single Inducted 2008 SOMEWHERE A VOICE IS CALLING John McCormack Victor (1915) Single Inducted 1999 SONG FOR MY FATHER The Horace Silver Quintet Blue Note (1965) Album Inducted 1999 SONGS FOR SWINGIN’ LOVERS! Frank Sinatra Capitol (1956) Album Inducted 2000 SONGS IN THE KEY OF LIFE Stevie Wonder Tamla (1976) Album Inducted 2002
Juilliard See the Future Discover them first in more than 700 performances each season events.juilliard.edu
Joseph W. Polisi, President
SONNY BOY Al Jolson Brunswick (1928) Single Inducted 2002
STAR DUST Hoagy Carmichael And His Pals Gennett (1927) Single Inducted 1995
STRANGE FRUIT Billie Holiday Commodore (1939) Single Inducted 1978
SOUL MAN Sam And Dave Stax (1967) Single Inducted 1999
STAR DUST Artie Shaw And His Orchestra RCA Victor (1940) Single Inducted 1988
THE STRANGER Billy Joel Columbia (1977) Album Inducted 2008
THE SOUND OF MUSIC — SOUNDTRACK Julie Andrews & Various Artists RCA (1965) Album Inducted 1998
THE STAR-SPANGLED BANNER Jimi Hendrix Cotillion (1970) Track Inducted 2009
STRANGERS IN THE NIGHT Frank Sinatra Reprise (1966) Single Inducted 2008
THE SOUNDS OF SILENCE Simon & Garfunkel Columbia (1965) Single Inducted 2004
STAR WARS — Original Motion Picture Soundtrack John Williams cond. London Symphony Orchestra 20th Century (1977) Album Inducted 2007
STRAUSS: ALSO SPRACH ZARATHUSTRA, OP. 30 Serge Koussevitzky cond. Boston Symphony Orchestra RCA Victor (1935) Album Inducted 2008
THE STARS AND STRIPES FOREVER Sousa’s Band Columbia (1897) Single Inducted 1998
STRAUSS: DER ROSENKAVALIER, OP. 59 (ABRIDGED) Robert Heger cond. The Vienna State Opera Chorus & Vienna Philharmonic Orchestra; Lotte Lehmann, Elisabeth Schumann and Richard Mayr RCA Victor (1933) Album Inducted 2008
SOUTH PACIFIC Original Broadway Cast Columbia (1949) Album Inducted 1987 SPANISH HARLEM Ben E. King Atco (1961) Single Inducted 2002 ST. LOUIS BLUES Bessie Smith With Louis Armstrong Columbia (1925) Single Inducted 1993 ST. LOUIS BLUES Louis Armstrong Okeh (1929) Single Inducted 2008 ST. LOUIS WOMAN Original Broadway Cast Capitol (1946) Album Inducted 2012 STAIRWAY TO HEAVEN Led Zeppelin Atlantic (1971) Track Inducted 2003 STAN FREBERG PRESENTS THE UNITED STATES OF AMERICA Stan Freberg Capitol (1961) Album Inducted 1999 STAND BY ME Ben E. King Atco (1961) Single Inducted 1998 STAND BY YOUR MAN Tammy Wynette Epic (1968) Single Inducted 1999 STAR DUST Louis Armstrong Okeh (1931) Single Inducted 2009 [ 144 ]
GRAMMY Hall of Fame 40th Anniversary
STEALIN’, STEALIN’ Memphis Jug Band Victor (1928) Single Inducted 2013 STEEL GUITAR RAG Bob Wills & His Texas Playboys Featuring Leon McAuliffe Vocalion (1936) Single Inducted 2011 STICKY FINGERS The Rolling Stones Rolling Stones (1971) Album Inducted 1999 STILL CRAZY AFTER ALL THESE YEARS Paul Simon Columbia (1975) Album Inducted 2003 STOP! IN THE NAME OF LOVE The Supremes Motown (1965) Single Inducted 2001 STORMY WEATHER Lena Horne RCA Victor (1942) Single Inducted 2000 STORMY WEATHER (KEEPS RAININ’ ALL THE TIME) Ethel Waters Brunswick (1933) Single Inducted 2003 STRAIGHTEN UP AND FLY RIGHT King Cole Trio Capitol (1944) Single Inducted 1998
STRAUSS: DER ROSENKAVALIER Herbert von Karajan cond. Philharmonia Orchestra; Elisabeth Schwarzkopf, Christa Ludwig and Teresa Stich-Randall Angel (1957) Album Inducted 2008 STRAVINSKY: LE SACRE DU PRINTEMPS Pierre Monteux cond. Boston Symphony RCA Victor (1951) Album Inducted 1993 STRAVINSKY: PETROUCHKA Ernest Ansermet cond. L’Orchestre de La Suisse Romande London (1950) Album Inducted 1999 STRAVINSKY: PETROUCHKA: LE SACRE DU PRINTEMPS Igor Stravinsky cond. Columbia Symphony Orchestra (Plus Spoken Reminiscing Apropos Of Le Sacre) Columbia (1961) Album Inducted 2000 STRAWBERRY FIELDS FOREVER The Beatles Capitol (1967) Single Inducted 1999 SUMMER IN THE CITY The Lovin’ Spoonful Kama Sutra (1966) Single Inducted 1999 SUMMERTIME Sidney Bechet Blue Note (1939) Single Inducted 2011
NOSTALGIA IN CORCOVADO TEMPLE UNIVERSITY SYMPHONY ORCHESTRA NOSTALGIA IN CORCOVADO BY GRAMMY® WINNING ARRANGER, BILL CUNLIFFE, ON BCM&D RECORDS THE TEMPLE UNIVERSITY SYMPHONY ORCHESTRA HAS RELEASED THREE GRAMMY®-NOMINATED RECORDINGS OVER THE PAST THREE YEARS FOR “BEST INSTRUMENTAL COMPOSITION” Overture, Waltz and Rondo by Bill Cunliffe Music of Ansel Adams: America by Dave and Chris Brubeck fourth stream…La Banda by Bill Cunliffe Hear these and other releases by the Temple University Symphony Orchestra and Temple University Jazz Band on iTunes. The Temple University Symphony Orchestra and Jazz Band perform at Carnegie Hall, Alice Tully Hall, Jazz at Lincoln Center and the Kimmel Center for the Performing Arts. BCM&D Records is the official record label of the Boyer College of Music and Dance at Temple University in Philadelphia, PA. www.temple.edu/boyer Robert T. Stroker is the Producer for BCM&D Records.
Washington’s Premier School of Music e Benjamin T. Rome School of Music seeks to educate, engage, and energize its student body in a dynamic program that integrates classroom learning with real-world performance. Our students find their niche and then develop into performing musicians, scholars, educators, and composers ready for a 21st-century musical career. Degrees Offered: • Bachelor of Arts in Music • Bachelor of Music • Master of Arts • Master of Arts in Sacred Music • Master Music
• Doctor of Philosophy (Musicology) • Doctor of Musical Arts • Doctor of Musical Arts in Sacred Music • Artists Diploma
music.cua.edu • 202-319-5414 • cua-music@cua.edu THE CATHOLIC UNIVERSITY OF AMERICA The Catholic University of America admits students of any race, color, national or ethnic origin, sex, age, or disability.
SUMMERTIME BLUES Eddie Cochran Liberty (1958) Single Inducted 1999
TAKE ME HOME, COUNTRY ROADS John Denver RCA (1971) Single Inducted 1998
THE TENNESSEE WALTZ Patti Page Mercury (1950) Single Inducted 1998
SUNDAY AT THE VILLAGE VANGUARD Bill Evans Trio Riverside (1961) Album Inducted 2011
TAKE ME TO THE RIVER Al Green Hi (1974) Track Inducted 2011
TEQUILA The Champs Challenge (1958) Single Inducted 2001
SUPERFLY — SOUNDTRACK Curtis Mayfield Curtom (1972) Album Inducted 1998
TAKE THE “A” TRAIN Duke Ellington & His Orchestra Victor (1941) Single Inducted 1976
THANKS FOR THE MEMORY Bob Hope And Shirley Ross Decca (1938) Single Inducted 2005
SUPERSTITION Stevie Wonder Tamla (1972) Single Inducted 1998
TALKING BOOK Stevie Wonder Tamla (1972) Album Inducted 1999
THAT’LL BE THE DAY The Crickets Brunswick (1957) Single Inducted 1998
SURREALISTIC PILLOW Jefferson Airplane RCA Victor (1967) Album Inducted 1999
TAPESTRY Carole King Ode (1971) Album Inducted 1998
THAT NIGGER’S CRAZY Richard Pryor Partee/Stax (1974) Album Inducted 2013
SUSPICIOUS MINDS Elvis Presley RCA Victor (1969) Single Inducted 1999
A TASTE OF HONEY Herb Alpert & The Tijuana Brass A&M (1965) Single Inducted 2008
THAT’S ALL RIGHT Elvis Presley Sun (1954) Single Inducted 1998
SWANEE Al Jolson Columbia (1920) Single Inducted 1998
TCHAIKOVSKY: 1812 OVERTURE/ CAPRICCIO ITALIEN Antal Dorati And Minneapolis Symphony Orchestra (Yale Bells, West Point Cannon) Mercury (1956) Album Inducted 1998
THAT’S MY DESIRE Frankie Laine Mercury (1947) Single Inducted 1998
SWEET BABY JAMES James Taylor Warner Bros. (1970) Album Inducted 2002 SWEET HOME ALABAMA Lynyrd Skynyrd Sounds Of The South/MCA (1974) Single Inducted 2009 SWEETHEART OF THE RODEO The Byrds Columbia (1968) Album Inducted 2000 SWINGING ON A STAR Bing Crosby Decca (1944) Single Inducted 2002 SWITCHED-ON BACH Wendy Carlos Columbia (1969) Album Inducted 1999 SYNCHRONICITY The Police A&M (1983) Album Inducted 2009
T TAKE FIVE Dave Brubeck Quartet Columbia (1963) Single Inducted 1996 [ 146 ]
GRAMMY Hall of Fame 40th Anniversary
TCHAIKOVSKY: PIANO CONCERTO NO. 1 (LIVE PERFORMANCE) Vladimir Horowitz, Arturo Toscanini cond. NBC Orchestra RCA Victor (1943) Album Inducted 1998 TCHAIKOVSKY: CONCERTO NO. 1 IN B FLAT MINOR, OP. 23 Van Cliburn; Kiril Kondrashin cond. RCA Symphony Orchestra RCA Red Seal (1958) Album Inducted 2002 TEA FOR TWO Art Tatum Decca (1939) Single Inducted 1986 TEACH ME TONIGHT Dinah Washington Mercury (1954) Single Inducted 1999 THE TEARS OF A CLOWN Smokey Robinson & The Miracles Tamla (1970) Single Inducted 2002 TEN CENTS A DANCE Ruth Etting Columbia (1930) Single Inducted 1999
THAT’S THE WAY OF THE WORLD Earth, Wind & Fire Columbia (1975) Album Inducted 2004 THELONIOUS MONK WITH JOHN COLTRANE Thelonious Monk With John Coltrane Jazzland (1961) Album Inducted 2007 THEME FROM A SUMMER PLACE Percy Faith And His Orchestra Columbia (1960) Single Inducted 2000 THEME FROM NEW YORK, NEW YORK Frank Sinatra Reprise (1980) Single Inducted 2013 THEME FROM SHAFT Isaac Hayes Enterprise (1971) Single Inducted 1999 THERE GOES MY BABY The Drifters Atlantic (1959) Single Inducted 1998 THERE’S A RIOT GOIN’ ON Sly & The Family Stone Epic (1971) Album Inducted 1999
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THEY CAN’T TAKE THAT AWAY FROM ME Fred Astaire With Johnny Green And His Orchestra Brunswick (1937) Single Inducted 2005 (THEY LONG TO BE) CLOSE TO YOU Carpenters A&M (1970) Single Inducted 2000 THE THIRD MAN THEME Anton Karas London (1950) Single Inducted 2006 THIS LAND IS YOUR LAND Woody Guthrie Asch (1947) Single Inducted 1989
UP-UP AND AWAY The 5th Dimension Soul City (1967) Single Inducted 2003
TRUMPET BLUES AND CANTABILE Harry James And His Orchestra Columbia (1942) Album Inducted 1999
V
TUMBLING TUMBLEWEEDS Sons Of The Pioneers Decca (1934) Single Inducted 2002 TURN ON YOUR LOVE LIGHT Bobby “Blue” Bland Duke (1961) Single Inducted 1999
THE THRILL IS GONE B.B. King BluesWay (1969) Single Inducted 1998
TURN! TURN! TURN! (TO EVERYTHING THERE IS A SEASON) The Byrds Columbia (1965) Single Inducted 2001
THRILLER Michael Jackson Epic (1982) Album Inducted 2008
TUTTI-FRUTTI Little Richard Specialty (1955) Single Inducted 1998
TILL THE END OF TIME Perry Como RCA Victor (1945) Single Inducted 1998
THE TWIST Chubby Checker Parkway (1960) Single Inducted 2000
TIME OUT Dave Brubeck Quartet Columbia (1959) Album Inducted 2009
TWIST AND SHOUT The Isley Brothers Wand (1962) Single Inducted 2010
THE TIMES THEY ARE A-CHANGIN’ Bob Dylan Columbia (1964) Track Inducted 2013
2000 AND THIRTEEN Carl Reiner & Mel Brooks Warner Bros. (1973) Album Inducted 1999
TIPITINA Professor Longhair And His Blues Scholars Atlantic (1953) Single Inducted 1998 THE TITANIC Ernest V. “Pop” Stoneman Okeh (1924) Single Inducted 2013 TOM DOOLEY Kingston Trio Capitol (1958) Single Inducted 1998 TOMMY The Who Decca (1969) Album Inducted 1998 TOP HAT, WHITE TIE AND TAILS Fred Astaire Brunswick (1935) Single Inducted 2008 [ 148 ]
THE TRACKS OF MY TEARS The Miracles Tamla (1965) Single Inducted 2007
GRAMMY Hall of Fame 40th Anniversary
U UN POCO LOCO Bud Powell Trio Blue Note (1951) Single Inducted 1999 UNCHAINED MELODY The Righteous Brothers Verve (1965) Single Inducted 2000 UNCLOUDY DAY The Staple Singers Vee-Jay (1956) Single Inducted 1999 UNFORGETTABLE Nat “King” Cole Capitol (1951) Single Inducted 2000 UNFORGETTABLE Dinah Washington Mercury (1959) Single Inducted 2001
VAYA CON DIOS (MAY GOD BE WITH YOU) Les Paul & Mary Ford Capitol (1953) Single Inducted 2005 THE VELVET UNDERGROUND & NICO The Velvet Underground & Nico Verve (1967) Album Inducted 2008 VERDI: CELESTE AIDA Enrico Caruso Victor (1908) Single Inducted 1993 VERDI: OTELLO Arturo Toscanini cond. NBC Symphony; Herva Nelli, Ramon Vinay, Giuseppe Valdengo RCA Victor (1953) Album Inducted 2008 THE VERY THOUGHT OF YOU Ray Noble And His Orchestra Victor (1934) Single Inducted 2005 VILLA-LOBOS: BACHIANAS BRASILEIRAS NO. 5 — ARIA Bidú Sayão With Heitor Villa-Lobos cond. ‘Cello Ensemble Columbia (1945) Single Inducted 1984 VIVALDI — THE FOUR SEASONS Louis Kaufman (Violinist) Concert Hall (1949) Album Inducted 2002
W WABASH CANNONBALL Roy Acuff & His Smokey Mountain Boys Columbia (1947) Single Inducted 1998 WAGNER: DER RING DES NIBELUNGEN Georg Solti cond. Vienna Philharmonic; Windgassen, Nilsson, Hotter, Flagstad, and Others London (1958-67) Album Inducted 1998 WAGNER: TRISTAN UND ISOLDE (COMPLETE) Wilhelm Furtwängler cond. Philharmonia Orchestra, Chorus Of Royal Opera House, Covent Garden/Flagstad, Thebom, Suthaus, Fischer-Dieskau RCA Victor (1953) Album Inducted 1988
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WALK DON’T RUN The Ventures Dolton (1960) Single Inducted 2006
WATERMELON MAN Mongo Santamaria Battle (1963) Single Inducted 1998
WHAT A DIFF’RENCE A DAY MAKES Dinah Washington Mercury (1959) Single Inducted 1998
WALK ON BY Dionne Warwick Scepter (1964) Single Inducted 1998
THE WAY WE WERE Barbra Streisand Columbia (1974) Single Inducted 2008
WHAT A WONDERFUL WORLD Louis Armstrong ABC (1967) Single Inducted 1999
WALK RIGHT IN Cannon’s Jug Stompers Victor (1930) Single Inducted 2007
THE WAY YOU LOOK TONIGHT Fred Astaire Brunswick (1936) Single Inducted 1998
WHAT KIND OF FOOL AM I? Sammy Davis Jr. Reprise (1962) Single Inducted 2002
WALKING THE DOG Rufus Thomas Stax (1963) Single Inducted 2002
WE ARE FAMILY Sister Sledge Cotillion/Atlantic (1979) Single Inducted 2008
WHAT THE WORLD NEEDS NOW IS LOVE Jackie DeShannon Imperial (1965) Single Inducted 2008
WALKING THE FLOOR OVER YOU Ernest Tubb Decca (1941) Single Inducted 1998
WE ARE THE CHAMPIONS/WE WILL ROCK YOU Queen Elektra (1977) Single Inducted 2009
WHAT’D I SAY (PART I) Ray Charles Atlantic (1959) Single Inducted 2000
WALKING TO NEW ORLEANS Fats Domino Imperial (1960) Single Inducted 2011 THE WALL Pink Floyd Capitol (1979) Album Inducted 2008 THE WALLFLOWER (aka ROLL WITH ME HENRY) Etta James Modern Records (1955) Single Inducted 2008 WALT DISNEY’S FANTASIA — SOUNDTRACK Leopold Stokowski, cond. Philadelphia Orchestra Buena Vista (1956) Album Inducted 2004 WALTZ FOR DEBBY Bill Evans Trio Riverside (1961) Album Inducted 1998 WANTED! THE OUTLAWS Waylon Jennings, Willie Nelson, Jessi Colter, Tompall Glaser RCA Victor (1976) Album Inducted 2007 WAR Edwin Starr Gordy (1970) Single Inducted 1999 WASTED DAYS AND WASTED NIGHTS Freddy Fender ABC-Dot (1975) Single Inducted 2012
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WE GOTTA GET OUT OF THIS PLACE The Animals MGM (1965) Single Inducted 2011 WE SHALL OVERCOME Pete Seeger Columbia (1963) Album Inducted 1999 WEATHER BIRD Louis Armstrong & Earl Hines Okeh (1928) Single Inducted 2008 THE WEAVERS AT CARNEGIE HALL The Weavers Vanguard (1957) Album Inducted 1998 WEILL: THE THREEPENNY OPERA 1954 New York Cast MGM (1954) Album Inducted 1994 WEST END BLUES Louis Armstrong & His Hot Five Okeh (1928) Single Inducted 1974 WEST SIDE STORY Original Broadway Cast Columbia (1958) Album Inducted 1991 WEST SIDE STORY — SOUNDTRACK Various Artists Columbia (1961) Album Inducted 2004 WE’VE ONLY JUST BEGUN Carpenters A&M (1970) Single Inducted 1998
WHAT’S GOING ON Marvin Gaye Tamla (1971) Album Inducted 1998 WHAT’S LOVE GOT TO DO WITH IT Tina Turner Capitol (1984) Single Inducted 2012 WHEEL OF FORTUNE Kay Starr Capitol (1952) Single Inducted 1998 WHEN A MAN LOVES A WOMAN Percy Sledge Atlantic (1966) Single Inducted 1999 WHEN YOU WISH UPON A STAR Cliff Edwards Victor (1940) Track Inducted 2002 WHERE DID OUR LOVE GO? The Supremes Motown (1964) Single Inducted 1999 WHERE HAVE ALL THE FLOWERS GONE Pete Seeger Columbia (1964) Single Inducted 2002 WHISPERING Paul Whiteman And His Orchestra Victor (1920) Single Inducted 1998 WHITE CHRISTMAS Bing Crosby, The Ken Darby Singers Decca (1942) Single Inducted 1974
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WHITE RABBIT Jefferson Airplane RCA (1967) Single Inducted 1998
WITH A LITTLE HELP FROM MY FRIENDS Joe Cocker A&M (1969) Single Inducted 2001
A WHITER SHADE OF PALE Procol Harum Deram (1967) Single Inducted 1998
THE WIZARD OF OZ — MUSICAL AND DRAMATIC SELECTIONS RECORDED DIRECTLY FROM THE SOUNDTRACK OF MGM’S TECHNICOLOR PICTURE Judy Garland & Various Artists MGM Records (1956) Album Inducted 2006
WHITNEY HOUSTON Whitney Houston Arista (1985) Album Inducted 2013 WHO DO YOU LOVE? Bo Diddley Checker (1956) Single Inducted 2010 WHOLE LOT OF SHAKIN’ GOING ON Jerry Lee Lewis Sun (1957) Single Inducted 1999 WHOLE LOTTA LOVE Led Zeppelin Atlantic (1969) Single Inducted 2007 WHO’S NEXT The Who Decca (1971) Album Inducted 2007 WHY DO FOOLS FALL IN LOVE The Teenagers Featuring Frankie Lymon Gee (1955) Single Inducted 2001 WICHITA LINEMAN Glen Campbell Capitol (1968) Single Inducted 2000 THE WILD SIDE OF LIFE Hank Thompson And His Brazos Valley Boys Capitol (1952) Single Inducted 1999 THE WILDEST Louis Prima And Keely Smith Capitol (1957) Album Inducted 1999 WILDWOOD FLOWER The Carter Family RCA Victor (1929) Single Inducted 1999 WILL THE CIRCLE BE UNBROKEN Nitty Gritty Dirt Band United Artists (1972) Album Inducted 1998 WILL YOU LOVE ME TOMORROW The Shirelles Scepter (1960) Single Inducted 1999 [ 152 ]
GRAMMY Hall of Fame 40th Anniversary
WOODCHOPPER’S BALL Woody Herman And His Orchestra Decca (1939) Single Inducted 2002 WOOLY BULLY Sam The Sham & The Pharaohs MGM (1965) Single Inducted 2009 WORKINGMAN’S DEAD Grateful Dead Warner Bros. (1970) Album Inducted 1999 WORRIED LIFE BLUES Big Maceo (Merriweather) Bluebird (1941) Single Inducted 2006
Y YAKETY YAK The Coasters Atco (1958) Single Inducted 1999 YANKEE DOODLE BOY Billy Murray Columbia (1905) Single Inducted 2006 YESTERDAY The Beatles Capitol (1965) Single Inducted 1997 YOU ARE MY SUNSHINE Jimmie Davis Decca Records (1940) Single Inducted 1999 YOU ARE THE SUNSHINE OF MY LIFE Stevie Wonder Tamla (1973) Single Inducted 2002 YOU BELONG TO ME Jo Stafford Columbia (1952) Single Inducted 1998 YOU KEEP ME HANGIN’ ON The Supremes Motown (1966) Single Inducted 1999
YOU MADE ME LOVE YOU (I DIDN’T WANT TO DO IT) Harry James & His Orchestra Columbia (1941) Single Inducted 2010 YOU REALLY GOT ME The Kinks Reprise (1964) Single Inducted 1999 YOU SEND ME Sam Cooke Keen (1957) Single Inducted 1998 YOUR CHEATIN’ HEART Hank Williams MGM (1953) Single Inducted 1983 (YOUR LOVE KEEPS LIFTING ME) HIGHER AND HIGHER Jackie Wilson Brunswick (1967) Single Inducted 1999 YOUR SONG Elton John Uni (1970) Single Inducted 1998 YOU’RE SO VAIN Carly Simon Elektra (1973) Single Inducted 2004 YOU’RE THE TOP Ethel Merman Brunswick (1934) Single Inducted 2008 YOU’VE GOT A FRIEND Carole King Ode (1971) Track Inducted 2002 YOU’VE GOT A FRIEND James Taylor Warner Bros. (1971) Single Inducted 2001 YOU’VE LOST THAT LOVIN’ FEELIN’ The Righteous Brothers Philles (1964) Single Inducted 1998 YOU’VE REALLY GOT A HOLD ON ME The Miracles Tamla (1962) Single Inducted 1998
Z ZIP-A-DEE-DOO-DAH Johnny Mercer Capitol (1946) Single Inducted 2010
davE grohl
Enough said.