56th GRAMMY Awards®

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’ You ve got

We’ll continue to stand behind you, supporting fair pay for artists. Tonight, we stand up and applaud you. Congratulations to all of our Registered Artists on their 56th Annual GRAMMY nominations

us ON OUR

FEET

again

Macklemore & Ryan Lewis

Justin Timberlake

Kendrick Lamar

7 nominations

7 nominations

7 nominations

Tonight,

we applaud you.

But we’re always behind you. www.soundexchange.com

Congratulations to the SoundExchange artists on their 56th Annual GRAMMYÂŽ nominations: 2 Chainz Adele Alabama Shakes Alastair Moock Aleks Syntek Alicia Keys Allen Toussaint Andy Bey Anthony Hamilton Anthrax Armin Van Buuren ASAP Rocky Ben Glover Ben Harper Beres Hammond Beth Hart Beth Nielsen Chapman Beyonce Bill Withers Billy Boy Arnold Billy Crystal Billy Porter Bishop Paul S. Morton Black Sabbath Blake Shelton Bobby McFerrin Bobby Rush Boney James Brian Eno Bruno Mars Buddy Miller Buika Building 429 CafĂŠ Tacvba Calabria Foti Calvin Harris Capital Cities Carlos Vives Carol Burnett Cecile McLorin Salvant Cecilia Bartoli Charlie Musselwhite Charlie Wilson Chris Tomlin

Chris Walden Chrisette Michele Cindy Morgan Clare Fischer Colbie Caillat Coldplay Craig Ferguson Daft Punk Darcy James Argue's Secret Society Darius Rucker Darrell Scott Dave Koz David Bowie David Garcia Dawn Upshaw Deitrick Haddon Deric Ruttan Dionne Warwick Disclosure Dolly Parton Donald Lawrence Draco Rosa Drake Dream Theater Earl Klugh Ed Sheeran Edie Brickell Eminem Emmylou Harris Esa-Pekka Salonen Esperanza Spalding Faith Evans Fantasia Femi Kuti Frankie J Fred Hersch Gavin DeGraw Geezer Butler Gerald Albright Gerald Clayton Gil Goldstein Gipsy Kings Gloria Estefan Green Day Guy Clark

Herb Alpert Hunter Hayes Imagine Dragons Intocable J. Cole Jack White James Cotton James Harman James King Jason Aldean Jay-Z Jeff Lorber Fusion Jessi Alexander Jessie J Jim Lauderdale Joan Sebastian Joe Bonamassa Joe Lovano John Legend Justin Roberts Kacey Musgraves Kanye West Kaskade Kathy Griffin Katy Perry Keith Richards Keith Urban Kelly Clarkson Kenny Garrett Kenny Rogers Killswitch Engage King Diamond Kitaro Krist Novoselic Lalah Hathaway Lana Del Rey Laura Sullivan Lauren Ward Led Zeppelin Lee Brice Little Big Town Lorde Lorraine Feather Los Amigos Invisibles Los Angeles Azules Magnus Lindberg Mandisa Marc Anthony

Maria Schneider Mark Hummel Mary J. Blige Matt Maher Matt Redman Mavis Staples Maysa Michael Buble Mick Jagger Miguel Mikky Ekko Mindi Abair Miranda Lambert Muse Natalie Grant Neeme Jarvi Neil Young Neko Case Nine Inch Nails Oliver Knussen Omar Sosa Ozzy Osbourne Paquita La Del Barrio Paquito D'Rivera Paul McCartney Percy Bady Pete Seeger Peter Kater Pharrell Williams Pink PJ Morton Pretty Lights Q-Tip Queens Of The Stone Age R. Carlos Nakai Randy Brecker Ravi Shankar Regina Spektor Ricardo Montaner Richard Elliot Rihanna Robin Thicke Rodney Crowell Ron White Ryan Shaw Ryan Stevenson Sara Bareilles

#VALUEMUSIC Moving music forward. Together.

SoundExchange is an independent digital performance rights organization with a mission to support, protect and propel the music industry forward.

Sarah Jarosz Shane McAnally Shelly Berg Sizzla Snarky Puppy Steve Martin Steven Curtis Chapman Stevie Wonder Sugar Ray Norcia T.I. Tamar Braxton Tasha Cobbs Taylor Swift Terence Blanchard Terrance Simien & The Zydeco Experience Terri Lyne Carrington The Boxcars The Civil Wars The Greencards The Milk Carton Kids The National The New Gary Burton Quartet Tierney Sutton Tim McGraw Tim O'Brien Timbaland Tobymac Tommy Torres Tony Bennett Tony Iommi Tye Tribbett Vampire Weekend Vince Gill Vince Mendoza Volbeat Wayne Shorter Will Clipman William Murphy Wiz Khalifa Yefim Bronfman Zachary Richard Zedd Ziggy Marley

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Here’s to 11.

YEARS

majorlyindie.com

The Recording academy

®

presents

RECORDING ACADEMY TELEVISION COMMITTEE FOR THE RECORDING ACADEMY Chair of the Board of Trustees

Christine Albert President/CEO

Neil Portnow Chief Financial Officer

Wayne Zahner

Executive In Charge Of Production & Chief Business Development Officer

Branden Chapman

Vice President, Communications & Media Relations

Barb Dehgan

Chief Information Officer

Rick Engdahl

Sunday, January, 26, 2014 Staples Center Los Angeles

Senior Vice President, Awards

Bill Freimuth

Chief Advocacy & Industry Relations Officer

Daryl P. Friedman

Chief Human Resources Officer

Gaetano Frizzi

Chief Marketing Officer

Evan Greene

1:00 p.m.

Presentation of the

Pre-Telecast Awards

Vice President, Creative Services

David Konjoyan

Senior Vice President, Member Services

Nancy Shapiro

FOUNDATIONS EXECUTIVE STAFF Senior Vice President

Kristen Madsen Vice President

5:00 p.m.

Live-Telecast

GRAMMY Awards Ceremony

Scott Goldman

Joel Katz

National Legal Counsel

Chuck Ortner

Deputy General Counsel

Bobby Rosenbloum

Gabriel Abaroa Leslie Ann Jones Joel Katz Terry Lickona Glenn Lorbecki Hank Neuberger Richard Ranta PRESS REPRESENTATION

Rogers & Cowan

BALLOT TABULATION

Deloitte & Touche Gary Smith

AEG EHRLICH VENTURES LLC Executive Producer

Ken Ehrlich Director

Louis J. Horvitz Writers

Ken Ehrlich David Wild Co-Producer

Dana Tomarken General Counsel

RECORDING ACADEMY TELEVISION COMMITTEE ADVISORY GROUP

Terry Lickona

Vice President ADVISORS

Neil Portnow, Co-Chair George J. Flanigen IV, Co-Chair Jason Bentley Jennifer Blakeman Fletcher Foster Jimmy Jam Mike Knobloch Alexandra Patsavas Jon Platt Bob Santelli Eric Schilling

Supervising Producer

Eric Cook

Ecologically intelligent practices were integrated into the planning and production of the GRAMMY Awards. Most paper products and other supplies we bought and the services we procured were selected with sensitivity toward positive ecological stewardship. As an organization with a broad public reach, we take our obligations to society very seriously.

The Recording Academy is honored to have teamed with the Natural Resources Defense Council, one of America’s most respected nonpartisan environmental organizations, and Waste Management Inc., our environmental solutions partner, to help reduce The Academy’s ecological footprint.

Consulting Producer

Walter C. Miller

Production Designer

Brian Stonestreet Lighting Designer

Robert A. Dickinson Talent Producer

Chantel Sausedo Pre-Telecast Ceremony Producer

Greg Fera

Pre-Telecast Ceremony Musical Director

Larry Batiste

56th Annual GRAMMY Awards

13

The Recording Academy®

Kevin Winter/WireImage.com

As the GRAMMY Awards celebrates its 56th annual ceremony, The Recording Academy has built a 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 highdefinition television and 5.1 surround sound) and the premier music awards show on television.

In addition to the GRAMMY Award, The Recording Academy presents several

Taylor Swift at the 55th Annual GRAMMY Awards 14

56th Annual GRAMMY Awards

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 was established in 1973 to commemorate recordings, at least 25 years old, of lasting qualitative or historical significance.

The Hall celebrated its 40th anniversary in 2013 and now features close to 1,000 recordings, highlighting musical excellence across all genres.

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 Chapters across the country to provide industry service and program development to our more than 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 2004, 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.

During GRAMMY Week in 2014, The Recording Academy and GRAMMY Foundation partnered to launch the first-ever Music Educator Award, an honor recognizing a current educator who has made a significant contribution to the field of music education.

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-ofthe-art cultural facility at the exciting L.A. Live complex in downtown Los Angeles. Expanding the institution’s reach, the 20,000-plus square-foot GRAMMY Museum Mississippi is expected to open in summer 2015. 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 beginning on page 190 and at www.grammy.org.

WE SHINE WHEN WE

INSPIRE OTHERS

TO NEVER STOP DREAMING. Congratulations to all of our nominated clients.

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Thank you for continuing to inspire us.

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From the President/CEO

It’s my pleasure to welcome you to the 56th Annual GRAMMY Awards. The GRAMMYs have enjoyed a remarkable run the last several years, garnering some of our highest ratings in decades and setting social media engagement records while presenting unforgettable and special performances on a stage that has become renowned for our unique GRAMMY Moments. All of us involved in leading The Recording Academy are extremely proud of these accomplishments.

This year, just two weeks after wrapping the 56th GRAMMY Awards, The Recording Academy will celebrate another powerful television event that literally altered the course of history and influenced thousands of musicians in the years since: the 50th anniversary of the Beatles’ first U.S. appearance on “The Ed Sullivan Show.” On Feb. 9 we’ll join CBS in airing “The Night That Changed America: A GRAMMY Salute To The Beatles” — 50 years to the date and time and on the same network as the original show. The Beatles’ legacy needs little further explanation, but you can get a great snapshot of their GRAMMY history from Executive Producer Ken Ehrlich’s personal account on page 108.

Additionally, The Academy has been marking a few other notable anniversaries over the last year or so.

A little more than a month ago, on Dec. 6, 2013, the GRAMMY Museum celebrated its first five years, and some remarkable achievements over that half-decade. Among them: hosting hundreds of intimate interview and performance sessions with a wide variety of artists, staging world-renowned exhibits, working hard to ensure a strong financial position in difficult economic times, and mounting a successful fifth anniversary gala. I join my colleagues in congratulating our Museum Executive Director Bob Santelli and his staff.

The Museum is the physical home for our GRAMMY Hall Of Fame, which in 2013 marked 40 years of honoring the best recordings of all time. The Hall functions as the ultimate curated playlist of our rich musical legacy. In December, we celebrated the Hall with the release of the GRAMMY Hall Of Fame 40th Anniversary Collector’s Edition, a 150-plus-page illustrated book featuring contributions from a number of artists whose recordings are in the Hall.

We also marked five years in our home in the Lantana entertainment complex in Santa Monica in 2013.

In 2009 we made the decision to purchase our building during favorable economic conditions. Not only has a recent sale of the other buildings in our complex shown this was a prudent financial decision, but the environment for growth Lantana has provided for our business and staff has proven an equally fruitful benefit.

This coming year will mark 15 years of amazing growth for The Latin Recording Academy. The organization has made impressive strides with the Latin GRAMMY Awards over that time and we are extremely proud that The Latin Academy will introduce the Latin GRAMMY Cultural Foundation this year to further its mission of improving opportunities for Latin musicians and aspiring Latin musicians alike.

Switching gears slightly, Carole King’s career has been a series of milestones. She helped break barriers as one of the rare early female songwriters whose achievements placed her among the greatest songwriters of her era. Then, as an artist, she recorded one of the definitive singer/songwriter albums in Tapestry. Her public commitment to environmental and other causes marked a personal leadership in using fame for social good. As our MusiCares Person of the Year honoree this year, she will help us continue to set milestones in helping music people in need while we say “thank you” to her for her outstanding musical contributions.

All of these milestones are indicative of the important work we do on behalf of our members and the larger music community. Whether its supporting music education through our new Music Educator Award in partnership with the GRAMMY Foundation, leading music community advocacy efforts in Washington, D.C., creating our new GRAMMY Pro initiative to support our members, and so much more, we proudly work yearround to make a positive difference in the lives of music makers.

On behalf of The Academy’s elected leaders, staff and partners — all of whom have my gratitude for helping to guide and support The Academy’s success — I congratulate the nominees and invite you to enjoy the show.

Neil Portnow

President/CEO of The Recording Academy

56th Annual GRAMMY Awards

17

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From the Chair

Welcome to the 56th Annual GRAMMY Awards. As we celebrate the year’s best music and music creators, I am honored to be here as the newly elected Chair of the Board of Trustees of The Recording Academy.

This is my seventh time attending the GRAMMYs, and Music’s Biggest Night never loses its magic.

But the GRAMMY Awards is only one piece of GRAMMY Week, and indeed of The Recording Academy. As a lifelong professional musician, I was drawn to this organization because of the work that goes on the other 364 days of the year. During GRAMMY Week we shine a light on that as well and I always come away newly inspired.

I am a studio owner in Austin, Texas, so the Producers & Engineers Wing event at The Village Recorder is a great opportunity to learn about new products, bond with fellow producers and engineers and walk the hallowed halls of that legendary studio where so many of my favorite artists have recorded.

My son is a young musician and an alumnus of several GRAMMY Foundation educational programs. I love hearing the gifted high school students who perform at events throughout the week, and congratulate them on making it here. They are the musical cream of the crop from across the country, forging what will become lifelong friendships and collaborations.

Music can be a very fulfilling path, but along with the gratification of personal expression comes uncertainty and often, financial insecurity. MusiCares is there to provide a safety net of critical assistance for music people in times of need. I have seen this support in action in very tangible ways. Friday’s MusiCares Person of the Year gala is much more than an opportunity to hear some amazing music. It raises the funds that ensure these crucial programs are on solid ground.

Saturday’s events are my personal GRAMMY Week favorites. During the Special Merit Awards ceremony we recognize individuals for a lifetime of achievement. This is a “get out your tissues” gathering as the recipients share the momentous occasion with family, friends and colleagues. Together we celebrate the tenacity, commitment, passion, and love of music that have inspired every one of our honorees.

Then it’s on to the Nominees Reception, toasting the accomplishments of the GRAMMY nominees in all 82 categories. For a musician, the only thing as sweet as being called a GRAMMY winner is being a GRAMMY nominee!

And that brings us to Sunday, the icing on the cake. Congratulations to all of our nominees and winners this year. I know that you make music because it is at the core of who you are. May this recognition by your peers energize and inspire you to continue bringing great music to the world. We need you!

Christine Albert Chair of the Board of Trustees

56th Annual GRAMMY Awards

19

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Contents Contents Welcome

Special Merit Awards

17 President/CEO’s Message

LIFETIME ACHIEVEMENT AWARDS

19 Chair’s Message

Nominees 28 Daft Punk & Pharrell Williams 29 Imagine Dragons 30 Lorde 32 Bruno Mars

42

76 The Beatles

by Danger Mouse

78 Clifton Chenier

by Chris Strachwitz

80 The Isley Brothers

by Kem

82 Kraftwerk 84 Kris Kristofferson

by Rodney Crowell

34 R obin Thicke Featuring T.I. & Pharrell Williams

86 Armando Manzanero

36 Sara Bareilles

88 Maud Powell

38 Kendrick Lamar

by Lucero

by Rachel Barton Pine

40 Macklemore & Ryan Lewis

TRUSTEES AWARDS

42 Taylor Swift

89 Rick Hall

44 James Blake 46 Kacey Musgraves 48 Ed Sheeran 50 Song Of The Year 52 Complete Nominations List

by Alicia Keys

90 Jim Marshall

by Henry Diltz and Graham Nash

92 Ennio Morricone TECHNICAL GRAMMY AWARDS

94 Emile Berliner

by Paul Charosh

96 Lexicon

by Brian Malouf

HALL OF FAME

100 2014 GRAMMY Hall Of Fame

84

100

56th Annual GRAMMY Awards

21

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Contents Features

The Recording Academy Today

108 The Night That Changed America

14 The Recording Academy

192 Membership And Member Services

RAMMY Executive Producer Ken Ehrlich on the Beatles’ G GRAMMY legacy

120 A Peek Behind The Glass

C elebrating the art of production as the Producer Of The Year award turns 40

194 GRAMMY Week 196 GRAMMY Museum 198 MusiCares Foundation

130 Sold To The Winning Music Fan

200 GRAMMY Foundation

202 Advocacy At The Academy

usic memorabilia auctions offer pieces M of music history

138 Space Aliens, Witches, Grillz, And Bling

A look at music fashion through the decades

150 Come Sail Away

T he GRAMMYs hits the high seas with Norwegian Cruise Line

152 Game On

ideo game music: growing opportunities for musicians V and composers, more entertainment value for gamers even when they’re AFK

176 A Natural Inspiration

usiCares Person of the Year Carole King: M The GRAMMY Interview

204 The Latin Recording Academy 206 The Digital Academy 208 GRAMMY Pro 210 T he GRAMMY Awards Process 212 Executive Staff 214 N ational Trustee Officers And Trustees 218 National Staff 222 R ecording Academy Chapters

138

228 Past Chairs

230 In Memoriam

Remembering the music people we lost in 2013

236 “The GRAMMY Nominations Concert Live!!”

The December 2013 nominations telecast in photos

Special Section: Music And The Olympic Games 162 Composing For Gold

Themes and scores provide a winning soundtrack for the Olympics

168 Olympic-Sized Spectacle

Opening and closing ceremonies keep getting bigger

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.

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 56th Annual GRAMMY Awards Program Book is published by The Recording Academy, 3030 Olympic Blvd., Santa Monica, CA 90404, in association with FX Marketing Group.

108

© 2014 The Recording Academy. All rights reserved.

236 24

56th Annual GRAMMY Awards

176

FOR THE RECORDING ACADEMY

David Konjoyan Editor In Chief & Co-Publisher Tim McPhate Senior Editor Iman Saadat Woodley Production Manager Crystal Larsen Associate Editor Kiana Butler Assistant Editor

Kristian Krempel President & Co-Publisher

Angela Krempel Vice President Operations Giacomo LaRosa Chief Creative Officer Laurie Bailey Operations

FOR FX MARKETING GROUP

Frank G. Fernandez General Counsel Tom Brady Vice President Advertising Sales Lele Paul Global Accounts Director Joe Gonzalez Program Manager Advertising Sales Doug Beaudoin John Desimas Fred Lasday Peter McCarthy Bryan Silver Jeff Williams Tanya Wydick

Ken Rose Sr. Director Entertainment & Artist Relations Elizabeth Ferris Artist Relations Advisor Joseph Duhamel Art Director & Production Manager Rikki Poulos Senior Graphic Designer — West Coast Denise Haunstetter Graphic Designer Scot Shuman Internet & Technical Services

Research & Design Interns Deven Eddleman Jasmine Weaver Contributing Writers Steve Baltin, Melissa Blazek, Bruce Britt, Paul Charosh, Larry Crane, Chuck Crisafulli, Rodney Crowell, Danger Mouse, Randee Dawn, Alan di Perna, Henry Diltz, Ken Ehrlich, Bill Forman, Willie Geist, Paul Grein, Kem, Alicia Keys, Nick Krewen, Tammy La Gorce, Lucero, Brian Malouf, Graham Nash, Rachel Barton Pine, Bryan Reesman, Chris Strachwitz, Roy Trakin, Lisa Zhito, Paul Zollo Front Cover Artwork Marcus Glenn © 2013 The Recording Academy Official Photographer For The GRAMMY Awards WireImage.com GRAMMY Award Statue Designed And Manufactured By John Billings The Official 56th Annual GRAMMY Awards program book 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 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. © 2014 The Recording Academy. All rights reserved.

Published by

In association with

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56th Annual GRAMMY Awards

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Microsoft Tag

28

It’s rare that one-off musical collaborations — whether in the form of duets or as featured guest appearances — wind up equaling, let alone exceeding, the sum of their individual parts. But “Get Lucky,” which combines the synth-pop sensibilities of ever-helmeted French duo Daft Punk with the lilting, soulful vocals of Pharrell Williams, has an undeniable magic.

Factor in the instantly identifiable rhythm guitar of Nile Rodgers, whose work with Chic elevated dance music to new levels in the late ’70s, and it’s easy to see why the single has become a runaway critical and commercial success, prompting Stephen Colbert to call it “the song of the summer of the century.”

This isn’t the first time Daft Punk and Williams have worked together. Williams was featured on a remixed version of the duo’s “Harder, Better, Faster, Stronger” in 2003, and Daft Punk returned the favor by producing and co-writing “Hypnotize U,” a single by Williams’ band N.E.R.D. released in 2010. Williams also appears on “Lose Yourself To The Dance,” the second single from Daft Punk’s Album Of The Year-nominated Random Access Memories. Released in May 2013, the album debuted at No. 1 and marked the duo’s best sales week ever and their first chart-topping album.

Daft Punk duo Thomas Bangalter and Guy-Manuel de Homem-Christo first met in 1987 while the two future pop stars were still attending secondary school. A decade later, they released Daft Punk’s 1997 debut album, Homework, which ultimately surpassed gold status. Initially embraced by the French house music scene, the two musicians went on to find international success with their mechanistic interpretation of hook-laden, vocoder-drenched dance music.

While heavily processed vocals still feature throughout Random Access Memories — including the latter portion of “Get Lucky” — Williams’ singing and Rodgers’ playing bring an unprecedented warmth to the music of a duo known for their wistfully robotic inclinations.

Meanwhile, the musicians’ chemistry in the studio is also reflected in the song’s lyrics, which suggest a late-night hookup less shallow than those typically found in hit singles. As Williams put it in a recent interview about “Get Lucky”: “It’s like the only thing that really matters is that you’ve met this girl at this party.

Getting lucky is not just sleeping with her, but meeting someone for the first time and it just clicking.”

David Black

Matthias Clamer/Bravo/NBCU Photo Bank via Getty Images

DAft punk & pharrell williams

56th Annual GRAMMY Awards

— Bill Forman

Imagine Dragons

Harper Smith

If ever a song title forecasted its own destiny, “Radioactive” by Imagine Dragons would be it. Rampaging across a wide range of radio formats, the anthemic alt-rock single shattered the previous record for the longest stay at No. 1 on Billboard’s Rock Airplay chart, then stealthily infiltrated the Adult Contemporary song rankings.

It subsequently penetrated the Alternative Songs, Adult Pop Songs and Triple A charts. By the end of 2013, the track had spent more than a year on the granddaddy of all singles charts, the Billboard Hot 100, demonstrating enough staying power to enjoy the slowest rise to the Top 5 in the chart’s history. It’s no wonder Rolling Stone hailed the track as “the biggest rock hit of the year.”

That’s quite an impressive showing for a song that doesn’t bear the slightest resemblance to anything else on contemporary Top 40 radio.

Taken from Imagine Dragons’ major label debut album, 2012’s Night Visions, “Radioactive” counterbalances aching vocals, evocative lyrics and chain-gang choruses against automated rhythms that pump and hiss like a steam engine.

“We like making raw, natural noises ... but transforming them into synthetic noises,” said guitarist Wayne Sermon. In an interview with MTV in 2012, Imagine Dragons frontman Dan Reynolds described “Radioactive” as a “very masculine, powerful-sounding song ... about having an awakening; kind of waking up one day and deciding to do something new, and see life in a fresh way.”

Imagine Dragons’ breakthrough success no doubt has band members viewing their own careers in a new way. Featuring Reynolds, Sermon, bassist Ben McKee, and drummer Daniel Platzman, the band paid their dues performing in myriad venues across North America, as well as the clubs and glitzy casinos of their native Las Vegas.

“You learn to stand out because you’re competing for the attention of people sitting at slot machines,” said Reynolds on performing in Sin City. “You have to bring everything you have, and learn what grabs people’s attention enough that they look up from the card table and say, ‘Hey, let’s check this out!’

“We feel that we have finally created something we are all truly proud of, and that can hopefully inspire others and help them feel a little less alone. That’s what music is about. It’s the greatest communicator I know.”

— Bruce Britt

56th Annual GRAMMY Awards

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Where royalty is concerned, there’s always talk of proper heirs — or heiresses — to the throne.

This past year, New Zealand native Lorde made a powerful case that she’s ready to reign as one of the pop world’s ruling talents.

The singer/songwriter, born Ella Yelich-O’Connor, came to the world’s attention singing against the allure of excess on her smash single “Royals,” and her music is in fact a compelling embodiment of a less-is-more philosophy. The sound, equally inviting and haunting, is built from minimalist grooves and ambient electronics, and Lorde’s melancholy insights are delivered with a restrained soulfulness. She’s cited musical influences ranging from Etta James to Nicki Minaj, but her debut album, Pure Heroine, comes across as a wholly original work from a fresh, bracingly distinctive artist. Her unique sound apparently satisfied a hunger among listeners — the album was a Top 10 seller around the globe, “Royals” is a platinum-selling single and Lorde has garnered four GRAMMY nominations, including Record Of The Year.

Throughout Pure Heroine, Lorde’s smoky vocals and evocative lyrics seem to emanate from a welltraveled old soul, but at the tender age of 17, Lorde is just barely beyond the age for a driver’s license.

However, chronological age isn’t much of a measure of talent and poise in Lorde’s case. It certainly can’t be easy to go from teenager to international superstar over the course of a year, but she’s handled such an ascension with selfpossession and wit. And, despite the ubiquity of “Royals,” she’s managed to maintain an air of mystery around both her music and her personal life.

“I just feel like mystery is more interesting,” said Lorde in a Billboard interview in 2013. “People respond to something which intrigues them instead of something that gives them all the information — particularly in pop, which is like the genre for knowing way too much about everyone and everything.”

Consider us intrigued, and eager to hear whatever crowning achievements may lie ahead.

— Chuck Crisafulli

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56th Annual GRAMMY Awards

Charles Howells

Lorde

nothing is more inspiring than excellence Jim Lauderdale Buddy And Jim Best Americana Album

Alan Ferber March Sublime Best Large Jazz Ensemble Album Snarky Puppy With Lalah Hathaway “Something” Best R&B Performance

Natalie Grant “Hurricane” Best Gospel/Contemporary Christian Music Performance Bishop Paul S. Morton Best Days Yet Best Gospel Album

“Hurricane” Best Contemporary Christian Music Song

Chrisette Michele Better Best R&B Album

Intocable En Peligro De Extinción Best Regional Mexican Music Album

Mumford & Sons The Road To Red Rocks Best Music Film

Beth Nielsen Chapman The Mighty Sky Best Children's Album

PJ Morton “Only One” (PJ Morton Featuring Stevie Wonder) Best R&B Song

Killswitch Engage “In Due Time” Best Metal Performance

SESAC congratulates our GRAMMY® nominated songwriters and performers. sesac.com

The Greencards Sweetheart of The Sun Best Folk Album

Draco Rosa Vida Best Latin Pop Album

Craig Ferguson I'm Here To Help Best Comedy Album

Aleks Syntek Syntek Best Latin Pop Album

Snarky Puppy With Lalah Hathaway “Something” Best R&B Performance

Matt Bronleewe “Hurricane” (Natalie Grant) Best Contemporary Christian Music Song

And, we applaud the inspired contributions of our affiliates: Tiffany Arbuckle Lee Rafa Arcaute Swizz Beatz Jerry Cantrell Chad Carlson Kendrick Dean Scoop DeVille

Bob Dylan Jenee Fleenor Don Henry Angela Hunte Jason Ingram Lynn Langham Harvey Mason, Jr.

Juan Otero Jeff Pardo Jerry Salley Nikhil Seetharam Sam Tinnesz John Vezner Kim Williams

Bruno mars There’s nothing quite as euphoric as mind-blowing sex. Especially when that indescribable chemistry between two people is so unexpectedly and incredibly telepathic and is capable of teleporting you to paradise.

Or so testifies an ecstatic Bruno Mars on his chart-topping pop romp “Locked Out Of Heaven,” a threeminute, 53-second slice of irresistible joy that has seduced millions of people around the globe into purchasing the lead single from the 28-year-old multihyphenate’s sophomore album, Unorthodox Jukebox.

And why shouldn’t they? It’s a playful bit of perfection. Fully written and partially produced by Mars and his Smeezingtons brethren — Philip Lawrence and Ari Levine — the upbeat pronouncement is as much a tribute to the tantric prowess of Sting as it is to his influence as chief Police man: from the snappy, somewhat sparse intro of spacious guitar chords and punctuated bass to Mars’ similar vocal range.

Considering the Smeezingtons’ propensity for delivering surprising multiple hooks within a single song — the first one a rhythmic “eh-eh-eh … ooh” call-and-response diatribe and the second a contagious choral earworm that burrows itself deep into your cranium — it’s no wonder the arrangement is equally captivating, a masterwork of intangible whimsy and magic that defies you not to sing along.

For the man born Peter Gene Hernandez in Honolulu, this is not an unusual occurrence.

His creative arsenal is full of lightning-in-a-bottle bursts of frenetic energy, libido-riddled imagination and sonic variety that leaps out and grabs you: factors that undoubtedly earned Mars recognition as Billboard’s 2013 Artist of the Year and proof Mars is indeed full of life.

Kai Z. Feng

— Nick Krewen

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Is there anybody who will cop to finding “Blurred Lines” anything but infectious?

The title track to the same-named 2013 Robin Thicke album, “Blurred Lines” is nominated for both Record Of The Year and Best Pop Duo/Group Performance, and it’s worthy of consideration for both awards for its groove alone. Thicke worked alongside Pharrell Williams and T.I. extensively to craft the pop tidal wave — both artists are guest vocalists and they also co-wrote the song, with Williams sprinkling his production magic over the track. And what a production. It helped earn Williams a nod for Producer Of The Year, Non-Classical.

Little wonder, then, that the song became the biggest hit of the summer and performed as well as it did chart- and sales-wise. In addition to emerging as the best-selling song of 2013 in the UK, “Blurred Lines” sold more than 5 million copies in just 22 weeks in the United States, and 6 million copies in 29 weeks, reaching that plateau faster than any other song in digital history. It claimed the pole position on the Billboard Hot 100 for 12 consecutive weeks, too, becoming the longestrunning No. 1 single of 2013 and of the decade, thus far.

Not that impressive statistics matter to the casual listener, who can’t be blamed for just sitting back and enjoying. Or, more likely, nodding and strutting along.

Thicke’s charm-infused swagger and indomitable mojo come through as loud and clear as “Blurred Lines”’ pulsating beat. Which is why his plea early on in the song — “Just let me liberate you” — doesn’t require much convincing.

By the time that first set of “hey hey heys” has passed, his wish is our command: “Everybody get up,” Thicke urges, and if we can — unless our seatbelts are buckled or we’re otherwise strapped down — we do.

— Tammy La Gorce

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56th Annual GRAMMY Awards

Kevin Mazur/Getty Images

Robin Thicke Featuring T.I. & Pharrell Williams

CONGRATS To NOMINEES

ALL

&

When Sara Bareilles’ fourth studio album, The Blessed Unrest, earned a coveted berth in the Album Of The Year category, a flurry of comments emerged, including MTV declaring her a “surprise GRAMMY darling.” And despite three prior GRAMMY nominations, Bareilles herself was taken aback, tweeting immediately after the nominations were announced that she was “literally shaking.”

While Bareilles’ catchy, eclectic piano-based tunes may not grab high-profile headlines like some of her category competition, there’s no questioning the California native’s talent.

Self-taught on piano, Bareilles has lined up a straight arrow of success over the last decade, from performing as part of her alma mater UCLA’s Awaken A Cappella group and postgrad bar and club stints to releasing a steady stream of studio albums every three years since 2004. She scored a real breakthrough in 2007 with her hit single “Love Song,” which attained triple-platinum status and earned two GRAMMY nominations in 2008, including Song Of The Year.

The song was featured on Bareilles’ major label debut, Little Voice, which also spun platinum.

It hasn’t always been smooth sailing for the 34-year-old. Bareilles overcame an extended bout of writer’s block to create 2010’s Kaleidoscope Heart, which debuted at No. 1 and spawned a GRAMMY nomination for Best Female Pop Vocal Performance for “King Of Anything.” Released in July 2013, The Blessed Unrest was inspired by a breakup, a cross-country move (Bareilles is now located in New York) and a full rethinking of her life, which she labeled a “mild midlife crisis.”

Still, what emerged from the chaos was perhaps her most mature, introspective work yet, full of her familiar jazz flourishes, creative instrumentation and probing lyricism alongside the ever-present piano. Along with her Album Of The Year nomination, Bareilles earned the fifth nomination of her career for Best Pop Solo Performance for the anthemic “Brave,” which she co-wrote with GRAMMY winner Jack Antonoff of Fun. “’Brave’ is a song about acknowledging our own internal silence,” Bareilles said in an interview with VH1. “What are we not saying?”

For Bareilles, The Blessed Unrest is just the latest peak in a long string of achievements that are sure to come as no surprise at all.

— Randee Dawn

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56th Annual GRAMMY Awards

Danny Clinch

Sara Bareilles

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Kendrick Lamar

Dan Monick

In August 2013 Kendrick Lamar made national headlines when he called out seemingly every other young rapper on the Big Sean track “Control.” “What is competition? I’m tryna raise the bar high,” the Compton, Calif., star declared after name-checking many of his peers, including J. Cole, Big K.R.I.T., Wale, Meek Mill, and Drake, among others.

Lamar not only raised the bar, he arguably raised it as high as any artist in 2013, reaping a reward of seven GRAMMY nominations, including Best New Artist, Album Of The Year and Best Rap Album for Good Kid, M.A.A.D City, Best Rap Performance for “Swimming Pools (Drank)” and Best Rap/Sung Collaboration for his pairing with Mary J. Blige, “Now Or Never.”

Being among the top 56th GRAMMY nominees, and receiving nods in some of the most prestigious categories, is a fitting coronation for the man dubbed “New King of the West Coast” by such luminaries as Snoop Dogg, and fellow Compton natives the Game and producer Dr. Dre, who signed Lamar’s Top Dawg Entertainment to his own Aftermath Entertainment label.

Lamar first came to national attention by releasing mixtapes at age 16 under the moniker K. Dot. He reverted to Kendrick Lamar for his fourth mixtape, 2010’s Overly Dedicated.

But it was teaming with Dre and producers such as Pharrell Williams, Just Blaze and Scoop DeVille on the conceptual album Good Kid, M.A.A.D City that has catapulted Lamar into hip-hop’s upper echelon. The platinum-plus album, which chronicles Lamar’s own everyday life as a teen in Compton, was greeted with rave reviews upon its release, and catapulted its way to No. 2 on the Billboard 200.

All of this success would seem part of Lamar’s master plan. “I didn’t want to come into this trying to be number two,” he said during a GRAMMY.com interview in 2013. “I always wanted to be number one at what I’m doing.”

— Steve Baltin

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56th Annual GRAMMY Awards

With 2x points on concert tickets, “Dad of the Year” status isn’t far off.

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New cardmembers only. Subject to credit approval. Additional limitations, terms and conditions apply. You will be given further information when you apply. © 2013 Citibank, N.A. Citi, Citi with Arc Design, ThankYou and Citi ThankYou are registered service marks of Citigroup Inc.

Macklemore & Ryan Lewis Nominated for seven GRAMMY Awards, including Album and Song Of The Year as well as Best New Artist, Macklemore & Ryan Lewis are an overnight success story 14 years in the making, since Seattle native Ben Haggerty released his independent debut EP, Close Your Eyes, in 2000 under the name Professor Macklemore.

With and without Ryan Lewis — who started out as Macklemore’s photographer, then morphed into his DJ, producer and credited collaborator — Macklemore has put out multiple EPs and mixtapes, as well as two studio albums, but it wasn’t until 2012’s The Heist that the duo turned into a hip-hop phenomenon.

Schooled on the progressive East Coast underground rap of the ’90s, including Wu-Tang Clan, Nas and Talib Kweli, college graduate Macklemore has always made education and encouraging cultural identity in his young fans a priority, so it’s no surprise he’s managed to turn hip-hop orthodoxy on its head. Eschewing its fascination with wealth and materialism, Macklemore & Ryan Lewis shamelessly rhymed the praises of the local “Thrift Shop,” making the most of that “$20 in my pocket.” However, the pair really stepped out, along with singer/co-writer Mary Lambert, on the Song Of The Year-nominated “Same Love,” expressing their unabashed support for same-sex marriage and strong criticism of all forms of homophobia.

It’s a powerful message, made even more so by the cultural milieu in which it was delivered — a hip-hop world of occasional casual slurs and sometimes even virulent anti-gay sentiments. With the success of The Heist, Macklemore & Ryan Lewis have spread their message of liberation far and wide, one that has taken them to center stage at this year’s 56th GRAMMY Awards.

“I wanna challenge myself, [and] I wanna challenge society,” Haggerty told The Independent in 2013. “And the way I can do that is by expressing and talking about concepts that no one else will, that people are afraid to address. I wanna be able to talk about those openly and honestly and figure myself out and help those who listen to the records figure them out.”

Zoe Rain

— Roy Trakin

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56th Annual GRAMMY Awards

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Taylor Swift

Getty Images

Taylor Swift doesn’t write lyrics, she writes dialogue and sets it to music. Case in point: “We are never, ever getting back together,” an exhortation uttered daily by millions of fed-up singles about their fickle exes. Swift put the line to a pulsing guitar rhythm, made it the debut single from her fourth studio album, Red, and voila: “We Are Never Ever Getting Back Together” set a record for the biggest digital sales week for a song by a female artist.

The one thing Swift does consistently is surprise us. From the beginning she’s defied conventional wisdom, zigging where others zag, unapologetically following her own muse and breaking records along the way. Teen girls from the Pennsylvania suburbs may dream of a music career, but they don’t typically follow them to Nashville; Swift did. Fourteen-year-old girls don’t typically sign publishing contracts with the world’s largest music publisher; Swift was the youngest writer ever signed to Sony/ATV Music Publishing. Country music careers aren’t typically sustained on self-penned songs about teen love and loss; in six years, Swift has won seven GRAMMYs, sold more than 26 million albums and logged seven No. 1 Billboard Hot 100 or Hot Country Songs hits.

One might think there are few milestones left for Swift to reach. Yet Red made Swift the only female artist in music history with three consecutive studio albums to spend six weeks or more at No. 1. Red also made Swift the only female artist in the Nielsen SoundScan era to twice notch platinum sales in an album’s debut week.

Red also marked new creative ground for Swift, moving her beyond hooky country/pop and allowing her to explore a broader musical landscape. Easily her most musically diverse collection to date, Red showcases rock, dance and even power-pop sensibilities.

What hasn’t changed is Swift’s candor. Sure, Nashville’s homecoming queen has grown up. At 24, Taylor Swift is a global pop phenomenon. But listening to Red one still feels like they’re eavesdropping on a phone call between two besties. Her fans would expect no less.

— Lisa Zhito

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56th Annual GRAMMY Awards

James Blake On his breakthrough single “Retrograde,” James Blake plays a new romantic game with the time-tested pop dynamics of tension and release. In so doing he’s won the hearts of listeners worldwide, garnering a GRAMMY nomination for Best New Artist in the process. The song is one of many standout tracks from Blake’s second album, 2013’s Overgrown, a set that’s remarkable for its understated emotional intensity and exceptionally warm deployment of electronic sounds and textures. Blake has found the soul in the software, the ghost in the machine. Maybe that’s why his music haunts us so.

“I really don’t think I sound like anyone else,” Blake said in a 2011 interview with Pitchfork. “I’m not trying to step on anyone’s toes.”

The son of English singer/guitarist James Litherland, Blake is a classically trained pianist, a graduate of Goldsmiths, University of London, and a confirmed UK club kid, deeply steeped in the dubstep scene. All of these diverse influences come through in his music, but in a way that doesn’t sound remotely like any of them.

Blake’s voice carries profound notes of vulnerability. It’s a plaintive, pleading, intimate, late-night voice, tailor-made to express longing and regret in terse, haikulike lines of lyrical imagery.

Overgrown is the follow-up to Blake’s 2011 selftitled debut album and a handful of arrestingly original EPs that have won favorable attention and a slew of accolades in Blake’s native country. But with Overgrown Blake has broken through at home — the album won the 2013 Barclaycard Mercury Prize in the UK — and to a worldwide audience in a big way. With his restive stylistic adventurousness and eager willingness to reinvent himself at every turn, Blake has arrived as a uniquely individual new sound and a musical statement of enduring value.

“People can smell dishonesty on you,” he said. “On this album, I felt like I was being totally honest — so I don’t have anything to lose.”

Republic Records

— Alan di Perna

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56th Annual GRAMMY Awards

The American Federation of Musicians and the officers and members of Local 10-208 (Chicago, IL), Local 47 (Los Angeles, CA), Local 257 (Nashville, TN), and Local 802 (New York, NY) proudly congratulate our members on their 56th GRAMMY® nominations and awards.

We also congratulate those artists whose recorded works are supported by musicians who record for signatory companies.

AFM musicians who record under our agreement share in the following funds:

The American Federation of Musicians of the United States and Canada • 1501 Broadway, Suite 600; New York, NY 10036 • www.afm.org

Kacey Musgraves

Kelly Christine Musgraves

Despite the consensus of the mainstream press, Kacey Musgraves isn’t saving country music.

It’s more complicated than that. Perhaps it’s more appropriate to say that her major label debut, 2013’s Same Trailer Different Park, has established her place among a distinguished line of outlaws who have messily drawn outside the lines and pushed country music fans to either annoyance or elation. But ultimately, their songs made the genre richer, deeper and better.

Same Trailer Different Park quietly captures the desolation and desperation of small-town America with songs that succeed because they are neither Sunday-morning sermons, fist-pumping party anthems or parodies of redneck life. Rather, Musgraves delivers personal stories that ring genuine. Musgraves’ trajectory sets her up for a future filled with songs that could keep company with songwriters such as Tom Petty (dry and witty), Gram Parsons (bittersweet) and the Dixie Chicks (not always playing nice).

Raised in Golden, a speck of a town in East Texas, 25-year-old Musgraves has been singing and performing regularly since she was in elementary school. She released three independent albums of mostly Western swing as a teen, followed by a jump to Austin, and then Nashville, Tenn., where she appeared on the 2007 season of “Nashville Star.” Recently, she’s co-written songs for artists including Martina McBride and Miranda Lambert, whose GRAMMY-nominated “Mama’s Broken Heart” chart-topper was penned by Musgraves, Shane McAnally and Brandy Clark.

After a long and studied journey, Musgraves seems to have found her footing on the eclectic Same Trailer…, partnering with topflight wordsmiths including McAnally, Clark, Luke Laird, and Josh Osborne. McAnally, Laird and Musgraves hold co-producer credits on the release, which also earned a nod for Best Country Album. By confidently presenting darkly colored gems like “Follow Your Arrow” (endorsing both same-sex kissing and rolling a joint), “Merry Go Round” (“We get bored, so we get married/And just like dust we settle in this town”) and “It Is What It Is” (a riff on friends with benefits, from a woman’s perspective), it’s clear this isn’t country as usual. And it’s struck a chord with listeners of both progressive country and beyond who are happy to celebrate a young artist who’s not afraid to cause a little bit of trouble.

— Melissa Blazek

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56th Annual GRAMMY Awards

The international success of GRAMMYnominated singer/songwriter Ed Sheeran is a testament not only to the power of perseverance but to the art of songwriting.

He has cultivated a favorable combination of sweetness and grit that resonates strongly with his audience and embraces different genres, from pop to R&B and hiphop. His lyrics often go beyond expected love prose in tackling weighty topics such as addiction and homelessness.

In less than a decade, the ginger-haired British troubadour has graduated from small gigs and self-released songs to consorting with teen idols and a hobbit, and he has done all of this at an age when many people are just graduating from college. While this meteoric rise might seem sudden for the 22-yearold, his recording history dates back to 2005 when he began a steady release of EPs. His breakthrough came in 2011 when his No. 5 Collaborations Project EP captured the attention of Elton John and then Atlantic Records, which signed him early that year. Since then, he has exploded globally.

This year, Sheeran is nominated for Best New Artist, following last year’s nomination for Song Of The Year for “The A Team.” It’s the latest in a string of achievements that has included performing for Queen Elizabeth II and at the closing ceremony of the Summer Olympics in London in 2012.

His debut album, +, quickly topped the UK album chart and eventually peaked at No. 5 on the Billboard 200. He collaborated with Taylor Swift on “Everything Has Changed” from her 2012 GRAMMY-nominated album, Red (and served as the opening act on her tour in 2013), and co-wrote songs for One Direction, including the No. 1 UK hit “Little Things.” With only one full-length album under his belt, Sheeran successfully performed in front of several thousand people per night on his recent U.S. tour, including headlining three dates at New York’s hallowed Madison Square Garden. His music has been heard on hit TV shows such as “The Vampire Diaries,” and he contributed “I See Fire” to the 2013 film The Hobbit: The Desolation Of Smaug.

Not bad for a Best New Artist nominee who has his whole career ahead of him.

— Bryan Reesman

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56th Annual GRAMMY Awards

Christie Goodwin

Ed Sheeran

Nate Ruess

“Locked Out Of Heaven”

Philip Lawrence, Ari Levine & Bruno Mars, songwriters Bruno Mars, ar tist A collaboration between Bruno Mars and Smeezingtons cohorts Philip Lawrence and Ari Levine, this great intersection of soul and ska is one of many songs the trio have written by incorporating classic songwriting inspirations, such as Motown; the Beatles; Earth, Wind & Fire; Michael Jackson; and in this case, the Police. “It’s about finding ways to mix the classic [songs] we all love with modern songs,” Levine told Billboard.

With the song’s tip of the cap to Reggatta De Blanc-era Police, perhaps it’s fitting that Sting teamed with Mars for a performance of the song as part of a medley at the 55th GRAMMY Awards. “I grew up performing in bars, singing Police songs,” Mars said in an interview with MTV. “I remember performing ‘Roxanne.’ You play those first couple of chords, and you hit that first note, and you watch the whole bar ignite. And as an artist, as a songwriter, it’s like, ‘Man, I want to write a song that makes people’s eyes explode [on] the first chord!’” Despite its roots, “Locked Out Of Heaven” showcases the Smeezingtons’ trademark penchant for hooks galore and well-timed production flourishes. “I don’t think [the song] initially tried to sound like anybody else,” Mars said.

“I picked up the guitar and just started playing ... and I started singing that, and I was up there in Sting-ville, in that register, so that’s what you get.”

Philip Lawrence, Bruno Mars and Ari Levine

“Roar”

Lukasz Gottwald 50

Max Martin

56th Annual GRAMMY Awards

May Truong

Cass Bird

Epic Records

Kia Naddermier

Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry & Henry Walter, songwriters Katy Perr y, ar tist A song encapsulating bravery in the face of all life throws our way, “Roar” initially started as a collaboration between Henry “Cirkut” Walter and Lukasz “Dr. Luke” Gottwald. “Luke and I worked up several tracks that would have a fresh sound for Katy, and one of those became ‘Roar,’” says Walter. “The changes are simple, only two chords really. We had melodies to the tracks and then we played the track for Max Martin, and he came up with a lot of the melodies and melodic vibe. He took the track into his land, and started recording stuff on his own.” Once the music materialized, the song’s lyrical theme took shape. “Bonnie and Katy tweaked the melody and put lyrics to it,” says Walter. “The whole concept of empowerment — that vibe and essence — was there, but they came up with the lyrical content and the title ‘Roar.’ The wordless tag at the end of the chorus, Katy and Bonnie interwove that into the melody and made that a choppy, repetitive thing.” Perry told BBC Radio that the song was conceived during a time when she was “sick of keeping all these feelings inside and not speaking up for myself.” “Katy’s a great songwriter; she’s very hands-on,” says Walter. “She is deeply involved in the creation of her music. And it became a song of female empowerment, but the lyric is gender-free. It gives a general sense of triumph to everyone who listens to it.”

Bonnie McKee

Katy Perry

Henry Walter

Larry Busacca/Getty Images

Jeff Bhasker, Pink & Nate Ruess, songwriters Pink Featuring Nate Ruess, ar tists Penned by Pink with Fun.’s Nate Ruess and Jeff Bhasker, “Just Give Me A Reason” is one of those mythic songwriting tales in which writers had mere hours and mined a jewel. “Pink had wanted to work with Nate and myself,” says Bhasker, “and we were on tour, so we had one day. It was nerve-racking, but I had to be the confident one and say, ‘Hey, we can go ahead and do it. We’ll write a hit song with her.’” Once the die was Jeff Bhasker cast, the creativity flowed quickly. “I played some piano chords, and Nate started singing and she started typing. Suddenly she had all these lyrics,” says Bhasker. “She had almost the whole song, and we just had to fill in the blanks.” Interestingly, the Pink/Ruess vocal pairing almost didn’t come to be. “They sang their parts as a duet, with the intention of having someone else sing with her,” says Bhasker. “[At first] Nate didn’t want to be on the song because he’s part of Fun. But he ended Pink up sounding so amazing on it, who was going to top that performance?” The end result proved not only a smash hit, but an expertly written tale about the yearning desire to save a crumbling relationship. “It really was a totally collaborative process, and everything worked,” says Bhasker.

“We were able to put the puzzle together. And it’s such an interesting flow. The whole chorus doesn’t have one repeating hook. It is wordy and complex, but it works like a classic Burt Bacharach song.”

Ben Duggan

Lindsey Byrnes

Andrew Macpherson

Ninelle Efremova

“Just Give Me A Reason”

“Royals”

Joel Little & Ella Yelich O’Connor, songwriters Lorde, ar tist Written by Ella Yelich O’Connor, aka Lorde, when she was all of 15, with her collaborator, songwriter/producer Joel Little, “Royals” began, as do all of Lorde’s songs, as lyrical ideas in her notebook.

“We wrote it during Ella’s school holidays,” Little tells us. “She’d come into the studio with lyrics and we’d mess around with ideas.

It was my job to capture what she was saying musically, to find something that feels genuine. Her words are so clever, and her voice so unique, that it’s about staying out of the way of that, and letting her shine. On this day she came in with the entire lyric to ‘Royals.’ It instantly stood out to me as a unique and interesting take.” Though the lyrics were finalized, the song’s arrangement needed some time to crystallize. “We came up with the ‘We’ll never be royals, royals’ idea, and having a choir of Lordes follow,” says Little. “I put a beat together pretty quickly. We got pretty stuck, and frustrated at the end of the day. But the next morning we thought of having the contrast between a dark and soulful verse, and a nursery rhyme style prechorus. Once we clicked into that, everything came together pretty quickly.” And the inspiration for the song title? “The word ‘Royals’ was inspired by a picture of [George Brett] from the [Kansas City] Royals baseball team. [Ella] has an amazing way with words, [she’s] much more advanced than I am, and I’m twice her age. I am proud when I can sneak a line in.”

“Same Love”

Ben Haggerty, Mary Lambert & Ryan Lewis, songwriters Macklemore & Ryan Lewis Featuring Mar y Lamber t, ar tists Macklemore & Ryan Lewis’ ubiquitous anthem started as a dynamic rap track about the innate pain of being gay in today’s society, but with gaps where the chorus would go. Into those momentous gaps walked Seattle-based songwriter Mary Lambert, who drew from pure emotion to formulate a few lines: “And I can’t change, even if I wanted to … she keeps me warm.” The collaboration came about after Hollis Wong-Wear, Lambert’s mentor and a fellow songwriter, recommended her to the hip-hop duo. “Everything was done but the hook,” says Lambert, “and I loved it. I spent three hours, came up with four choruses. Then I went to meet them, and I was terrified. This was my moment. I sang what I had, and they looked bewildered. Ryan said, ‘I never say this, but I don’t want you to change any of that.’ I realized the [rap] was pragmatic and rational, and I wanted to bring a universal truth. It’s why it resonated with people: Everybody wants someone to keep them warm. I was raised in the Pentecostal church. It was a ritual to repent, and apologize to God for being gay. I’d sit in church and cry every Sunday.” “Same Love” has garnered praise from fans and critics alike, with Robert Christgau labeling it “the best gay marriage song to date in any genre.”

“When they sent me the song, I felt this was a real gift, because this was my story,” says Lambert. “I felt I was supposed to write this song. It’s a dream come true for me; I was working three jobs before this happened. Now I get to be a full-time artist and sing a song in front of 15,000 people a night. I feel like Cinderella.”

Joel Little

John Keatley

Jordan Arts

— Paul Zollo

Lorde

Mike Ruiz

Charles Howells

Macklemore & Ryan Lewis

Mary Lambert

56th Annual GRAMMY Awards

51

56th GRAMMY AWARDS

Random Access Memories Daft Punk

General Field

1 Record Of The Year Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist.

Get Lucky

Daft Punk & Pharrell Williams Thomas Bangalter & Guy-Manuel De Homem-Christo, producers; Peter Franco, Mick Guzauski, Florian Lagatta & Daniel Lerner, engineers/mixers; Antoine “Chab” Chabert & Bob Ludwig, mastering engineers Track from: Random Access Memories [Columbia Records]

Radioactive

Imagine Dragons Alex Da Kid, producer; Manny Marroquin & Josh Mosser, engineers/mixers; Joe LaPorta, mastering engineer Track from: Night Visions [Kidinakorner/Interscope]

Royals Lorde

Joel Little, producer; Joel Little, engineer/ mixer; Stuart Hawkes, mastering engineer Track from: Pure Heroine [Universal Music]

Locked Out Of Heaven Bruno Mars

Jeff Bhasker, Emile Haynie, Mark Ronson & The Smeezingtons, producers; Alalal, Josh Blair, Wayne Gordon, Ari Levine, Manny Marroquin & Mark Ronson, engineers/mixers; David Kutch, mastering engineer Track from: Unorthodox Jukebox [Atlantic]

Blurred Lines

Robin Thicke Featuring T.I. & Pharrell Williams Pharrell, producer; Andrew Coleman & Tony Maserati, engineers/mixers; Chris Gehringer, mastering engineer Track from: Blurred Lines [Star Trak/Interscope]

2 Album Of The Year Award to the Artist(s) and to the Album Producer(s), Recording Engineer(s) and/or Mixer(s) & Mastering Engineer(s), if other than the artist.

The Blessed Unrest Sara Bareilles

Sara Bareilles, Mark Endert & John O’Mahony, producers; Jeremy Darby, Mark Endert & John O’Mahony, engineers/mixers; Greg Calbi, mastering engineer [Epic Records]

Julian Casablancas, DJ Falcon, Todd Edwards, Chilly Gonzales, Giorgio Moroder, Panda Bear, Nile Rodgers, Paul Williams & Pharrell Williams, featured artists; Thomas Bangalter, Julian Casablancas, Guy-Manuel De Homem-Christo, DJ Falcon & Todd Edwards, producers; Peter Franco, Mick Guzauski, Florian Lagatta, Guillaume Le Braz & Daniel Lerner, engineers/mixers; Antoine “Chab” Chabert & Bob Ludwig, mastering engineers [Columbia Records]

Good Kid, M.A.A.D City Kendrick Lamar

Mary J. Blige, Dr. Dre, Drake, Jay Rock, Jay Z, MC Eiht & Anna Wise, featured artists; DJ Dahi, Hit-Boy, Skhye Hutch, Just Blaze, Like, Terrace Martin, Dawaun Parker, Pharrell, Rahki, Scoop DeVille, Sounwave, Jack Splash, Tabu, Tha Bizness & T-Minus, producers; Derek Ali, Dee Brown, Dr. Dre, James Hunt, Mauricio “Veto” Iragorri, Mike Larson, Jared Scott, Jack Splash & Andrew Wright, engineers/mixers; Mike Bozzi & Brian “Big Bass” Gardner, mastering engineers [TDE/Aftermath/Interscope Records]

The Heist

Macklemore & Ryan Lewis Ab-Soul, Ben Bridwell, Ray Dalton, Eighty4 Fly, Hollis, Mary Lambert, Baffalo Madonna, Evan Roman, Schoolboy Q, Allen Stone, The Teaching & Wanz, featured artists; Ryan Lewis, producer; Ben Haggerty, Ryan Lewis, Amos Miller, Reed Ruddy & Pete Stewart, engineers/mixers; Tom Coyne, Brian Gardner, mastering engineers [Macklemore LLC]

Red

Taylor Swift Gary Lightbody & Ed Sheeran, featured artists; Jeff Bhasker, Nathan Chapman, Dann Huff, Jacknife Lee, Max Martin, Shellback, Taylor Swift, Butch Walker & Dan Wilson, producers; Joe Baldridge, Sam Bell, Matt Bishop, Chad Carlson, Nathan Chapman, Serban Ghenea, John Hanes, Sam Holland, Michael Ilbert, Tyler Johnson, Jacknife Lee, Steve Marcantonio, Manny Marroquin, Justin Niebank, John Rausch, Eric Robinson, Pawel Sek, Jake Sinclair, Mark “Spike” Stent & Andy Thompson, engineers/mixers; Tom Coyne & Hank Williams, mastering engineers [Big Machine Records]

®

Locked Out Of Heaven

Philip Lawrence, Ari Levine & Bruno Mars, songwriters (Bruno Mars) Track from: Unorthodox Jukebox [Atlantic; Publishers: Mars Force Songs, LLC/BMG Rights Management (US) LLC/BMG/Roc Nation Music/ Music Famamanem LP/EMI April Music Inc./Toy Plane Music — Universal Music/Universal Music Corp.]

Roar

Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry & Henry Walter, songwriters (Katy Perry) [Capitol; Publishers: When I’m Rich You’ll Be My Bitch/Kasz Money Publishing/MXM/Kobalt Songs Music Publishing Inc./Bonnie McKee Music/Where Da Kasz At?/Songs Of Pulse Recording/Oneirology Publishing/Prescription Songs]

Royals

Joel Little & Ella Yelich O’Connor, songwriters (Lorde) Track from: Pure Heroine [Universal Music; Publishers: Copyright Control/Sony ATV]

Same Love

Ben Haggerty, Mary Lambert & Ryan Lewis, songwriters (Macklemore & Ryan Lewis Featuring Mary Lambert) Track from: The Heist [Macklemore & Ryan Lewis LLC; Publishers: Macklemore Publishing/Ryan Lewis Publishing]

4 Best New Artist For a new artist who releases, during the eligibility year, the first recording which establishes the public identity of that artist.

James Blake Kendrick Lamar Macklemore & Ryan Lewis Kacey Musgraves

3

Ed Sheeran

Song Of The Year

Pop

A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

5

Just Give Me A Reason

Jeff Bhasker, Pink & Nate Ruess, songwriters (Pink Featuring Nate Ruess) Track from: The Truth About Love [RCA Records; Publishers: EMI Blackwood Music, Inc./P!nk Inside Publishing/Way Above Music/Sony/ATV Songs LLC/WB Music Corp./FBR Music/Bearvon Music]

Best Pop Solo Performance For new vocal or instrumental pop recordings. Singles or Tracks only.

Brave

Sara Bareilles Track from: The Blessed Unrest [Epic Records]

Royals Lorde

Track from: Pure Heroine [Universal Republic]

52

56th Annual GRAMMY Awards

For recordings released during the Eligibility Year October 1, 2012, through September 30, 2013.

Note: More or less than 5 nominations in a category is the result of ties.

Zedd Featuring Foxes

[Concord Records]

Zedd, producer; Zedd, mixer Track from: Clarity [Interscope Records]

Dave Koz, Gerald Albright, Mindi Abair & Richard Elliot

When I Was Your Man Bruno Mars

Track from: Unorthodox Jukebox [Atlantic]

Clarity

Summer Horns

Hacienda

Jeff Lorber Fusion [Heads Up International]

10 Best Dance/Electronica Album

Roar

8

[Capitol]

Best Pop Vocal Album

Random Access Memories

For albums containing at least 51% playing time of new vocal pop recordings.

[Columbia Records]

Paradise

Disclosure

Katy Perry

Mirrors

Justin Timberlake Track from: The 20/20 Experience — The Complete Experience [RCA Records]

6 Best Pop Duo/Group Performance For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.

Get Lucky

Daft Punk & Pharrell Williams Track from: Random Access Memories [Columbia Records]

Just Give Me A Reason Pink Featuring Nate Ruess

Track from: The Truth About Love [RCA Records]

Lana Del Rey [Polydor UK/Interscope]

Pure Heroine Lorde

[Universal Republic]

Unorthodox Jukebox Bruno Mars [Atlantic]

Blurred Lines Robin Thicke

[Star Trak/Interscope]

The 20/20 Experience — The Complete Experience Justin Timberlake [RCA Records]

Stay

Dance/Electronica

[Def Jam Records]

9

Rihanna Featuring Mikky Ekko

Blurred Lines

Robin Thicke Featuring T.I. & Pharrell Williams Track from: Blurred Lines [Star Trak/Interscope]

Suit & Tie

Justin Timberlake & Jay Z Track from: The 20/20 Experience — The Complete Experience [RCA Records]

7 Best Pop Instrumental Album For albums containing at least 51% playing time of new instrumental pop recordings.

Steppin’ Out Herb Alpert

[Shout! Factory]

The Beat

Boney James

Best Dance Recording For solo, duo, group or collaborative performances.

Vocal or Instrumental. Singles or Tracks only.

Need U (100%)

Duke Dumont Featuring A*M*E & MNEK

Daft Punk

Settle

[Cherrytree/Interscope Records]

18 Months Calvin Harris

[Columbia Records/Ultra Music]

Atmosphere Kaskade

[Ultra Records]

A Color Map Of The Sun Pretty Lights

[8 Minutes 20 Seconds Records]

Traditional Pop

11 Best Traditional Pop Vocal Album For albums containing at least 51% playing time of new traditional pop recordings.

Viva Duets

Tony Bennett & Various Artists [Columbia Records]

To Be Loved Michael Bublé [143/Reprise]

Adam Dyment & Tommy Forrest, producers; Adam Dyment & Tommy Forrest, mixers [Downtown Records /Win Records]

The Standards

Sweet Nothing

Cee Lo’s Magic Moment

Calvin Harris Featuring Florence Welch Calvin Harris, producer; Calvin Harris, mixer Track from: 18 Months [Columbia Records/Ultra Music]

Atmosphere Kaskade

Gloria Estefan [Masterworks]

Cee Lo Green [Elektra]

Now

Dionne Warwick [Blue Horizon]

Finn Bjarnson & Ryan Raddon, producers; Ryan Raddon, mixer [Ultra Records]

This Is What It Feels Like

[Concord Records]

Armin Van Buuren Featuring Trevor Guthrie

Handpicked

Armin Van Buuren & Benno De Goeij, producers; Armin Van Buuren & Benno De Goeij, mixers [Armada Music]

Earl Klugh

For vocal or instrumental albums. Albums only.

[Heads Up International]

56th Annual GRAMMY Awards

53

In Due Time

Rock

12 Best Rock Performance

Queens Of The Stone Age

Track from: Disarm The Descent [Roadrunner Records]

[Matador]

Room 24

Volbeat Featuring King Diamond Track from: Outlaw Gentlemen & Shady Ladies [Republic Records]

14

For new vocal or instrumental solo, duo/ group or collaborative rock recordings.

Best Rock Song

Always Alright

A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. For Song Eligibility Guidelines see Category #3.

(Artist names appear in parentheses.) Singles or Tracks only.

Track from: Silver Linings Playbook Original Motion Picture Soundtrack [Sony Classical]

Ain’t Messin ‘Round

Alabama Shakes

The Stars (Are Out Tonight) David Bowie

Track from: The Next Day [Columbia Records]

Radioactive

Imagine Dragons Track from: Night Visions [Kidinakorner/Interscope]

Kashmir

Led Zeppelin

Gary Clark Jr., songwriter (Gary Clark Jr.) [Warner Bros. Records; Publisher: Hotwire Unlimited LLC]

Cut Me Some Slack

Dave Grohl, Paul McCartney, Krist Novoselic & Pat Smear, songwriters (Paul McCartney, Dave Grohl, Krist Novoselic, Pat Smear) Track from: Sound City — Real To Reel [RCA Records/Roswell Records; Publishers: MPL Communications Inc./M.J.-Twelve Music/Murky Slough Music/Kobalt Music/Ruthensmear Music/Bug Music]

Doom And Gloom

Mick Jagger & Keith Richards, songwriters (The Rolling Stones)

Track from: Celebration Day [Swan Song/Atlantic]

[Universal Music Enterprises; Publisher: Promopub B.V.]

My God Is The Sun

God Is Dead?

Queens Of The Stone Age Track from: ...Like Clockwork [Matador]

I’m Shakin’ Jack White

[Columbia Records/Third Man]

13 Best Metal Performance For new vocal or instrumental solo, duo/ group or collaborative metal recordings.

T.N.T.

Anthrax Track from: Anthems [Megaforce]

God Is Dead?

Geezer Butler, Tony Iommi & Ozzy Osbourne, songwriters (Black Sabbath) Track from: 13 [Vertigo/Republic; Publishers: Aston Music/ Blizzard Music Limited/Valallen Music]

Panic Station

Matthew Bellamy, songwriter (Muse) [Warner Bros. Records; Publisher: Warner Chappell]

Alternative

16 Best Alternative Music Album Vocal or Instrumental.

The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You Neko Case

[Anti- Records]

Trouble Will Find Me The National [4AD]

Hesitation Marks Nine Inch Nails

[Columbia Records]

Lonerism

Tame Impala [Modular/Interscope]

Modern Vampires Of The City Vampire Weekend [XL Recordings]

R&B

17 Best R&B Performance For new vocal or instrumental R&B recordings.

Best Rock Album

[Epic Records/Streamline Records]

For albums containing at least 51% playing time of new vocal or instrumental rock, hard rock or metal recordings.

13

Black Sabbath [Vertigo/Republic]

Black Sabbath

Track from: 13 [Vertigo/Republic]

[Columbia Records]

The Enemy Inside

Mechanical Bull

Track from: Dream Theater [Roadrunner Records]

[RCA Records]

David Bowie

Kings Of Leon

Celebration Day Led Zeppelin

56th Annual GRAMMY Awards

[Reprise]

Love And War

[Swan Song/Atlantic]

54

Psychedelic Pill

Neil Young With Crazy Horse

15

The Next Day

Dream Theater

...Like Clockwork

Killswitch Engage

Tamar Braxton

Best Of Me

Anthony Hamilton Track from: Back To Love [RCA Records]

Nakamarra

Hiatus Kaiyote Featuring Q-Tip Track from: Tawk Tomahawk Sony Music Ent./Flying Buddha]

How Many Drinks?

Miguel Featuring Kendrick Lamar [RCA Records/Bystorm Entertainment]

Something

Snarky Puppy With Lalah Hathaway Track from: Family Dinner Volume One [Ropeadope Records]

TIMBALAND 56th GRAMMY® Nominee Best Rap Song “Holy Grail” Jay Z featuring Justin Timberlake Producer. Songwriter. Artist. GRAMMY® Winner.

Timbaland is hard to define, but easy to respect.

This year alone his credits include Three #1 Albums, Three #1 Singles and collaborations with superstar artists like Justin Timberlake, Beyoncé, Jay Z, Drake, and so many more. Timbaland is a true artist who at every stage of his career has managed to reinvent his sound and the sound of a generation. That’s why ole is proud to be Timbaland’s music publisher, as he creates the world’s soundtrack for 2014 and beyond.

YEARS

majorlyindie.com

Pusher Love Girl

James Fauntleroy, Jerome Harmon, Timothy Mosley & Justin Timberlake, songwriters (Justin Timberlake)

18 Best Traditional R&B Performance For new vocal or instrumental traditional R&B recordings.

Please Come Home Gary Clark Jr.

Track from: Blak And Blu [Warner Bros Records]

Get It Right Fantasia

Track from: Side Effects Of You [RCA Records/19 Recordings Limited]

Track from: The 20/20 Experience — The Complete Experience [RCA Records; Publishers: Tennman Tunes/Universal Music-Z Tunes/Virginia Beach Music/WB Music Corp./Jerome Harmon Publishing/Warner-Chappell Music Inc./James Fauntleroy Music/Almo Music]

Without Me

Fantasia Barrino, Missy Elliott, Al Sherrod Lambert, Harmony Samuels & Kyle Stewart, songwriters (Fantasia Featuring Kelly Rowland & Missy Elliott) Track from: Side Effects Of You [RCA Records/19 Recordings Limited; Publishers: H-Money Music/RJ Productions/EMI April Music Inc./Aristocratic Destiny Music/Penmanship Publishing/Songs Of Universal Inc./ Jogloe Music Publishing/Mass Confusion Productions Inc.]

20

Quiet Fire

Best Urban Contemporary Album

[Shanachie Entertainment]

For albums containing at least 51% playing time of newly recorded contemporary vocal tracks derivative of R&B.

Maysa

Hey Laura

Gregory Porter Track from: Liquid Spirit [Blue Note Records]

Yesterday

Note: This category is intended for artists whose music may include samples and elements of hiphop, rap, dance, and electronic music. It may also incorporate production elements found in urban pop, urban Euro-pop, urban rock, and urban alternative.

[Motown Records]

Three Kings TGT

[Atlantic Records]

Rap

22 Best Rap Performance For a rap performance. Singles or Tracks only.

Started From The Bottom Drake

[Young Money/Cash Money]

Berzerk Eminem

[Aftermath/Interscope/Shady Records]

Tom Ford Jay Z

Track from: Magna Carta ... Holy Grail [Roc Nation]

Swimming Pools (Drank) Kendrick Lamar

Track from: Good Kid, M.A.A.D City [TDE/Aftermath/Interscope Records]

Ryan Shaw

Love And War

Track from: Real Love [Dynotone Records]

[Epic Records/Streamline Records]

Macklemore & Ryan Lewis Featuring Wanz

Side Effects Of You

Track from: The Heist [Macklemore & Ryan Lewis LLC]

19 Best R&B Song A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.

Best Of Me

Anthony Hamilton & Jairus Mozee, songwriters (Anthony Hamilton) Track from: Back To Love [RCA Records; Publishers: Tappy Whyte’s Music LLC/ Songs Of Universal Inc./Spuggy Bug Music]

Love And War

Tamar Braxton, Darhyl Camper Jr., LaShawn Daniels & Makeba Riddick, songwriters (Tamar Braxton) [Epic Records/Streamline Records; Publishers: EMI April Music Inc./Miserable Girl Inc./Campstar Music/ The Book Productions/EMI Blackwood Music Inc./ Janice Combs Publishing/Yoga Flames Music]

Only One

PJ Morton, songwriter (PJ Morton Featuring Stevie Wonder) [Cash Money/Universal Republic; Publisher: Fly Nerd Music]

Tamar Braxton

Fantasia

[RCA Records/19 Recordings Limited]

One: In The Chamber Salaam Remi

[Flying Buddha/Masterworks]

Unapologetic Rihanna

[Def Jam Records]

23 Best Rap/Sung Collaboration For a newly recorded rap/sung collaborative performance by artists who do not normally perform together.

Power Trip

J. Cole Featuring Miguel Track from: Born Sinner [Roc Nation/Columbia Records]

[Louder Than Life/Sony Music]

Part II (On The Run)

21

Track from: Magna Carta ... Holy Grail [Roc Nation]

Mack Wilds

Best R&B Album For albums containing at least 51% playing time of new vocal or instrumental R&B recordings.

R&B Divas Faith Evans

Jay Z Featuring Beyoncé

Holy Grail

Jay Z Featuring Justin Timberlake Track from: Magna Carta ... Holy Grail [Roc Nation]

Now Or Never

[Prolific Music Group/Eone Music]

Kendrick Lamar Featuring Mary J. Blige

Girl On Fire

Track from: Good Kid, M.A.A.D City [TDE/Aftermath/Interscope Records]

Alicia Keys

Love In The Future John Legend

[Columbia Records]

56th Annual GRAMMY Awards

Thrift Shop

New York: A Love Story

[RCA Records]

56

Better

Chrisette Michele

Remember You

Wiz Khalifa Featuring The Weeknd Track from: O.N.I.F.C. [Rostrum/Atlantic]

56th GRAMMY AWARDS

24 Best Rap Song A song must contain music and lyrics and must be either a new song or a song first achieving prominence during the eligibility year. Songs containing sampled material are eligible in this category. (Artist names appear in parentheses.)

F***in’ Problems

Tauheed Epps, Aubrey Graham, Kendrick Lamar, Rakim Mayers & Noah Shebib, songwriters (ASAP Rocky Featuring Drake, 2 Chainz & Kendrick Lamar) Track from: Long.Live.ASAP [RCA Records/Polo Grounds Music; Publishers: ASAP Rocky Music Publishing LLC/Sony/ATV Songs LLC/ Mavor & Moses LLC/Kobalt Songs Music Publishing Inc./ Herbilicious Music/Black Fountain Music/Livewrite/ EMI Blackwood Music Inc./Ty Epps Music/Top Dawg Music/Hard Working Black Folks Inc./WB Music Corp]

Holy Grail

Good Kid, M.A.A.D City Kendrick Lamar

[TDE/Aftermath/Interscope Records]

The Heist

Macklemore & Ryan Lewis

Tim McGraw, Taylor Swift & Keith Urban

Yeezus

[Big Machine Records]

Kanye West [Def Jam]

Country

26 Best Country Solo Performance For new vocal or instrumental solo country recordings.

I Drive Your Truck Lee Brice

Track from: Hard 2 Love [Curb Records]

Track from: Magna Carta ... Holy Grail [Roc Nation; Publishers: Carter Boys/Warner Chappell/ WB Music Corp./2082 Music Publishing/Tennmann Tunes/Universal Music Z Tunes/VB Rising/ole/Jerome Harmon Publishing/Chrysalis Music/Let The Story Begin Publishing/EMI Virgin Songs Inc./Primary Wave Tunes/The End Of Music/MJ Twelve Music/WarnerTamerlane Publishing Corp./Murky Slough Music]

Track from: Hunter Hayes (Encore) [Atlantic]

New Slaves

Darius Rucker

Track from: Yeezus [Def Jam]

I Want Crazy Hunter Hayes

Mama’s Broken Heart Miranda Lambert

[RCA Records Label Nashville]

Wagon Wheel Track from: True Believers [Capitol Records Nashville]

Mine Would Be You Blake Shelton

Track from: Based On A True Story [Warner Bros. Records]

Started From The Bottom

27

[Young Money/Cash Money; Publishers: Sandra Gale/ EMI Music Publishing/Mavor & Moses Inc./Kobalt]

Best Country Duo/Group Performance

Thrift Shop

For new vocal or instrumental duo/group or collaborative country recordings.

W. Coleman, Aubrey Graham & Noah Shebib, songwriters (Bruno Sanfilippo, songwriter) (Drake)

Highway Don’t Care

[Macklemore & Ryan Lewis LLC]

Shawn Carter, Terius Nash, J. Harmon, Timothy Mosley, Justin Timberlake & Ernest Wilson, songwriters (Kurt Cobain, Dave Grohl & Krist Novoselic, songwriters) (Jay Z Featuring Justin Timberlake)

Christopher Breaux, Ben Bronfman, Mike Dean, Noah Goldstein, Louis Johnson, Malik Jones, Sham Joseph, Elon Rutberg, Sakiya Sandifer, Travis Scott, Che Smith, Kanye West & Cydell Young, songwriters (Anna Adamis & Gabor Presser, songwriters) (Kanye West)

®

You Can’t Make Old Friends Kenny Rogers With Dolly Parton [Warner Music Nashville]

28 Best Country Song A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.

Begin Again

Taylor Swift, songwriter (Taylor Swift) [Big Machine Records; Publishers: Sony/ ATV Tree Publishing/Taylor Swift Music]

I Drive Your Truck

Jessi Alexander, Connie Harrington & Jimmy Yeary, songwriters (Lee Brice) Track from: Hard 2 Love [Curb Records; Publishers: Vistaville Music/Happy Tears Music/EMI Blackwood Music Inc./Watch This Girl Publishing/Great Day At This Music/Beattyville Music]

Mama’s Broken Heart

Brandy Clark, Shane McAnally & Kacey Musgraves, songwriters (Miranda Lambert) [RCA Records Label Nashville; Publishers: Tunes Of Bigger Picture/Vista Loma Music/Crazy Water Music/ Little Blue Egg/Kobalt Songs Music Publishing/ Warner-Tamerlane Publishing Corp/351 Music]

Merry Go ‘Round

Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves) Track from: Same Trailer Different Park [Mercury Records]

Mine Would Be You

Jessi Alexander, Connie Harrington & Deric Ruttan, songwriters (Blake Shelton) Track from: Based On A True Story [Warner Bros. Records; Publishers: WB Music Corp/Doc And Maggie Music/Get A Load Of This Music/Vistaville Music/Happy Tears Music]

Ben Haggerty & Ryan Lewis, songwriters (Macklemore & Ryan Lewis Featuring Wanz)

From This Valley

Track from: The Heist [Macklemore & Ryan Lewis LLC; Publishers: Macklemore Publishing/Ryan Lewis Publishing]

Track from: The Civil Wars [Sensibility Recordings/Columbia Records]

25

Kelly Clarkson Featuring Vince Gill

Don’t Rush

Best Country Album

Best Rap Album

Track from: Greatest Hits: Chapter One [RCA Records/19 Recordings Limited]

For albums containing at least 51% playing time of new vocal or instrumental country recordings.

For albums containing at least 51% playing time of new rap recordings.

Your Side Of The Bed

Night Train

Nothing Was The Same

Track from: Tornado [Capitol Records Nashville]

[Broken Bow Records]

Drake

[Young Money/Cash Money]

Magna Carta ... Holy Grail

The Civil Wars

Little Big Town

29

Jason Aldean

Two Lanes Of Freedom Tim McGraw

[Big Machine Records]

Jay Z

[Roc Nation]

56th Annual GRAMMY Awards

57

Song Without Words #4: Duet Fred Hersch, soloist

Track from: Free Flying (Fred Hersch And Julian Lage) [Palmetto Records]

Same Trailer Different Park Kacey Musgraves [Mercury Records]

Based On A True Story Blake Shelton

[Warner Bros. Records]

Red

Taylor Swift

Track from: Casting For Gravity [Greenleaf Music]

Orbits

Wayne Shorter, soloist Track from: Without A Net (The Wayne Shorter Quartet) [Blue Note Records]

[Big Machine Records]

32

New Age

Best Jazz Vocal Album

30

For albums containing at least 51% playing time of new vocal jazz recordings.

Best New Age Album

The World According To Andy Bey

For albums containing at least 51% playing time of new vocal or instrumental new age recordings.

[HighNote Records]

Lux

Lorraine Feather

Brian Eno [Warp Records]

Illumination Peter Kater

[Mysterium Music]

Final Call Kitaro

[Domo Records Inc.]

Awakening The Fire

R. Carlos Nakai & Will Clipman [Canyon Records]

Love’s River Laura Sullivan

Andy Bey

Attachments

Liquid Spirit Gregory Porter

Terence Blanchard, soloist

Cécile McLorin Salvant [Mack Avenue Records]

After Blue

Tierney Sutton [BFM Jazz]

33

Guided Tour

The New Gary Burton Quartet [Mack Avenue Records]

Money Jungle: Provocative In Blue Terri Lyne Carrington [Concord Jazz]

Life Forum

Gerald Clayton [Concord Jazz]

Pushing The World Away

Song For Maura

[Mack Avenue Records]

Track from: Song For Maura (Paquito D’Rivera And Trio Corrente) [Sunnyside Records/Paquito Records]

Christian McBride Trio

56th Annual GRAMMY Awards

Night In Calisia

Randy Brecker, Włodek Pawlik Trio & Kalisz Philharmonic [Summit Records]

Wild Beauty

Brussels Jazz Orchestra Featuring Joe Lovano [Half Note]

March Sublime Alan Ferber

[Sunnyside Records]

Intrada

Dave Slonaker Big Band [Origin Records]

35 Best Latin Jazz Album

Track from: Magnetic [Blue Note Records]

Paquito D’Rivera, soloist

[New Amsterdam Records]

For vocal or instrumental albums containing at least 51% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, IberianAmerican, Brazilian, and Argentinean tango music.

For albums containing at least 51% playing time of new instrumental jazz recordings.

Don’t Run

Brooklyn Babylon

Darcy James Argue’s Secret Society

WomanChild

Jazz

For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter’s name is in parentheses for identification. Singles or Tracks only.

For albums containing at least 51% playing time of new ensemble jazz recordings.

[Blue Note Records]

Best Jazz Instrumental Album

Best Improvised Jazz Solo

Best Large Jazz Ensemble Album

[Jazzed Media]

[Sentient Spirit Records]

31

58

Stadium Jazz

Donny McCaslin, soloist

34

Kenny Garrett

Out Here

[Mack Avenue Records]

La Noche Más Larga Buika

[Warner Music Spain S.L.]

Song For Maura

Paquito D’Rivera And Trio Corrente [Sunnyside Records/Paquito Records]

Yo

Roberto Fonseca [Concord Jazz/Montuno Producciones]

– Eggun

Omar Sosa [Otá Records]

Latin Jazz-Jazz Latin

Wayne Wallace Latin Jazz Quintet [Patois Records]

FEATURING TREVOR GUTHRIE

THIS IS WHAT IT FEELS LIKE

THANK YOU FOR YOUR SUPPORT!

CHECK OUT THE ARMIN ONLY NORTH AMERICA TOUR AT ARMINONLY.COM

If I Believe

Wirlie Morris, Michael Paran, Charlie Wilson & Mahin Wilson, songwriters (Charlie Wilson)

Gospel/Contemporary Christian Music

36 Best Gospel/Contemporary Christian Music Performance For new vocal gospel/CCM recordings. All subgenres of gospel/CCM music are eligible.

Break Every Chain (Live) Tasha Cobbs

Track from: Grace (Live) [EMI Gospel/Motown Gospel]

Hurricane Natalie Grant [Curb Records]

Lord, I Need You Matt Maher

Track from: All The People Said Amen (Live) [Essential Records]

For albums containing at least 51% playing time of new vocal gospel recordings.

A Little More Jesus

Grace (Live)

Erica Campbell, Tina Campbell & Warryn Campbell, songwriters (Erica Campbell) [My Block Inc/EOne Music; Publishers: That’s Plum Song-EMI April/It’s Tea Tyme-EMI April/Campbell Kids]

Still

37 Best Gospel Song A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.

Have Your Way

Calvin Frazier & Deitrick Haddon, songwriters (Deitrick Haddon) [RCA Inspiration; Publishers: Deitrick Vaughn Haddon Publishing/Calvin Frazier Publishing]

If He Did It Before ... Same God (Live) Tye Tribbett, songwriter (Tye Tribbett) Track from: Greater Than (Live) [Motown Gospel; Publisher: Everything Fresh Entertainment LLC]

Bishop Paul S. Morton [Tehillah Music Group/EOne]

God Chaser (Live)

Best Contemporary Christian Music Song

[RCA Inspiration/Verity Gospel Music Group]

A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.

Hurricane

Love Take Me Over

Steven Curtis Chapman, songwriter (Steven Curtis Chapman) Track from: The Glorious Unfolding [Reunion Records; Publishers: Chappy Campers Music/Primary Wave/Wizen Music]

Overcomer

William Murphy

Greater Than (Live) Tye Tribbett

[Motown Gospel]

40 Best Contemporary Christian Music Album For albums containing at least 51% playing time of new vocal contemporary Christian music recordings.

We Won’t Be Shaken Building 429

[Essential Records]

All The People Said Amen (Live) Matt Maher

[Essential Records]

David Garcia, Ben Glover & Christopher Stevens, songwriters (Mandisa)

Overcomer

Track from: Overcomer [Sparrow Records; Publishers: Ariose Music/9T One Songs/Meaux Mercy/LarryDavid Music/ Capitol CMG Publishing/Universal MusicBrentwood Benson Publishing/D Soul Music]

[Sparrow Records]

Speak Life

Toby McKeehan, Jamie Moore & Ryan Stevenson, songwriters (Tobymac) Track from: Eye On It [Forefront Records; Publishers: Achtober Songs/ EMI CMG Publishing/Universal Music — Brentwood Benson Publishing/Songs Of Emack/ Jamnu Music/Hole-Steen Music]

Ed Cash, Scott Cash & Chris Tomlin, songwriters (Chris Tomlin) Track from: Burning Lights [sixstepsrecords/Sparrow Records; Publishers: Sixsteps Songs/Worship Together Music/A Thousand Generations Publishing/EMI CMG Publishing/Alletrop Music/McTyeire Music]

56th Annual GRAMMY Awards

Best Days Yet

38

Whom Shall I Fear (God Of Angel Armies)

60

Donald Lawrence

Track from: Kingdom Inspirations [Maranatha! Music/K-Bizz Ent.; Publisher: Kingdom Bizz Songs BMI]

Track from: Overcomer [Sparrow Records]

Tye Tribbett

Best For Last: 20 Year Celebration Vol. 1 (Live) [Quietwater Entertainment/EOne]

[Curb Records; Publisher: SeeSeeBubbaSongs/Tunes Of R And T Direct/Razor & Tie Music Publishing LLC/Sony/ ATV Timber Publishing/Forest For The Trees Music/ Checkpointchicky Music/Seems Like Music/Music Services]

Track from: Greater Than (Live) [Motown Gospel]

Tasha Cobbs

[EMI Gospel/Motown Gospel]

Percy Bady, songwriter (Percy Bady Featuring Lowell Pye)

Overcomer

If He Did It Before ... Same God (Live)

Best Gospel Album

Track from: Love, Charlie [RCA Records/P Music Group Inc.; Publishers: Nephew Wirlie Music/EMI Music Publishing/Pacific Coast Pirate Publishing/Mamas Pebbly Publishing]

Matt Bronleewe, Natalie Grant & Cindy Morgan, songwriters (Natalie Grant)

Mandisa

39

Mandisa

Your Grace Finds Me (Live) Matt Redman

[sixstepsrecords/Sparrow Records]

Burning Lights Chris Tomlin

[sixstepsrecords/Sparrow Records]

43 Latin

41 Best Latin Pop Album For albums containing at least 51% playing time of new vocal or instrumental Latin pop recordings.

A Songwriter(s) Award. Includes Americana, bluegrass, blues, folk or regional roots songs. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.

El Free

Banda Los Recoditos [Disa]

[Universal Music Latino]

[Universal Music Latin]

Viajero Frecuente

A Mi Manera

Intocable

Mariachi Divas De Cindy Shea

Build Me Up From Bones

Sarah Jarosz, songwriter (Sarah Jarosz) [Sugar Hill Records; Publisher: SoRow Music]

Invisible

Steve Earle, songwriter (Steve Earle & The Dukes [& Duchesses]) [New West Records; Publisher: Exile On Jones St. Music]

Keep Your Dirty Lights On

Tim O’Brien & Darrell Scott, songwriters (Tim O’Brien And Darrell Scott)

[Sony Music Latin]

[East Side Records/Shea Records]

Vida

Romeo Y Su Nieta

[Sony Music Latin]

[Balboa Records, Co./Musart]

Syntek

13 Celebrando El 13

Edie Brickell & Steve Martin, songwriters (Steve Martin & Edie Brickell)

[Sony Music Latin]

[Fonovisa]

Track from: Love Has Come For You [Rounder; Publishers: LA Films Music/Brick Elephant Music]

12 Historias

44

Draco Rosa

Aleks Syntek

Tommy Torres

Paquita La Del Barrio

Joan Sebastian

[Warner Music Latina]

Best Tropical Latin Album

42

For albums containing at least 51% playing time of new vocal or instrumental tropical Latin recordings.

Best Latin Rock, Urban or Alternative Album

Marc Anthony

For albums containing at least 51% playing time of new vocal or instrumental Latin rock, urban or alternative recordings.

El Objeto Antes Llamado Disco Café Tacvba

[Universal Music Latino]

Ojo Por Ojo El Tri

[Warner Music Latina]

Chances

Illya Kuryaki And The Valderramas [Sony Music Latin]

Treinta Días La Santa Cecilia

[Universal Music Latino Y Arju Productions Inc.]

Repeat After Me Los Amigos Invisibles [Nacional Records]

62

Best American Roots Song

For albums containing at least 51% playing time of new vocal or instrumental regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera, and Tejano) recordings.

En Peligro De Extinción

Ricardo Montaner

45

Best Regional Mexican Music Album (Including Tejano)

Faith, Hope Y Amor Frankie J

American Roots Music

56th Annual GRAMMY Awards

3.0

Track from: Memories And Moments [Full Skies Records]

Love Has Come For You

Shrimp Po-Boy, Dressed

Allen Toussaint, songwriter (Allen Toussaint) Track from: Songbook [Rounder; Publishers: Screen Gems-EMI Music Inc/Marsaint Music Inc.]

46

[Sony Music Latin]

Best Americana Album

Como Te Voy A Olvidar

For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.

Los Angeles Azules [Sony Music Latin]

Old Yellow Moon

Pacific Mambo Orchestra

Emmylou Harris & Rodney Crowell

Pacific Mambo Orchestra

[Nonesuch Records]

[Tumalanmusic/Stefrecords]

Love Has Come For You

Sergio George Presents Salsa Giants Various Artists

[Top Stop Music]

Steve Martin & Edie Brickell [Rounder]

Buddy And Jim

Corazón Profundo

Buddy Miller And Jim Lauderdale

Carlos Vives

[New West Records]

[Sony Music Latin]

One True Vine Mavis Staples [Anti- Records]

Songbook

Allen Toussaint [Rounder]

49 Best Folk Album

47

51 Best Reggae Album

My Favorite Picture Of You

For albums containing at least 51% playing time of new vocal or instrumental reggae recordings.

[Dualtone]

One Love, One Life

Sweetheart Of The Sun

[VP Records]

The Boxcars

[Darling Street Records]

Ziggy Marley In Concert

[Mountain Home Music Company]

Build Me Up From Bones

[Tuff Gong Worldwide]

Dailey & Vincent

[Sugar Hill Records]

The Messiah

[Rounder]

The Ash & Clay

[VP Records]

Best Bluegrass Album For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.

It’s Just A Road

Brothers Of The Highway

This World Oft Can Be

Guy Clark

The Greencards

Sarah Jarosz

The Milk Carton Kids

Della Mae

[Anti- Records]

[Rounder]

They All Played For Us: Arhoolie Records 50th Anniversary Celebration

Three Chords And The Truth James King [Rounder]

The Streets Of Baltimore

(Various Artists)

Chris Strachwitz, producer [Arhoolie Records]

Beres Hammond

Ziggy Marley

Sizzla

Reggae Connection

Sly & Robbie And The Jam Masters [K’z Records]

Reincarnated Snoop Lion

[RCA Records/Berhane Sound System/Boss Lady Entertainment/Vice/Mad Decent]

50

World Music

48

Best Regional Roots Music Album

52

Best Blues Album

For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.

Del McCoury Band [McCoury Music]

For albums containing at least 51% playing time of new vocal or instrumental blues recordings.

Remembering Little Walter

Billy Boy Arnold, Charlie Musselwhite, Mark Hummel, Sugar Ray Norcia & James Harman [Blind Pig Records]

Cotton Mouth Man James Cotton [Alligator]

The Life & Times Of ...

The Hot 8 Brass Band Hot 8 Brass Band

No Place For My Dream

[Palm Records]

[Knitting Factory Records]

Le Fou

Live: Singing For Peace Around The World

Kahulanui

Zachary Richard

Dockside Sessions

Terrance Simien & The Zydeco Experience [Musicmatters Records]

[J&R Adventures]

Apache Blessing & Crown Dance Songs

Down In Louisiana

[Cool Runnings Music]

Bobby Rush

[Deep Rush Records]

56th Annual GRAMMY Awards

Gipsy Kings

Hula Ku’i

[Stax]

Beth Hart & Joe Bonamassa

Savor Flamenco [Knitting Factory Records]

[Avalanche Productions]

Seesaw

Best World Music Album For albums containing at least 51% playing time of new vocal or instrumental world music recordings.

[Tru Thoughts]

Get Up!

Ben Harper With Charlie Musselwhite

64

For albums containing at least 51% playing time of new vocal or instrumental folk recordings.

Reggae

Joe Tohonnie Jr.

Femi Kuti

Ladysmith Black Mambazo [Ladysmith Black Mambazo]

The Living Room Sessions Part 2 Ravi Shankar

[East Meets West Music Inc.]

Children’s

53 Best Children’s Album For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.

Blue Clouds

Elizabeth Mitchell & You Are My Flower [Smithsonian Folkways Recordings]

The Mighty Sky

Beth Nielsen Chapman [BNC Records]

Recess

Justin Roberts [Carpet Square Records]

Singing Our Way Through: Songs For The World’s Bravest Kids Alastair Moock & Friends [Moockshake Music]

Throw A Penny In The Wishing Well Jennifer Gasoi

[Sparkling Productions]

Spoken Word

54 Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling) America Again: Re-Becoming The Greatness We Never Weren’t Stephen Colbert [Hachette Audio]

Carrie And Me Carol Burnett

[Simon & Schuster Audio]

Let’s Explore Diabetes With Owls David Sedaris

[Hachette Audio]

Still Foolin’ ‘Em Billy Crystal

[Macmillan Audio]

The Storm King Pete Seeger

[Hachette Audio]

Comedy

Music for Visual Media

55

57

Best Comedy Album

Best Compilation Soundtrack For Visual Media

For albums containing at least 51% playing time of new recordings.

[Back Lot Music]

Award to the Artist(s) and/or Producer(s) of a majority of the tracks on the album, or, in the absence of either, to the individual(s) actively responsible for the concept and musical direction and for the selection of artists, songs and producers, as applicable.

I’m Here To Help

Django Unchained

[New Wave Dynamics]

Quentin Tarantino, compilation producer [Loma Vista/Universal Republic]

Calm Down Gurrl Kathy Griffin

Craig Ferguson

A Little Unprofessional Ron White

[Organica Music Group]

(Various Artists)

The Great Gatsby (Deluxe Edition) (Various Artists)

Live

Baz Luhrmann, compilation producer [WaterTower Music/Interscope]

[Secretly Canadian]

Les Misérables (Deluxe Edition)

That’s What I’m Talkin’ About [New Wave Dynamics]

Cameron Mackintosh, Lee McCutcheon & Stephen Metcalfe, compilation producers [Universal Republic]

Musical Theater

Muscle Shoals

56

Stephen Badger & Greg Camalier, compilation producers [Universal Republic]

Best Musical Theater Album

Sound City: Real To Reel

Tig Notaro

Bob Saget

For albums containing at least 51% playing time of new recordings. Award to the principle vocalist(s) and the album producer(s) of 51% or more playing time of the album. The lyricist(s) and composer(s) of a new score are eligible for an Award if they have written and/or composed a new score which comprises 51% or more playing time of the album.

Kinky Boots

Billy Porter & Stark Sands, principal soloists; Sammy James Jr., Cyndi Lauper, Stephen Oremus & William Wittman, producers; Cyndi Lauper, composer & lyricist (Original Broadway Cast With Stark Sands, Billy Porter & Others) [Masterworks Broadway]

Matilda: The Musical

(Various Artists)

(Various Artists)

Dave Grohl & Various Artists Butch Vig, compilation producer [RCA Records/Roswell Records]

58 Best Score Soundtrack For Visual Media Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, video games or other visual media.

Argo

Bertie Carvel, Sophia Gennusa, Oona Laurence, Bailey Ryon, Milly Shapiro & Lauren Ward, principal soloists; Michael Croiter, Van Dean & Chris Nightingale, producers; Tim Minchin, composer & lyricist (Original Broadway Cast)

Alexandre Desplat, composer

[Broadway Records/Yellow Sound Label]

[WaterTower Music/Interscope]

Motown The Musical

[WaterTower Music]

The Great Gatsby

Craig Armstrong, composer

Life Of Pi

Brandon Victor Dixon & Valisia LeKae, principal soloists; Frank Filipetti & Ethan Popp, producers (Original Broadway Cast With Brandon Victor Dixon, Valisia LeKae & Others)

Mychael Danna, composer

[Universal Music Enterprises]

John Williams, composer

[Sony Classical/Fox Music]

Lincoln

[Sony Classical]

Skyfall

Thomas Newman, composer [Sony Classical]

Zero Dark Thirty

Alexandre Desplat, composer [Madison Gate Records] 66

56th Annual GRAMMY Awards

56th GRAMMY AWARDS

59 Best Song Written For Visual Media A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

Atlas

Guy Berryman, Jonny Buckland, Will Champion & Chris Martin, songwriters (Coldplay) Track from: The Hunger Games: Catching Fire [Universal Republic; Publisher: Universal Music Publishing MGB Ltd.]

Silver Lining

Diane Warren, songwriter (Jessie J) Track from: Silver Linings Playbook [Sony Classical; Publisher: Realsongs]

Skyfall

Adele Adkins & Paul Epworth, songwriters (Adele) Track from: Skyfall [Columbia Records/XL Recordings; Publishers: Universal Music Publishing Ltd./EMI Music Publishing Ltd.]

We Both Know

Colbie Caillat & Gavin DeGraw, songwriters (Colbie Caillat Featuring Gavin DeGraw) Track from: Safe Haven [Relativity Music Group/RCA/Universal Republic; Publishers: G Degraw Music Inc./Plummy Lou Music]

Koko On The Boulevard

Scott Healy, composer (Scott Healy Ensemble) Track from: Hudson City Suite [Hudson City Records]

Pensamientos For Solo Alto Saxophone And Chamber Orchestra Clare Fischer, composer (The Clare Fischer Orchestra) [Clavo Records]

String Quartet No. 1: Funky Diversions In Three Parts Vince Mendoza, composer (Quartet San Francisco) Track from: Pacific Premieres: New Works By California Composers [Violinjazz Recordings]

61 Best Instrumental Arrangement An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.

Invitation

Kim Richmond, arranger (The Kim Richmond Concert Jazz Orchestra) Track from: Artistry: A Tribute To Stan Kenton [Mama Records]

On Green Dolphin Street

Gordon Goodwin, arranger (Gordon Goodwin’s Big Phat Band) [Telarc International]

The Moon’s A Harsh Mistress

John Hollenbeck, arranger (John Hollenbeck With Kate McGarry And Theo Bleckmann) Track from: Songs I Like A Lot [Sunnyside]

Swing Low

Gil Goldstein, arranger (Bobby McFerrin & Esperanza Spalding) [Masterworks]

What A Wonderful World

Shelly Berg, arranger (Gloria Estefan) Track from: The Standards [Masterworks]

Package

63 Best Recording Package Automatic Music Can Be Fun

Mike Brown, Zac Decamp, Brian Grunert & Annie Stoll, art directors (Geneseo) [Temperamental Recordings]

Long Night Moon

Sarah Dodds & Shauna Dodds, art directors (Reckless Kelly)

Young And Beautiful

Side Hikes — A Ridge Away

Track from: The Great Gatsby (Deluxe Edition) [WaterTower Music/Interscope; Publishers: EMI Music Publishing Ltd./R-Rated Music/EMI April Music Inc.]

Track from: River Runs: A Concerto For Jazz Guitar, Saxophone & Orchestra [Mama Records]

Brian Roettinger, art director (Jay Z)

Skylark

Metallica Through The Never (Music From The Motion Picture)

Lana Del Rey & Rick Nowels, songwriters (Lana Del Rey)

You’ve Got Time

Regina Spektor, songwriter (Regina Spektor)

Chuck Owen, arranger (Chuck Owen & The Jazz Surge)

Nan Schwartz, arranger (Amy Dickson)

[No Big Deal Records]

Magna Carta ... Holy Grail [Roc Nation]

Bruce Duckworth, Sarah Moffat, Brian Steele & David Turner, art directors (Metallica)

Track from: Orange Is The New Black [Sire; Publishers: Soviet Kitsch Music/ EMI Blackwood Music Inc.]

Track from: Dusk & Dawn [Sony Classical]

Composing/Arranging

Gil Goldstein, arranger (Brussels Jazz Orchestra Featuring Joe Lovano)

Jonathan Barnbrook, art director (David Bowie)

[Half Note]

[Columbia Records]

60

Wild Beauty

[Blackened Recordings]

The Next Day

62

64

A Composer’s Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.

Best Instrumental Arrangement Accompanying Vocalist(s)

Best Boxed Or Special Limited Edition Package

Bound Away

An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.

Best Instrumental Composition

Chuck Owen, composer (Chuck Owen & The Jazz Surge) Track from: River Runs: A Concerto For Jazz Guitar, Saxophone & Orchestra [Mama Records]

California Pictures For String Quartet Gordon Goodwin, composer (Quartet San Francisco)

Track from: Pacific Premieres: New Works By California Composers [Violinjazz Recordings]

®

La Vida Nos Espera

Nan Schwartz, arranger (Gian Marco) Track from: Versiones [E35 Music & Caracola Records]

Let’s Fall In Love

Chris Walden, arranger (Calabria Foti Featuring Seth MacFarlane)

The Brussels Affair

Charles Dooher & Scott Sandler, art directors (The Rolling Stones) [Rolling Stones Records]

How Do You Do (Limited Edition Box Set)

Mayer Hawthorne, art director (Mayer Hawthorne) [Universal Republic]

[Moco Records]

56th Annual GRAMMY Awards

67

Historical

66 The Road To Red Rocks (Special Edition)

Ross Stirling, art director (Mumford & Sons) [Glassnote Records]

The Smith Tapes

Masaki Koike, art director (Various Artists) [The Smith Tapes]

Wings Over America (Deluxe Edition) Simon Earith & James Musgrave, art directors (Paul McCartney And Wings)

Best Historical Album Call It Art 1964–1965

Joe Lizzi & Ben Young, compilation producers; Steve Fallone, Joe Lizzi & Ben Young, mastering engineers (New York Art Quartet)

Producer Of The Year, Non-Classical

Teri Landi, Andrew Loog Oldham & Steve Rosenthal, compilation producers; Bob Ludwig, mastering engineer (The Rolling Stones)

The Complete Sussex And Columbia Albums

Neil Tesser, album notes writer (John Coltrane) [Pablo/Concord Music Group]

Call It Art 1964–1965

Ben Young, album notes writer (New York Art Quartet) [Triple Point Records]

Electric Music For The Mind & Body Alec Palao, album notes writer (Country Joe & The Fish) [Ace/Vanguard]

Leo Sacks, compilation producer; Joseph M. Palmaccio, Tom Ruff & Mark Wilder, mastering engineers (Bill Withers) [Columbia/Legacy Recordings]

Pictures Of Sound: One Thousand Years Of Educed Audio: 980–1980 Patrick Feaster & Steven Lance Ledbetter, compilation producers; Michael Graves, mastering engineer (Various Artists) [Dust-To-Digital]

Wagner: Der Ring Des Nibelungen (Deluxe Edition)

Philip Siney, compilation producer; Ben Turner, mastering engineer (Sir Georg Solti) [Decca]

Production, Non-Classical

Stravinsky: Le Sacre Du Printemps

67

[Sony Classical]

Best Engineered Album, Non-Classical

Jonathan Cott, album notes writer (Leonard Bernstein & New York Philharmonic)

360 Sound: The Columbia Records Story

An Engineer’s Award. (Artists names appear in parentheses.)

[Columbia Records]

Chuck Ainlay, engineer; Bob Ludwig, mastering engineer (Pistol Annies)

Sean Wilentz, album notes writer (Various Artists)

Work Hard, Play Hard, Pray Hard: Hard Time, Good Time & End Time Music, 1923–1936

Nathan Salsburg, album notes writer (Various Artists) [Tompkins Square]

Annie Up [RCA/Sony]

The Blue Room

Helik Hadar & Leslie Ann Jones, engineers; Bernie Grundman, mastering engineer (Madeleine Peyroux) [Decca/Universal]

The Devil Put Dinosaurs Here

Paul Figueroa & Randy Staub, engineers; Ted Jensen, mastering engineer (Alice In Chains) [Capitol Records]

...Like Clockwork

Joe Barresi & Mark Rankin, engineers; Gavin Lurssen, mastering engineer (Queens Of The Stone Age) [Matador]

68

56th Annual GRAMMY Awards

[Columbia Records]

68

Notes

Afro Blue Impressions (Remastered & Expanded)

Random Access Memories

Peter Franco, Mick Guzauski, Florian Lagatta & Daniel Lerner, engineers; Antoine “Chab” Chabert & Bob Ludwig, mastering engineers (Daft Punk)

Charlie Is My Darling — Ireland 1965

[ABKCO]

Best Album Notes

[Andrew Duhon]

[Triple Point Records]

[Hear Music]

65

The Moorings

Trina Shoemaker, engineer; Eric Conn, mastering engineer (Andrew Duhon)

A Producer’s Award. (Artists names appear in parentheses.)

Rob Cavallo

• All That Echoes (Josh Groban) (A) • Bright Lights (Gary Clark Jr.) (T) • ¡Dos! (Green Day) (A) • If I Loved You (Delta Rae Featuring Lindsey Buckingham) (S) • Love They Say (Tegan And Sara) (T) • Things Are Changin’ (Gary Clark Jr.) (T) • ¡Tré! (Green Day) (A) • When My Train Pulls In (Gary Clark Jr.) (T) • You’ve Got Time (Regina Spektor) (S)

Dr. Luke

• Bounce It (Juicy J Featuring Wale & Trey Songz) (S) • Crazy Kids (Ke$ha) (S) • Fall Down (will.i.am Featuring Miley Cyrus) (S) • Give It 2 U (Robin Thicke Featuring Kendrick Lamar) (S) • Play It Again (Becky G) (S) • Roar (Katy Perry) (S) • Rock Me (One Direction) (T) • Wrecking Ball (Miley Cyrus) (S)

Ariel Rechtshaid

• Days Are Gone (Haim) (A) • Everything Is Embarrassing (Sky Ferreira) (T) • Lost In My Bedroom (Sky Ferreira) (T) • Modern Vampires Of The City (Vampire Weekend) (A) • Reincarnated (Snoop Lion) (A) • True Romance (Charli XCX) (A) • You’re No Good (Major Lazer Featuring Santigold, Vybz Kartel, Danielle Haim & Yasmin) (T)

Jeff Tweedy

• The Invisible Way (Low) (A) • One True Vine (Mavis Staples) (A) • Wassaic Way (Sarah Lee Guthrie And Johnny Irion) (A)

Pharrell Williams

• BBC (Jay Z) (T) • Blurred Lines (Robin Thicke Featuring T.I. & Pharrell Williams) (S) • Happy (Pharrell Williams) (T) • I Can’t Describe (The Way I Feel) (Jennifer Hudson Featuring T.I.) (S) • Nuclear (Destiny’s Child) (T) • Oceans (Jay Z Featuring Frank Ocean) (T) • Reach Out Richard (Mayer Hawthorne) (T) • The Stars Are Ours (Mayer Hawthorne) (T)

R E N N I W THE FFOORRMMOOSSTTSSOOOOTTHHEEDD

©2014 Ricola USA, Inc.

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: T F A : T R F H A C R R H E C T R Ü E R T HR ÜLA’S’SMMAAGGICICHHEERRBBBBLELENNDD ....IISISSSSFFOCOCRRH ..SW O IC R RICOLA SWIS

Signature Sound Opus One

Leslie Ann Jones, surround mix engineer; Michael Romanowski, surround mastering engineer; Herbert Waltl, surround producer (Various Artists) [Media Hyperium 3 (Mh3)]

69 Best Remixed Recording, Non-Classical A Remixer’s Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.

Days Turn Into Nights (Andy Caldwell Remix)

Andy Caldwell, remixer (Delerium Featuring Michael Logen)

[Pure Audio Records]

Sprung Rhythm

Daniel Shores, surround mix engineer; Daniel Shores, surround mastering engineer; Dan Merceruio, surround producer (Richard Scerbo & Inscape) [Sono Luminus]

Track from: Days Turn Into Nights Remixes [Nettwerk]

Production, Classical

If I Lose Myself (Alesso Vs. OneRepublic)

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Alesso, remixer (OneRepublic) [Mosley Music Group/Interscope]

Locked Out Of Heaven (Sultan + Ned Shepard Remix)

Ned Shepard & Sultan, remixers (Bruno Mars) [Atlantic Records]

One Love/People Get Ready (Photek Remix)

Rupert Parkes, remixer (Bob Marley And The Wailers) Track from: Legend Remixed [Universal Music Enterprises/Tuff Gong]

Summertime Sadness (Cedric Gervais Remix)

Cedric Gervais, remixer (Lana Del Rey) [Interscope/Polydor UK]

Surround Sound

70 Best Surround Sound Album Classical or non-classical. For vocal or instrumental albums in any genre. Must be a commercially released on DVDAudio, DVD-Video, SA-CD, Blu-Ray or surround download and must provide a new surround mix of four or more channels. Award to the surround mix engineer, surround producer (if any) and surround mastering engineer (if any).

Live Kisses

Al Schmitt, surround mix engineer; Tommy LiPuma, surround producer (Paul McCartney) [Eagle Rock Entertainment]

Sailing The Seas Of Cheese (Deluxe Edition)

Les Claypool & Jason Mills, surround mix engineers; Stephen Marcussen, surround mastering engineer; Les Claypool & Jeff Fura, surround producers (Primus) [Universal Music Enterprises]

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Sixteen Sunsets

Jim Anderson, surround mix engineer; Darcy Proper, surround mastering engineer; Jim Anderson & Jane Ira Bloom, surround producers (Jane Ira Bloom)

56th Annual GRAMMY Awards

Best Engineered Album, Classical An Engineer’s Award. (Artist names appear in parentheses.)

Hymn To The Virgin

Morten Lindberg, engineer (Tone Bianca Sparre Dahl & Schola Cantorum) [2L (Lindberg Lyd)]

La Voie Triomphale

Morten Lindberg, engineer (Ole Kristian Ruud & Staff Band Of The Norwegian Armed Forces) [2L (Lindberg Lyd)]

Roomful Of Teeth

Mark Donahue & Jesse Lewis, engineers (Brad Wells & Roomful Of Teeth) [New Amsterdam Records]

Vinci: Artaserse

Hans-Martin Renz, Wolfgang Rixius & Ulrich Ruscher, engineers (Diego Fasolis, Philippe Jaroussky, Max Emanuel Cencic, Daniel Behle, Franco Fagioli, Valer Barna-Sabadus, Yuriy Mynenko & Concerto Köln) [Virgin Classics]

Winter Morning Walks

David Frost, Brian Losch & Tim Martyn, engineers; Tim Martyn, mastering engineer (Dawn Upshaw, Maria Schneider, Australian Chamber Orchestra & St. Paul Chamber Orchestra) [ArtistShare]

72 Producer Of The Year, Classical A Producer’s Award. (Artist names appear in parentheses.)

Manfred Eicher

• Beethoven: Diabelli-Variationen (András Schiff) • Canto Oscuro (Anna Gourari) • Pärt: Adam’s Lament (Tõnu Kaljuste, Latvian Radio Choir, Vox Clamantis, Sinfonietta Riga, Estonian Philharmonic Chamber Choir & Tallinn Chamber Orchestra) • Tabakova: String Paths (Maxim Rysanov)

David Frost

• Andres: Home Stretch (Timo Andres, Andrew Cyr & Metropolis Ensemble) • Angel Heart, A Music Storybook (Matt Haimovitz & Uccello) • Beethoven: Piano Sonatas, Vol. 2 (Jonathan Biss) • Ben-Haim: Chamber Works (ARC Ensemble) • Celebrating The American Spirit (Judith Clurman & Essential Voices USA) • Elgar: Enigma Variations; Vaughan Williams: The Wasps; Greensleeves (Michael Stern & Kansas City Symphony) • Guilty Pleasures (Renée Fleming, Sebastian Lang-Lessing & Philharmonia Orchestra) • Verdi: Otello (Riccardo Muti, Aleksandrs Antonenko, Krassimira Stoyanova, Carlo Guelfi, Chicago Symphony Chorus & Chicago Symphony Orchestra) • Winter Morning Walks (Dawn Upshaw, Maria Schneider, Australian Chamber Orchestra & St. Paul Chamber Orchestra)

Marina A. Ledin, Victor Ledin

• Bizet: Symphony In C; Jeux D’Enfants; Variations Chromatiques (Martin West & San Francisco Ballet Orchestra) • Traveling Sonata — European Music For Flute & Guitar (Viviana Guzmán & Jérémy Jouve) • Voyages (Conrad Tao) • Zia (Del Sol String Quartet)

James Mallinson

• Berlioz: Grande Messe Des Morts (Colin Davis, London Symphony Chorus, London Philharmonic Choir & London Symphony Orchestra) • Bloch: Symphony In C-Sharp Minor & Poems Of The Sea (Dalia Atlas & London Symphony Orchestra) • Fauré: Requiem; Bach: Partita, Chorales & Ciaccona (Nigel Short, Tenebrae & London Symphony Orchestra Chamber Ensemble) • Nielsen: Symphonies Nos. 2 & 3 (Colin Davis & London Symphony Orchestra) • Wagner: Das Rheingold (Valery Gergiev, René Pape, Stephan Rügamer, Nikolai Putilin & Mariinsky Orchestra) • Wagner: Die Walküre (Valery Gergiev, Anja Kampe, Jonas Kaufmann, René Pape, Nina Stemme & Mariinsky Orchestra) • Weber: Der Freischütz (Colin Davis, Christine Brewer, Sally Matthews, Simon O’Neill, London Symphony Chorus & London Symphony Orchestra)

74 Best Opera Recording Jay David Saks

• Adams: Nixon In China (John Adams, Russell Braun, Ginger Costa-Jackson, James Maddalena, Janis Kelly, Richard Paul Fink, Robert Brubaker, Kathleen Kim, The Metropolitan Opera Chorus & Orchestra) • Adès: The Tempest (Thomas Adès, Audrey Luna, Isabel Leonard, Alan Oke, Simon Keenlyside, Metropolitan Opera Chorus & Orchestra) • The Enchanted Island (William Christie, Joyce DiDonato, David Daniels, Danielle De Niese, Luca Pisaroni, Lisette Oropesa, Plácido Domingo, Metropolitan Opera Orchestra & Chorus) • Handel: Rodelinda (Harry Bicket, Renée Fleming, Andreas Scholl, Joseph Kaiser, Stephanie Blythe, Iestyn Davies, Shenyang & The Metropolitan Opera Orchestra) • Live At Carnegie Hall (James Levine, Evgeny Kissin & The Metropolitan Opera Orchestra) • Verdi: Rigoletto (Michele Mariotti, Željko Lu˘ci´c, Diana Damrau, Piotr Beczala, Oksana Volkova, Štefan Kocán, The Metropolitan Opera Orchestra & Chorus)

Classical

73 Best Orchestral Performance Award to the Conductor and to the Orchestra.

Atterberg: Orchestral Works Vol. 1 Neeme Järvi, conductor (Gothenburg Symphony Orchestra) [Chandos]

Lutosławski: Symphony No. 1 Esa-Pekka Salonen, conductor (Los Angeles Philharmonic)

Track from: Lutosławski: The Symphonies [Sony Classical]

Schumann: Symphony No. 2; Overtures Manfred & Genoveva Claudio Abbado, conductor (Orchestra Mozart) [Deutsche Grammophon]

Sibelius: Symphonies Nos. 1 & 4

Osmo Vänskä, conductor (Minnesota Orchestra) [BIS Records]

Stravinsky: Le Sacre Du Printemps

Simon Rattle, conductor (Berliner Philharmoniker) [EMI Classics]

Award to the Conductor, Album Producer(s) and Principal Soloists.

Adès: The Tempest

Thomas Adès, conductor; Simon Keenlyside, Isabel Leonard, Audrey Luna & Alan Oke; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus) [Deutsche Grammophon]

Britten: The Rape Of Lucretia

Oliver Knussen, conductor; Ian Bostridge, Peter Coleman-Wright, Susan Gritton & Angelika Kirchschlager; John Fraser, producer (Aldeburgh Festival Ensemble) [Virgin Classics]

Kleiberg: David & Bathsheba

Tõnu Kaljuste, conductor; Anna Einarsson & Johannes Weisser; Morten Lindberg, producer (Trondheim Symphony Orchestra; Trondheim Symphony Orchestra Vocal Ensemble) [2L (Lindberg Lyd)]

Vinci: Artaserse

Diego Fasolis, conductor; Valer BarnaSabadus, Daniel Behle, Max Emanuel Cencic, Franco Fagioli & Philippe Jaroussky; Ulrich Ruscher, producer (Concerto Köln; Coro Della Radiotelevisione Svizzera, Lugano) [Virgin Classics]

Wagner: Der Ring Des Nibelungen Christian Thielemann, conductor; Katarina Dalayman, Albert Dohmen, Stephen Gould, Eric Halfvarson & Linda Watson; Othmar Eichinger, producer (Orchester Der Wiener Staatsoper; Chor Der Wiener Staatsoper) [Deutsche Grammophon]

75 Best Choral Performance Award to the Choral Conductor, and to the Orchestra Conductor if an Orchestra is on the recording, and to the Choral Director or Chorus Master if applicable.

Berlioz: Grande Messe Des Morts

Colin Davis, conductor (Barry Banks; London Symphony Orchestra; London Philharmonic Choir & London Symphony Chorus) [LSO Live]

Palestrina: Volume 3

Harry Christophers, conductor (The Sixteen) [Coro]

Parry: Works For Chorus & Orchestra

Neeme Järvi, conductor; Adrian Partington, chorus master (Amanda Roocroft; BBC National Orchestra Of Wales; BBC National Chorus Of Wales) [Chandos]

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56th Annual GRAMMY Awards

Pärt: Adam’s Lament

Tõnu Kaljuste, conductor (Tui Hirv & Rainer Vilu; Estonian Philharmonic Chamber Choir; Sinfonietta Riga & Tallinn Chamber Orchestra; Latvian Radio Choir & Vox Clamantis) [ECM New Series]

Whitbourn: Annelies

James Jordan, conductor (Arianna Zukerman; The Lincoln Trio; Westminster Williamson Voices) [Naxos]

76 Best Chamber Music/Small Ensemble Performance For new recordings of works with chamber or small ensemble (24 or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

Beethoven: Violin Sonatas Leonidas Kavakos & Enrico Pace [Decca]

Cage: The 10,000 Things

Vicki Ray, William Winant, Aron Kallay & Tom Peters [MicroFest Records]

Duo

Hélène Grimaud & Sol Gabetta [Deutsche Grammophon]

Roomful Of Teeth

Brad Wells & Roomful Of Teeth [New Amsterdam Records]

Times Go By Turns New York Polyphony [BIS Records]

77 Best Classical Instrumental Solo Award to the Instrumental Soloist(s) and to the Conductor when applicable.

Bartók, Eötvös & Ligeti

Patricia Kopatchinskaja; Peter Eötvös, conductor (Ensemble Modern & Frankfurt Radio Symphony Orchestra) [Naïve]

Corigliano: Conjurer — Concerto For Percussionist & String Orchestra Evelyn Glennie; David Alan Miller, conductor (Albany Symphony)

Track from: Corigliano: Conjurer; Vocalise [Naxos]

The Edge Of Light

Gloria Cheng (Calder Quartet) [Harmonia Mundi]

56th GRAMMY AWARDS

Lindberg: Piano Concerto No. 2 Yefim Bronfman; Alan Gilbert, conductor (New York Philharmonic) Track from: Magnus Lindberg [Dacapo Records]

Salonen: Violin Concerto; Nyx

®

80 Best Contemporary Classical Composition

Picasso Baby: A Performance Art Film

[Deutsche Grammophon]

A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

Schubert: Piano Sonatas D. 845 & D. 960

Lindberg, Magnus: Piano Concerto No. 2

Macklemore & Ryan Lewis Featuring Ray Dalton

Track from: Magnus Lindberg [Dacapo Records]

Jon Jon Augustavo, Jason Koenig & Ryan Lewis, video directors; Tricia Davis, Honna Kimmerer & Jenny Koenig, video producers [Macklemore LLC]

Leila Josefowicz; Esa-Pekka Salonen, conductor (Finnish Radio Symphony Orchestra)

Maria João Pires

[Deutsche Grammophon]

78 Best Classical Vocal Solo Award to the Vocal Soloist(s).

Drama Queens

Joyce DiDonato (Alan Curtis; Il Complesso Barocco) [Virgin Classics]

Mission

Cecilia Bartoli (Diego Fasolis; Philippe Jaroussky; I Barocchisti) [Decca]

Schubert: Winterreise

Christoph Prégardien (Michael Gees) [Challenge]

Wagner

Jonas Kaufmann (Donald Runnicles; Markus Brück; Chor Der Deutschen Oper Berlin; Orchester Der Deutschen Oper Berlin) [Decca]

Winter Morning Walks

Dawn Upshaw (Maria Schneider; Jay Anderson, Frank Kimbrough & Scott Robinson; Australian Chamber Orchestra & St. Paul Chamber Orchestra) [ArtistShare]

79 Best Classical Compendium Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.

Hindemith: Violinkonzert; Symphonic Metamorphosis; Konzertmusik Christoph Eschenbach, conductor [Ondine]

Holmboe: Concertos

Dima Slobodeniouk, conductor; Preben Iwan, producer

Magnus Lindberg, composer (Yefim Bronfman, Alan Gilbert & New York Philharmonic)

Pärt, Arvo: Adam’s Lament

Arvo Pärt, composer (Tõnu Kaljuste, Latvian Radio Choir, Vox Clamantis & Sinfonietta Riga) Track from: Arvo Pärt: Adam’s Lament [ECM New Series]

Salonen, Esa-Pekka: Violin Concerto Esa-Pekka Salonen, composer (Leila Josefowicz, Esa-Pekka Salonen & Finnish Radio Symphony Orchestra) Track from: Out Of Nowhere [Deutsche Grammophon]

Schneider, Maria: Winter Morning Walks

Jay Z

Mark Romanek, video director; Shawn Carter & Aristides McGarry, video producers [Roc Nation]

Can’t Hold Us

Suit & Tie

Justin Timberlake Featuring Jay Z David Fincher, video director; Timory King, video producer [RCA Records]

I’m Shakin’ Jack White

Dori Oskowitz, video director; Saul Levitz & Candice Ovaknine, video producers [Columbia Records]

82 Best Music Film

Maria Schneider, composer (Dawn Upshaw, Jay Anderson, Frank Kimbrough, Scott Robinson & Australian Chamber Orchestra)

For concert/performance films or music documentaries.

Award to the artist, video director, and video producer.

Track from: Winter Morning Walks [ArtistShare]

Live 2012

Shaw, Caroline: Partita For 8 Voices Caroline Shaw, composer (Brad Wells & Roomful Of Teeth) Track from: Roomful Of Teeth [New Amsterdam Records]

Music Video/Film

81 Best Music Video For an individual Track or Single promotional clip. Award to the artist, video director, and video producer.

Safe And Sound Capital Cities

Grady Hall, video director; Buddy Enright, Javier Jimenez & Danny Lockwood, video producers [Capitol Records]

Coldplay

Paul Dugdale, video director; Jim Parsons, video producer [Capitol Records]

¡Cuatro!

Green Day

Tim Wheeler, video director; Tim Lynch, video producer [Reprise]

I’m In I’m Out And I’m Gone: The Making Of Get Up! Ben Harper With Charlie Musselwhite

Danny Clinch, video director; Ben Harper, video producer [Stax]

Live Kisses

Paul McCartney Jonas Akerlund, video director; Violaine Etienne, Aron Levine & Scott Rodger, video producers [Eagle Rock Entertainment]

The Road To Red Rocks Mumford & Sons

Nicolas Jack Davies & Frederick Scott, video directors; Dan Bowen, video producer [Glassnote Records]

[Dacapo Records]

Tabakova: String Paths

Maxim Rysanov; Manfred Eicher, producer [ECM New Series]

56th Annual GRAMMY Awards

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The Recording Academy®

Special Merit Awards

In addition to the GRAMMY Awards, The Recording Academy presents other notable honors. These awards recognize contributions of significance to the recording field that fall outside the framework of the GRAMMY Awards categories, and include the Lifetime Achievement Award, the Trustees Award, the Technical GRAMMY Award, the GRAMMY Legend Award, and GRAMMY Hall Of Fame Award. The following pages recognize this year’s Special Merit GRAMMY Award recipients.

A complete list of past recipients is available in The Recording Academy Awards section of GRAMMY.org.

Lifetime Achievement Award The Lifetime Achievement Award, established in 1962, is presented by vote of The Recording Academy’s National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording.

Trustees Award

This Special Merit Award is presented by vote of The Recording Academy’s National Trustees to individuals who have made significant contributions, other than performance, to the field of recording.

The Trustees Award was established in 1967.

Technical GRAMMY Award

Presented by vote of The Recording Academy’s National Trustees, the Technical GRAMMY Award recognizes individuals and companies that have made contributions of outstanding technical significance to the field of recording.

The Technical GRAMMY was first awarded in 1994.

GRAMMY Legend Award

This Special Merit Award is presented on occasion by The Recording Academy to individuals or groups for ongoing contributions and influence in the recording field. The GRAMMY Legend Award was inaugurated in 1990.

GRAMMY Hall Of Fame®

The GRAMMY Hall Of Fame Award was established by The Recording Academy’s National Trustees in 1973 to honor recordings of lasting qualitative or historical significance that are at least 25 years old. Inductees are selected annually by a special member committee of experts and historians from all branches of the recording arts with final approval by The Recording Academy’s Board of Trustees.

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56th Annual GRAMMY Awards

L i f e t i m e Ac h i e v e m e n t Awar d

The Beatles I didn’t grow up on the Beatles. In fact, by the time I got to college I couldn’t have named one Beatles song if you put a gun to my head. Honestly. I listened to ’80s pop when I was young, and mostly to hip-hop in middle/high school. My parents were exclusively ’60s/’70s soul/R&B listeners, so I was oblivious. My tastes expanded a bit when I was in college, but the Beatles were always this huge group that I just thought couldn’t be all that interesting if they were so popular.

Any pictures I remembered had them all dressed alike and smiling a lot. I like darker, melancholy music in general, so I was skeptical.

However, as I got more into music, and even started making music, I started to hear more and more about how the Beatles had been a huge influence on much of the music I was discovering. I had some research to do. …

I bought the albums, read books and watched any documentaries I could find.

What an unreal story. They were immediately a worldwide sensation by their early 20s. They wrote their own material when that was all but unheard of, worked their a**es off touring the world playing hit after hit. Girls and boys alike went crazy for them. Every year, from their first records in 1963, they got bigger and bigger and more influential in both music and popular culture.

However, the thing that really spoke to me was when at the peak of their career — with anything and everything a band at that time could have possibly wanted — they made a change.

In 1966 the Beatles stopped playing live. The decision was one that allowed them to make music that wouldn’t have to be replicated at a concert. This would open up all kinds of opportunities for them to try different recording techniques and experiment in the studio in ways no one making popular music had ever really done. They pioneered things like guitar distortion, overdubbing vocals, multitrack recording, tape loops, and countless other recording techniques that are now standards today … even sampling. All of these things had influenced much of the music I’d loved growing up, and now it was making me really look at creating music as an art form.

In a five-year span the Beatles released Rubber Soul, Revolver, Sgt. Pepper’s Lonely Hearts Club Band, Magical Mystery Tour, The Beatles (the White Album), Abbey Road, and Let It Be — arguably the greatest span of consecutive albums put together by anyone to date. They tried to push boundaries musically and

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56th Annual GRAMMY Awards

Keystone-France/Gamma-Keystone/Getty Images

By Danger Mouse

challenge what’s accepted of people in their popular position.

Here was a band who had achieved the ultimate fame and fortune and instead of basking in more adoration, they veered away from millions of screaming girls to do something more challenging and meaningful to them. Of course, they didn’t really lose much of the fame and fortune after all, but that’s not the point. The point was that sometimes it’s not what you have, but what you choose to do with what you have that can change the world, and inspire other people to do the same.

Danger Mouse is a five-time GRAMMY winner, including wins as both Producer Of The Year, Non-Classical and as an artist for his work with the Black Keys and Gnarls Barkley.

He has been nominated 18 times in total, including a Best Alternative Music Album nod in 2010 for the self-titled debut

by Broken Bells, who will release their second album, After The Disco, in February. In 2004 he released The Grey Album, a project combining vocal performances from Jay Z’s The Black Album with samples from the Beatles’ White Album.

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Sir Paul McCartney with his Aston Martin DB6, 1967

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L i f e t i m e Ac h i e v e m e n t Awar d

Clifton Chenier In the cotton- and rice-growing prairie country of Southwest Louisiana in 1954, a black talent scout, John Fulbright, heard a remarkable Creole accordionist and singer who billed himself as “the King of the South,” and his name was Clifton Chenier. Together, they went to a Lake Charles radio station where Clifton cut his first rocking accordion instrumental, “Louisiana Stomp,” for the tiny Elko label.

Although that first record went nowhere, it was soon leased to the bigger Imperial label, which in turn drew the attention of the even bigger Specialty firm. A year later, Clifton’s Specialty release “Ay-Tete Fee” made the R&B charts, sending Clifton on a brief nationwide tour of the chitlin’ concert circuit. But greater fame would have to wait. After the tour, Clifton returned to the segregated black beer joints of Southwest Louisiana and East Texas where Frenchspeaking Creoles kept on dancing to his music.

In 1964 I was in Houston, visiting my favorite blues singer, Lightnin’ Hopkins, who one night asked if I wanted to go and hear his “cousin Cliff.” Keen to go anywhere Lightnin’ wanted to go, I accompanied him to a tiny beer joint in what he called “Frenchtown,” and there was this lanky black man with a huge piano accordion on his chest singing the most low-down blues in a strange patois for a small dancing audience. This was Clifton Chenier and I was totally enthralled by his totally unique Creole music.

Records were meal tickets in those days. As soon as Clifton heard from Lightnin’ that I was a “record man,” he expressed his desire to record — tomorrow! I did manage to arrange a session at the old Gold Star studio, and “Ay Ai Ai,” a catchy Creole song but with English lyrics, enjoyed local radio and jukebox play. When it came time to make an album, I wanted to capture the sound of that Creole or “French music” I had heard at that beer joint. But Clifton wanted to make it rock and roll. After some debate, we settled on a compromise: half rock and roll and half “French.” But it was the “French” two-step “Zydeco Sont Pas Sale,” with “Louisiana Blues” on the flip side, that became a regional hit, and sent Clifton well on his way to becoming known as “the King of Zydeco.”

Soon he and his Red Hot Louisiana Band were playing for wider audiences. The Rolling Stones went to hear them at a

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56th Annual GRAMMY Awards

Paul Natkin/Getty Images

By Chris Strachwitz

church dance in Los Angeles, they played the Fillmore in San Francisco and soon the New Orleans Jazz & Heritage Festival.

Tours of Europe followed as well as an appearance at Carnegie Hall in New York and in 1983 Clifton became a GRAMMY winner and a NEA National Heritage Fellow in 1984. By blending the older local rural Creole music with rhythm & blues, a touch of rock and roll and his unique personality, Clifton Chenier invented what today is known the world over as zydeco music.

Chris Strachwitz is the president of Arhoolie Records, a label he founded in 1960 that specializes in blues, Cajun, zydeco, and other forms of roots music. Strachwitz first recorded Clifton Chenier in 1964. Chenier’s Bogalusa Boogie, released on Arhoolie in 1976, was inducted into the GRAMMY Hall Of Fame in 2011. A Blues Hall of Fame inductee, Strachwitz is currently nominated for Best Folk Album as the producer of They All Played For Us: Arhoolie Records 50th Anniversary Celebration.

L i f e t i m e Ac h i e v e m e n t Awar d

The Isley Brothers The Isley Brothers have been making music for almost six decades. Nearly 60 years in music is tribute enough, but there are artists with long careers whose music never resonates with fans the way theirs has.

When I think about the Isleys’ legacy, and what it has meant to me as an artist, I’m reminded of a hot, Kool-Aid-deprived day on Detroit’s northwest side, just off of 8 Mile Road.

I was holed up in a back bedroom at a friend’s house, my face pressed against the speaker of a cassette player, my finger wearing out the rewind button. I played “Don’t Say Goodnight (It’s Time For Love),” one of their chart-topping singles from 1980, over and over. I was 9 years old, and regardless of it being Saturday, Ronald Isley was taking me to school. That was one of my first lessons on the importance of melody, and I was being taught by a master.

Fast-forward to 2013. I’m sitting at the board in a Detroit studio with none other than Ron Isley.

Recording a song with him is the fulfillment of a dream. And here he is, in the vocal booth, hitting all the licks. The memory nearly brings tears to my eyes. That session was a moment for me, the closing of a circle through which a student was rewarded with an opportunity to honor a master.

You forget how many hits the Isley Brothers have had until you find yourself in the audience at a sold-out show: “Shout.” “Voyage To Atlantis.”

“Harvest For The World.” “Summer Breeze.” “For The Love Of You.” The Isley sound is rooted in gospel, and can be traced to the early 1950s in Cincinnati. But their good news has spread through doo-wop, disco, soul, R&B, and various fusions of sound. An Isley record is to music what The Godfather is to film. You’ve seen it a million times, you know every word by heart and, even if you don’t catch it from the beginning, you’re captivated until the end.

The last two active members of the the Isley Brothers are Ron and Ernie, but their career has truly been a family affair, with many an Isley helping to build the group’s legacy, including Rudolph, and late brothers Vernon, O’Kelly and Marvin. They were also aided by the early encouragement of their father, a professional singer himself, and their mother, a church pianist who accompanied her sons’ early performances. Oh yes, and a young Jimmy James played in their band in the ’60s (you know him better today as Jimi Hendrix).

When in their presence, I get the sense that for them it has been, and will always be, about the music. In fact, Ron once told

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56th Annual GRAMMY Awards

Michael Ochs Archives/Getty Images

By Kem

me, “We didn’t really know it was going to turn into all this. We were just making music the best way we knew how.”

How fitting, that at the core of the legacy, and the larger-thanlife character Mr. Biggs, there’s just a guy who likes to sing, and another who loves to play guitar. Should we be amazed that this perspective made the Isley Brothers’ music the unofficial soundtrack to conception? That they’ve done it masterfully longer than most popular artists have been alive? That they really are your favorite artist’s favorite artist? Their resilience, craftsmanship and ability to survive generations is not the result of commercial machination, but of the love of the music.

A two-time GRAMMY-nominated singer/songwriter, Kem was featured on Ron Isley’s 2013 single “My Favorite Thing,” which is featured on Isley’s album This Song Is For You.

L i f e t i m e Ac h i e v e m e n t Awar d

For those listening to radio in the United States in 1975, it must have come as quite a shock. The country was still emerging from the era of granola and natural fibers, and music was still measured by its soul and authenticity. And along came this music that sounded as mechanized as a Ford assembly plant. It was vaguely rhythmic like a busy signal. It had a melody that never stepped out of order. For mainstream audiences, Teutonic pop was born that year in the form of Kraftwerk’s “Autobahn,” and music would never be the same.

Kraftwerk began devising their “robot pop” in Düsseldorf, Germany, in 1970. Their forefathers were such German experimentalists as Can and Tangerine Dream. Kraftwerk founders Ralf Hütter and Florian Schneider met as classical music students at the Düsseldorf Conservatory, originally forming the group Organisation and releasing the album Tone Float in the UK in 1969. They disbanded the group and reformed as Kraftwerk (German for “power station”), inspired to craft music more influenced by psychedelic art rock than machinery.

By 1973’s Ralf And Florian, Kraftwerk were truly staring down the ghost in the machine. With their followup, 1974’s Autobahn, Kraftwerk hit on a trancelike, pulsing electronic rhythm that would set the stage for the nearly countless acts that followed, from rock (the Cars, Eurythmics) to new wave (Devo, Thomas Dolby, Joy Division), pop (Giorgio Moroder), electronic/dance (Moby), and even industrial (Throbbing Gristle).

Though he was being influenced by a number of outside forces at the time, David Bowie’s late ’70s period in Berlin found him adopting Kraftwerk’s electronic overtones and droning rhythms for his albums Low and Heroes, highly influential works in their own right, and reportedly making a direct nod to Schneider with the song “V-2 Schneider,” featured on Heroes.

In a January 2013 article in The Telegraph, music critic Neil McCormick posed the question: “Kraftwerk: the most influential

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56th Annual GRAMMY Awards

Parlaphone/Warner Bros. Records

Kraftwerk

group in pop music history?” McCormick referenced the literally hundreds of Kraftwerk samples used by artists ranging from Afrika Bambaataa to Madonna, Jay Z and Coldplay. But in an interview for the piece, Orchestral Manoeuvres In The Dark’s Andy McCluskey pointed out that Kraftwerk endured the peril of true genius: a lack of appreciation in their own time.

“When [Kraftwerk] started there was a lot of fear of technology,” said McCluskey. “People said, ‘Look at these robot guys making music on computers; this is wrong.’ Well, it turned out that they were absolutely right, not just about music, but in their whole vision of the future man/machine synthesis. And it’s not been scary, we have all embraced it and got on with our lives.”

CONGRATULATIONS ON YOUR NOMINATIONS ALABAMA SHAKES BLAKE SHELTON BUTCH VIG HUNTER HAYES JESSI ALEXANDER KEITH URBAN KELLY CLARKSON KINGS OF LEON MIKKY EKKO MIRANDA LAMBERT NATHAN CHAPMAN THE MILK CARTON KIDS VINCE GILL NEW YORK

NASHVILLE

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L i f e t i m e Ac h i e v e m e n t Awar d

Kris Kristofferson When in 1971 the news reached my small corner of the world that there was this helicopter-piloting, William Blakequoting Rhodes scholar by the name of Kris Kristofferson, whose songs were transforming the country and popular music airwaves, I was marooned six nights a week in an East Texas Holiday Inn lounge, fielding requests for “Scotch And Soda” and “99 Bottles Of Beer” from a handful of traveling salesmen and gin swills whose night-cap needs did not include meaningful music. Fortunately, recent recordings of “Help Me Make It Through The Night,” “Me And Bobby McGee,” “Sunday Mornin’ Comin’ Down,” “For The Good Times,” and “Why Me Lord” had begun seeping into the disinterested listeners’ nonmusical psyche, and, practically overnight, introducing even the most obscure Kristofferson tune seemed to trigger in the Old Mill Club clientele something resembling audience refinement.

Despite the cold fact that the typical “Mill” crowd consisted of, maybe, six inebriated tractor suppliers, a table full of box tape wholesalers and a couple of recently divorced medical assistants, experiencing this subtle shift in the public’s taste bolstered in me the notion that I too could someday carve out for myself a career as an artist.

Forty-three years later, having gotten to know the man and his wife, Lisa, I feel modestly qualified to scribble down these few words framing his extraordinary musical legacy: By creating a narrative style that introduced intelligence, humor, emotional eloquence, spiritual longing, male vulnerability, and a devilish sensuality — indeed, a form of eroticism — to country music, Kris Kristofferson, without compromising the content and quality of his work, did as much to expand the mainstream accessibility of an all-toooften misunderstood art form as Roy Acuff, Hank Williams, Johnny Cash, Roger Miller, Willie Nelson, Ray Charles (I’m thinking of Modern Sounds In Country And Western Music) and, more recently, Garth Brooks. And, lest we forget, the man is one hell of an accomplished actor.

A GRAMMY-winning singer/songwriter and 56th GRAMMY nominee for Best Americana Album for Old Yellow Moon with Emmylou Harris, Rodney Crowell was featured on the 2006 album The Pilgrim: A Celebration Of Kris Kristofferson with a cover of “Come Sundown,” which is featured on Kristofferson’s 1970 GRAMMY Hall Of Fame-inducted debut album. Six years later, Kristofferson was featured on Crowell’s 2012 album Kin: Songs By Mary Karr & Rodney Crowell.

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Michael Ochs Archives/Getty Images

By Rodney Crowell

My Dear Friend, Kris – Tonight’s honor can only touch on the amazing and accomplished life you’ve lived.

You are remarkable not only for your many talents, but also your range as a songwriter, singer and actor.

Congratulations. May your legacy live forever.

With great affection,

Barbra Streisand

L i f e t i m e Ac h i e v e m e n t Awar d

Armando Manzanero

By Lucero How easy it seems to talk about music and songs. They have been part of our lives since we can remember. But rarely do we stop to think about where these songs come from. Those songs that make us fall in love, that give us goose bumps, that make us want to cry or laugh, and that have been with us in so many memorable moments of our lives.

It’s then that I think of the master, Armando Manzanero. And automatically, in my mind, the melody and lyrics to “Adoro,” “Somos Novios,” “Contigo Aprendí,” “Esta Tarde Vi Llover,” “Voy A Apagar La Luz,” and “No,” among many others, begin to play. They are a part of my life and my surroundings — the pure romanticism reflected in their lyrics. Writing and singing of love, Armando Manzanero has become part of millions of us, although some are not as lucky as I am to know him.

Talking about him and his songs is like talking with family at our kitchen tables. He has taken over our hearts with such ease. He has entered our lives to fill them with wonderful sounds, accompanied by his piano, his voice and the vast amount of talented singers who have interpreted his songs with pride for decades. We’ve heard his songs in many languages and many countries, delivering the flavor of his native Yucatán to unexpected places. He makes me proud to be Mexican like him.

It was a delight to have performed a duet with him on his song “No Existen Límites,” and it is a joy to hear him tell his stories.

He is a remarkable man, whose every word gives us the opportunity to feel and vibrate with his inspiration.

How many times have we dedicated his songs? How many times have we used his songs as the soundtrack to our love affairs and heartbreaks? How often have we hummed at least one of his songs? I seem to lose track.

That’s how music is. It has to do with math, but math doesn’t explain what we feel or what occurs within us when we hear his melodies. Thus, the number of hits that Don Armando Manzanero’s musical legacy continues to leave many generations is truly staggering.

With these few humble words I try to express my admiration, respect and love for a man who is measured from the land to the sky, for a man who has given us his talent and inspiration, more than he can perhaps imagine himself. Long live our Armando Manzanero.

Carlos Somonte

A native of Mexico City, Emmy-winning actress, singer and seven-time Latin GRAMMY Awards telecast host, Lucero performed “No Existen Límites” with Armando Manzanero on his 2001 duets album, Duetos. To date, she has sold more than 27 million albums, and her most recent album, Lucero En Concierto, was released in November 2013.

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L i f e t i m e Ac h i e v e m e n t Awar d

Maud Powell Every industry needs its pioneers and the recording industry found one in legendary American violinist Maud Powell.

She stood for the highest achievement in the art of violin playing and radiated an unbounded spirit of adventure.

In 1904 Powell stepped into a recording studio to play into a recording horn and helped launch the science and art of recording the violin. She became the first solo instrumentalist to record for the Victor Talking Machine Company’s Celebrity Artist series (Red Seal label), and for the first time, violin recordings entered into the Victor Red Seal catalog.

Recognized as America’s greatest violinist and ranked among the preeminent musicians in the world, Powell was known for breaking barriers. Her magnetic personality, brilliant artistry, scintillating technique, and versatility were unequaled and she used them to introduce classical music to countless new audiences at a time when few performers dared to face the uncertain concert conditions and hardships of travel in North America. She championed music composed by women and by Americans alongside the music of Europeans.

She fathomed the depths of the Tchaikovsky and Sibelius violin concertos, giving them their American premieres when other violinists balked at their difficulties. She was among the first white instrumentalists to integrate the works of composers of African descent into recitals and recordings.

Powell recognized recording technology’s potential to aid in her mission to bring the best in classical music to people everywhere. She recorded prolifically from 1904 until her untimely death at 52 in 1920, making more than 100 acoustic recordings. Powell mined the phonograph’s potential to elevate the public’s musical taste as she recorded only music that met the highest artistic standards. Through her recordings of short classical works and condensed versions of longer works, her artistry helped to revolutionize music appreciation.

Powell’s musical heritage is preserved by Naxos in four meticulously remastered CDs of 87 of her recordings. Even now, her playing as captured by the recording horn sets the standard by which today’s classical recording artists are measured.

Countless individual lives have been inspired and enriched

by Maud Powell. Jascha Heifetz, Fritz Kreisler and Yehudi Menuhin considered her to be one of their musical heroes.

Leading concert artists today include her repertoire in their programs. Students are inspired by her high ideals and mission to enrich the lives of everyone through music.

Maud Powell is the violinist I most admire. Dedicated to her art, brave in her repertoire choices, nurturing of young artists, tireless in utilizing music to break down social barriers and elevate society, her example inspires me every day.

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Courtesy of The Maud Powell Society for Music and Education

By Rachel Barton Pine

American violinist Rachel Barton Pine is internationally renowned for her interpretations of great classical works that combine her gift for emotional communication and her scholarly fascination with historical research. She is the music editor and advisor for Maud Powell Favorites, a collection of Powell’s transcriptions and music dedicated to Powell, and in 2007 she released a best-selling recording of these treasures: American Virtuosa: Tribute To Maud Powell.

T r u s t e e s Awar d

Rick Hall The moment I stepped into Rick Hall’s Fame Recording Studios, I felt a buzz! I was giddy like a little girl with excitement!

The history, fellowship and talent of the artists who’d come before enveloped and surrounded me and it was powerful.

I tasted it on my lips, it sank down to my heart. I wanted to absorb and revel in the ambiance where this beautiful music was created and has gone on to move generations.

It’s hard not to feel overwhelmed by the legacy and the names who walked through Fame Recording Studios’ doors and put Muscle Shoals, Ala., on the music map. As someone who has a real love and appreciation for music, I wish I could have spent just a few moments in the presence of the artists who made magic at Fame. I wish I could have sat in on those sessions with Etta James, Andy Williams, Aretha Franklin, Otis Redding, and Wilson Pickett, just to name a few, as they found there was something incredibly special bubbling alongside the rolling Tennessee River. It had Southern charm, deep soul, R&B, rock, pop, and just the right dose of funk. It was original and Rick Hall and the musicians he brought together were the very heartbeat of the sounds that came from the now-legendary town.

Hall built Muscle Shoals from the ground up with his determined spirit. Originally an artist and songwriter, Hall understood what it was like to want to share your music with the world. When doors were closed on him, he opened his own with his first small studio and soon after laid down roots as a music producer in Muscle Shoals. Thanks to Hall, the town of about 1,000 has since become home to countless musicians, with many getting their start and a chance to be a part of something completely original.

While the civil rights movement shook the country, the musicians entering Fame Studios were colorblind. Side by side with Hall, they created some of the most unique sounds and lasting music of their generation. Maybe Hall didn’t know it then, but he was truly bringing people together through the universal language of music. The name Hall was making for himself with Fame Studios had artists from all over the world heading down south for a chance to be a part of what could come out of that magical studio.

Anyone who creates music knows that any good song comes with a little magic, and I am proud to have been able to record at Fame Studios as part of the documentary Muscle Shoals. I was filled from being able to learn more about and experience a little bit of what Hall had created. He is a leader and visionary for our industry. His sheer diligence and determination are a lesson in themselves. And his desire to find the magic is the Soul of the Shoals. He is truly the father of Muscle Shoals music.

House Of Fame LLC/Michael Ochs Archives/Getty Images

By Alicia Keys

Duane Allman and Rick Hall at Fame Recording Studios in 1968

GRAMMY winner Alicia Keys was featured in the 2013 documentary Muscle Shoals, and contributed a cover of Bob Dylan’s “Pressing On” to the film’s soundtrack. Keys is nominated this year in the Best R&B Album category for Girl On Fire.

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Jim Marshall Jim Marshall was my guru. He told me so himself. He was the guru of most of today’s music photographers because he was one of the first and one of the best. His mantra was “Get the picture!”

I met him in the mid-’60s. He worked mostly in San Francisco and I worked mostly in L.A., but our paths crossed at the Monterey Pop Festival and at Woodstock, and then more often as the years went by.

There are many colorful adjectives that come to mind when remembering Jim: irascible, impatient, explosive, but always very, very kindhearted. He liked to drink and tell stories and he loved pretty women. “Cars, guns and cameras always get me into trouble,” he used to say. He brooked no denial as he waded right in with his little Leica clicking quietly and constantly.

His eye was amazing as he caught the essence of each scene before him. His subjects loved his energy and commitment to the moment. He was always very much in the moment.

I had always known Jim for his photos of San Francisco’s rich music scene: the Grateful Dead, Jefferson Airplane, Janis Joplin, and Santana. I knew his famous photo of Johnny Cash giving the finger (a message to the warden of the San Quentin State Prison), but I was totally unprepared for the breadth of his subject matter the day I walked into a gallery in L.A.’s Bergamot Station that was exhibiting his work. There were several big rooms with walls completely covered with his photos from floor to ceiling with no space in between. I saw old blues singers, civil rights marches, baseball players, famous comedians, beatniks, hippies, and jazz musicians. I never saw so many pictures on a wall in my life. That huge collection of images is his living gift to us all.

Jim had no family as long as I knew him; his family was his friends, all of whom have hilarious and harried “Jim” stories they love to share. Some involve guns, some involve drugs, all involve the “F” word (his favorite), and all include an awe and a warm feeling for the man we all loved.

We still love you, Jim! With a career spanning more than 40 years, photographer Henry Diltz is responsible for capturing iconic images of historic events such as Woodstock and artists including Blondie; Eric Clapton; Crosby, Stills, Nash & Young; the Doors; and Led Zeppelin; among countless others. In 2001 Diltz co-founded the Morrison Hotel Gallery, which represents some of the most renowned photographers in music.

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Henry Diltz

By Henry Diltz

By Graham Nash The world is a better place because of the talent and vision of my friend Jim Marshall. He, of course, took countless iconic photographs over the years and always brought a deeper insight into the world of photography and music. His images can be likened to haiku poetry: everything in its proper place … no “extra” information … only the very essences necessary to convey what he wants us to see. Never one to be dissuaded from a good shot, he opened our eyes to the wonders of his portraits. Jim’s images always have a sense of completeness and his ability to compose instantly is renowned. It’s possible that I took the last portrait of Jim shortly before his untimely passing.

Jim may be gone but his images will absolutely stand the test of time and be around for us to see and enjoy for years to come.

A GRAMMY-winning founding member of Crosby, Stills And Nash and the Hollies, and two-time Rock and Roll Hall of Famer, Graham Nash is also a photographer and published author. His photographic work is collected in the book Eye To Eye: Photographs By Graham Nash. In 2008 he curated others’ photographic work in Taking Aim: Unforgettable Rock ‘N’ Roll Photographs Selected By Graham Nash (2009).

Since 2005 the first IRIS 3047 printer owned by Nash’s digital printing company, Nash Editions, and one of its first published works — his 1969 portrait of David Crosby — have been in the permanent collection of the Smithsonian Institution’s National Museum of American History.

Jim Marshall elevated music photography to high art. His love for music led him to photograph the great artists of jazz, country, blues and rock, documenting every GRAMMY® awardee of the past 55 years.

San Francisco Art Exchange LLC 458 Geary Street San Francisco California 94102 800 344 9633 info@sfae.com sfae.com

© Jim Marshall Photography LLC. All Rights Reserved. Design: Mucho wearemucho.com

© Jim Britt. All Rights Reserved.

JIM MARSHALL, PEERLESS MUSIC PHOTOGRAPHER, RECEIVES THE TRUSTEES AWARD!

T r u st e e s Awar d

Hear that whistling? That’s not just the haunting sound of the theme to the 1965 classic spaghetti Western For A Few Dollars More, that’s the signature sound of composer Ennio Morricone. And that theme was just the prelude to one of the most classic and enduring movie themes of all time: Morricone’s theme to the 1966 follow-up film, The Good, The Bad And The Ugly. The series of iconic Sergio Leone-directed Clint Eastwood movies (that also included A Fistful Of Dollars) and their moody soundtracks full of kitschy instrumentation had such a powerful impact on film buff-turned-filmmaker Quentin Tarantino that decades later Morricone would score Tarantino films such as Inglorious Basterds and Django Unchained.

In between, Morricone scored more than 500 films and TV shows, won a 1987 GRAMMY for Best Album Or Original Instrumental Background Score for his work on The Untouchables, has been nominated for five Oscars and received an honorary Oscar in 2006 for his contributions to film, and became a towering institution in the film scoring world.

The son of a jazz trumpeter, Morricone was born in Rome in 1928. His musical gifts developed early. He was composing by age 6. In the late‘ 50s he found work as an orchestrator and assistant to leading Italian film composer Nascio Nascimbene.

Morricone himself began writing film scores in the early‘ 60s, and early on connected with Leone’s Westerns. It was during this time that he began to cultivate his unique style, incorporating whistling, flutes, electric guitars, Jew’s harp, and wordless choruses (with occasional vocal grunts) into his music.

He would go on to compose scores in various styles, earning Oscar nominations for Days Of Heaven (1978), The Mission (1986), The Untouchables (1987), Bugsy (1991), and Malèna (2000).

Prolific barely describes an artist who in just one year, 1969, racked up 22 different composing credits, and whose more than 500 film and TV scores since 1960 works out to more than 10 projects a year.

The wide appeal of Morricone’s music and respect for the man resulted in We All Love Ennio Morricone, a 2007 tribute album featuring artists as varied as Celine Dion, Metallica, Roger Waters, and Yo-Yo Ma. So the next time you find yourself whistling “The Good, The Bad And The Ugly” — which fellow arranger/ conductor/composer Hugo Montenegro took to No. 2 on the Billboard Hot 100 with a sleek version in 1968 — know that you’re quoting the work of a true master.

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Henry Diltz

Ennio Morricone

By Graham Nash

T e c h n i c a l G R A MMY Awar d

Emile Berliner Emile Berliner was born in 1851 in Hanover, Germany, emigrated to the United States in 1870, and settled in Washington, D.C. During this decade a number of inventions of lasting importance were patented, including the telephone and the phonograph. Berliner’s restless, inventive mind focused on these devices and he devoted his energies to improving them.

His initial concern was with the telephone. Berliner wanted to develop a more efficient transmission and reception process and make the telephone a practical means of communication. He is known to his biographer, Frederic Wile, as “the maker of the microphone” and today an award with this title is offered annually by the Berliner family. During the 1920s modified versions of the microphone became routinely incorporated into the recording process.

Berliner’s interest in sound recording prompted an attempt to improve upon Edison’s phonograph and in 1887 he received the first of several patents. At this time those working with the phonograph believed it could become a voice transcription device useful in business offices and did not see its potential as a means of home entertainment.

Sound waves were cut vertically into revolving wax cylinders.

These objects were fragile, difficult to store and subject to attracting mold, which rendered them unplayable. No method of reproducing copies of a specific cylinder existed.

If a cylinder holding sound that was worth preserving was rendered unplayable, one had to record another one.

Berliner recorded on a disc, and sound waves were cut laterally, thus eliminating a source of sound distortion intrinsic in the vertical-cut process. Discs had a center hole and were held in place by a spindle in the center of the turntable on which the disc rested. His discs did not deteriorate with time, were easy to store, and if not abused, sound today as they did when recorded and sold during the 1890s. Berliner’s device also allowed for the creation of a master disc from which many identical copies could be made. Berliner also understood the value of the gramophone as a source of entertainment and in 1895 he procured capital from a group of businessmen to found the Berliner Gramophone Company, which was instituted to manufacture Berliner’s sound discs and the gramophone that played them.

Though he passed away in 1929, Berliner’s vision encouraged the development of the modern record industry, dependent through most of the 20th century on profits accrued from the sale of identically recorded discs distributed in mass quantities.

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© Hulton-Deutsch Collection/CORBIS

By Paul Charosh

Paul Charosh is a widely published researcher of historic sound recordings and 19th century American popular music. A retired educator, he taught for many years in the Sociology and Computer Information Science departments at Brooklyn College. In 2012 he published Berliner Gramophone Records In America: A Discography (Denver: Mainspring Press), a reference for archivists and advanced collectors.

R I C K

H A L L

FATHER OF THE MUSCLE SHOALS SOUND

DUANE ALLMAN WILSON PICKETT ETTA JAMES ARETHA FRANKLIN CLARENCE CARTER MAC DAVIS BOBBIE GENTRY CANDI STATON LITTLE RICHARD THE OSMONDS LOU RAWLS JERRY REED LARRY GATLIN ALABAMA SHENANDOAH

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Fame Music Group and The Hall Family, Congratulate FAME Studios Founder, Rick Hall, on his Recording Academy速 Trustees Award. design by wellspring advertising, wellspringadv.com | photo courtesy of ear goggles productions | ad coordination by bonnie bak

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T e c h n i c a l G R A MMY Awar d

Lexicon

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Brian Twede

It was the first thing you noticed, even before the iconic console upon which it was often perched (sometimes on its own special plexiglass shelf) — that magical remote control known as the LARC (Lexicon Alphanumeric Remote Control). The off-white, fader-driven controller of the awesome digital reverb hidden away in the machine room that announced that the studio you were in was firmly entrenched in the new, modern digital age of reverberation.

It was in the control room The Lexicon 480L of the studio I was taught in — the place where I learned to be a recording engineer — and it was the most fun and challenging of all the devices I stayed up nights learning how to use. I’m still employing those wonderful The Lexicon PCM96 sounds today, and making new presets all the time.

The Lexicon 224 Digital Reverb was the most advanced and versatile digital processing device of its generation and a pioneering and mind-boggling way to enhance with echo, delay, time shift, and reverberation any source you cared to feed into it, and in the most convincing of ways. It gave engineers vast new powers of controlling the ambience in which to spatially place the elements of a recording in the bold new automationdriven mixdown suites of the early ’80s. It was the predecessor of the 224XL and the 480L, those monster Lexicon digital reverbs against which all others have since been compared.

It was intoxicating. In addition to the superb reverb algorithms there were six delay taps in the delays section, all with individual control over high and low pass filters, depth of oscillation, time and panning. With this singular device, Lexicon products were vaulted into the stratosphere of the elite, must-have audio effects that the most demanding artists on the planet had to see (and hear) used on their tracks. We never had it so good.

From the humble beginnings of the first Lexicon Delta digital delay, to the Prime Time I — Lexicon’s unique digital delay device with detent knobs that selected only prime numbers

Brian Twede

By Brian Malouf

as possibilities for delay times — to today’s PCM96, which allows an engineer to control all the parameters of a very sophisticated standalone reverb device from a Digital Audio Workstation and reset it with each new session, and offers the range of reverb plug-ins that faithfully reproduce the algorithms of the reverb programs that made the company famous in the first place, Lexicon has remained a prime innovator and thrived in an era of almost unimaginable change in the processes associated with sound recording. The company and the designers behind these products have remained relevant to recording engineers working out of their bedroom or in the most serious recording studios in the world, and all the employees in every department at Lexicon are the most deserving recipients of the 2014 Technical GRAMMY Award.

A Recording Academy Los Angeles Chapter Governor, Brian Malouf is a multi-platinum producer, engineer and mixer who has worked with artists such as the Dave Matthews Band, Michael Jackson, Madonna, Pearl Jam, Queen, and Stevie Wonder, among others.

Michael Ochs Archives/Getty Images

T Sugarhill Gang

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. continued on page 102

Hulton Archive/Getty Images

2014 GRAMMY Hall Of Fame Inductees

Dick Van Dyke and Julie Andrews

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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. Now in its 40th year, the Hall is 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

Michael Ochs Archives/Getty Images Gil Scott-Heron

Michael Ochs Archives/Getty Images

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 Oscar-winning song “Chim Chim Cher-ee.”

This is Andrews’ second movie soundtrack to be voted into the Hall, 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

Run-D.M.C.

Neal Preston/Corbis

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 protests against that war.)

George Harrison’s 1970 solo album All Things Must Pass was inducted. The

U2

continued on page 104

COSMO’S FACTORY

Creedence Clearwater Revival Fantasy (1970) Album

DOC WATSON Doc Watson Vanguard (1964) Album

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FORTUNATE SON

Creedence Clearwater Revival Fantasy (1969) Single

GEORGIA (ON MY MIND)

Hoagy Carmichael And His Orchestra Victor (1930) Single

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

HELGASoLRUN.CoM IMAGINE. CREATE. LOVE. BE

Jim Marshall elevated music photography to high art. His love for music led him to photograph the great artists of jazz, country, blues and rock, documenting every GRAMMY® awardee of the past 55 years.

San Francisco Art Exchange LLC 458 Geary Street San Francisco California 94102 800 344 9633 info@sfae.com sfae.com

© Jim Marshall Photography LLC. All Rights Reserved. Design: Mucho wearemucho.com

© Jim Britt. All Rights Reserved.

JIM MARSHALL, PEERLESS MUSIC PHOTOGRAPHER, RECEIVES THE TRUSTEES AWARD!

SLEEP LIKE A BICOASTAL BABY. INTRODUCING FLAT BEDS ON SELECT FLIGHTS TO NEW YORK-JFK.

DELTA.COM

STRANGE THINGS HAPPENING EVERY DAY Sister Rosetta Tharpe Decca (1945) Single

SWEET HOME CHICAGO Robert Johnson Vocalion (1937) Single

In 2013 the GRAMMY Hall Of Fame turned 40. Check out the ongoing celebration at www.grammyhalloffame40.com.

Run-D.M.C. Profile (1986) Single

(WHAT A) WONDERFUL WORLD Sam Cooke Keen (1960) Single

UNDER THE BOARDWALK

YARDBIRD SUITE

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Charlie Parker

WALK THIS WAY

WOODSTOCK — MUSIC FROM THE ORIGINAL SOUNDTRACK AND MORE

The Drifters Atlantic (1964) Single

James Kriegsmann/Michael Ochs Archives/Getty Images

Paul Grein, a veteran music journalist and historian, writes the Chart Watch blog for Yahoo.com.

3 O’CLOCK BLUES B.B. King RPM (1952) Single

Sister Rosetta Tharpe

William Gottlieb/Redferns

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.

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version of Johnny Cash’s “Sunday Mornin’, Comin’ 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 “(What A) Wonderful World” is his third entry in the Hall, following “You Send Me” and “A Change Is Gonna Come.” Cooke co-wrote “(What A) 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 hits — Dolly Parton’s 1973 country hit “Jolene” and Sister Rosetta Tharpe’s 1945 gospel

Various Artists Cotillion (1970) Album

Charlie Parker Septet Dial (1946) Single

Neil Young

On Feb. 9 CBS will air “The Night That Changed America: A GRAMMY Salute To The Beatles,” a TV special that will commemorate the Fab Four’s U.S. debut on “The Ed Sullivan Show” 50 years ago.

T

Danny ClinCh

he night after the GRAMMYs we will gather across the street from our home at Staples Center to record a very special GRAMMY/CBS television event, one that has been 50 years in the making. Many of you involved in this year’s GRAMMY telecast will join us onstage as we commemorate what is generally accepted as one of the most impactful intersections of television and music: the 50th anniversary of the Beatles’ debut on “The Ed Sullivan Show.” Along with such epochal events as Elvis Presley’s first television appearance, Michael Jackson’s moonwalk on “Motown 25” and (we’d love to think) some of our more memorable “GRAMMY moments,” the Beatles’ first U.S. television appearance is one of those never-to-be-forgotten events.

The GRAMMYs’ history with the Fab Four has had its own rich legacy of milestones. It’s a history that began with the pre-recorded acceptance by the Beatles (along with Peter Sellers) of one of the firstever Best New Artist GRAMMY Awards

GRAMMY Awards producer Ken Ehrlich recounts the Beatles’ long and winding GRAMMY road

BY KEN EhRlICh

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Opposite Page: Paul McCartney, Ken Ehrlich and Bruce Springsteen at the 54th Annual GRAMMY Awards rehearsals in 2012 Above: The Beatles perform on “The Ed Sullivan Show” on Feb. 9, 1964 56th Annual GRAMMY Awards

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back in 1965, and not counting this year’s show, has been marked by a number of significant appearances and tributes, most recently the amazing performance in 2012 of the finale of the Abbey Road album, which featured Paul McCartney joined onstage by Dave Grohl, Joe Walsh and Bruce Springsteen.

That particular journey began when Paul and his manager Scott Rodger called me two days before the 54th GRAMMY telecast to ask if I would be OK if Paul changed his performance from “Nineteen hundred And Eighty Five” to the Abbey Road medley. Then to top it all off, when I overheard Paul mention at his Saturday rehearsal that “it would be great if Bruce joined us,” I called Springsteen’s manager Jon landau and within an hour we had upgraded an already great six minutes of show to a performance for the ages.

What has happened in the years between that Best New Artist GRAMMY and the 54th 110

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Left: Yoko Ono and John Lennon backstage at the 17th Annual GRAMMY Awards on March 1, 1975 Below: Linda McCartney and Paul McCartney at the 13th Annual GRAMMY Awards on March 16, 1971

GRAMMY telecast is a fascinating story that follows the progression of popular music over that same period.

Five years before I began my 34-year run producing the GRAMMY Awards, as a fan of the show and certainly of music, I was haunted by one pair of presenters. It was so iconic and so impactful that to this day I can tell you what each of them was wearing the night that John lennon (in a beret and accompanied by his friend Paul Simon) agreed to present the Record Of The Year GRAMMY back in 1975 (an award which, by the way, went to Olivia Newton-John for “I honestly love You”). For many years, I thought

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that was the first in-person appearance by a Beatle at the GRAMMYs, but later I learned that both Ringo and Paul had preceded John to the show — Paul accepting the GRAMMY for Let It Be in 1971 and Ringo presenting Best R&B Vocal Performance, Male in 1973 with harry Nilsson. It should be noted that though George harrison’s The Concert For Bangla Desh won the GRAMMY for Album Of The Year at the 15th GRAMMY Awards in 1973, George wasn’t there to accept and remains (unfortunately) the only Beatle never to have graced the GRAMMY stage.

Considering the all too brief life span of the Beatles as a recording group (less than 10 years), the fact is that individually or collectively they have been involved in numerous GRAMMY Award presentations, amassed more than 100 nominations and 26 wins, and have a collective 15 entries as a band in the highly esteemed GRAMMY hall Of Fame. Their GRAMMY achievements are singular.

And of course, that’s not to say that the GRAMMY telecast itself has been devoid of the timeless songs written by the Beatles over nearly 112

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Left: Harry Nilsson and Ringo Starr at the 15th Annual GRAMMY Awards on March 3, 1973 Right: Paul McCartney with his Lifetime Achievement Award on Feb. 21, 1990

five decades. Among the Beatles compositions performed over the years, several stand out, the first being an incredible performance of “Come Together” by Aerosmith. I can remember that night like it was yesterday.

It was 1991 and we were honoring John lennon with a lifetime Achievement Award, and Steven Tyler and Co. had agreed to perform that amazing song in tribute to John. That performance is talked about to this day, not only because it was a great performance, but also because at one point in the song Steven launched what appeared to be the biggest loogie ever projected on network TV, surpassing any Major league Baseball tobacco chewer by at least 20 feet. Oh yes, and then there was a very beautiful performance of “Imagine” by Tracy Chapman.

Actually, my first experience with John’s legacy occurred in 1982, my third GRAMMY show and the year that John and Yoko’s Double Fantasy was honored with the GRAMMY for Album Of The Year. It was an incredibly emotional moment as Yoko, with young son Sean in tow, headed toward the stage just 14 months after John had been struck down in the street in front of

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their home at the Dakota in New York City. With tears in her eyes, and in the eyes of many in the audience, Yoko began by saying, “I think John is here with us today,” which only heightened the moment, and then thanked everyone on behalf of the two of them, invoking the oft-repeated prayer for peace in the world. As she walked offstage, and though I had just met her one day prior, I put my arm around her as she hugged me — it was a hug that I haven’t forgotten to this day.

In 1990 it was Paul’s turn to be honored with a lifetime Achievement Award, and with Meryl Streep — someone obviously in awe of her subject — doing the introduction, we began to build a piano-driven piece that would feature performances by Stevie Wonder (“We Can Work It Out”) and Ray Charles (“Eleanor Rigby”). Paul never did play that night, but has since graced us with several remarkable GRAMMY moments, including a mashup of “Yesterday” with Jay Z and linkin Park in 2006, and the never-to-beforgotten GRAMMY finale in 2012.

And speaking of Beatles songs performed by acts other than the Beatles themselves, in 2005, 114

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Stevie Wonder and Norah Jones perform “Across The Universe” at the 47th Annual GRAMMY Awards on Feb. 13, 2005

in response to the then-recent tragic tsunami in Thailand and Southeast Asia, we decided to do one of the first fundraising events in conjunction with iTunes by gathering an all-star group of GRAMMY performers to sing “Across The Universe,” certainly a fitting song thematically and one that ultimately raised a significant amount of relief funds. Taking part were Billie Joe Armstrong, Bono, Norah Jones, Alicia Keys, Alison Krauss, Steven Tyler, Brian Wilson, and Stevie Wonder. The download (with all funds going to charity) became one of the highestcharting downloads for a charity recording to that date, not to mention that it garnered some very warm GRAMMY love by fans and critics alike. And the whole time we were doing it I kept thinking back to “Come Together: A Night For John lennon’s Words And Music,” a TV special that Yoko Ono and I had done just three weeks after Sept. 11 as a tribute to John and his love of New York City, where that song had been performed so beautifully by Sean lennon and Rufus Wainwright. I often think back to that show, the first to have been held at Radio City Music hall, in fact the first show open to

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the public, just weeks after the tragic events of Sept. 11, and of the determination shown by Yoko to put that show on as a sign of John’s love for the city. She kept saying, “John would have loved tonight, to have seen people coming together in peace after such sadness.”

While Paul is the only Beatle who has performed on the GRAMMYs, Ringo leads the pack with the most appearances on the show without performing, beginning in 1973 when he accepted the GRAMMY for Album Of The Year for The Concert For Bangla Desh, and presented the GRAMMY for Best R&B Vocal Performance, Male alongside harry Nilsson, and then again in 1977 when he joined Paul Williams to present the GRAMMY for Best Pop Vocal Performance, Female. As recently as 2010 he joined fellow legend Smokey Robinson to present the nominees for Record Of The Year at our GRAMMY nominations special.

All of which brings us to celebrating the anniversary of the Beatles on “The Ed Sullivan Show” as a very special GRAMMY event. Four months ago on the Emmy Awards (which my 116

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Ringo Starr and Smokey Robinson at “The GRAMMY Nominations Concert Live!!” on Dec. 2, 2009

company produced for CBS), we presented a segment that connected the assassination of John F. Kennedy some 50 years ago to the Beatles’ first appearance on the Sullivan show literally 79 days later. The point being that America, and the world for that matter, went from the moment of our greatest collective sadness to a time when we could begin to emerge from our period of mourning into a time of great creativity, cultural richness and musical brilliance, all influenced by the Beatles. That event was the stimulus for “The Night That Changed America,” the title of our special tribute that will air on CBS on Feb. 9, 50 years to the date since the Beatles’ first Ed Sullivan appearance.

Being of a certain age, I can’t deny both an emotional and an intellectual attachment to the Beatles and what they’ve meant to popular culture over the past 50 years. I remember going into my neighborhood hi-fi (yep) store to buy my first-ever component system so that I could go next door and buy Meet The Beatles, carefully remove the precious vinyl from the paper sleeve and gently put it on the turntable.

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In a moment of weakness, I actually confessed to Paul many years later that I applied for the job as their manager during an open solicitation that followed the death of Brian Epstein in the late ’60s. I’ve wooed and won my wife, lullabied and danced with my kids, and sadly buried family members and friends to Beatles songs over the past 50 years. And like all of you, even though I didn’t, I felt I knew them through their music. To have had the opportunity of doing one television special with Ringo (with a cameo appearance by George), our post Sept. 11 tribute to John with Yoko, and numerous appearances in recent years with Paul, I have been able to live out moments that I only could have dreamed of years ago, but in all honesty, never thought would actually take place. having Paul and Ringo and Yoko Ono and Olivia harrison with us at this year’s GRAMMYs, and then having the chance to commemorate the Beatles’ appearance on “The Ed Sullivan

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Jay Z, Paul McCartney and Linkin Park’s Chester Bennington perform at the 48th Annual GRAMMY Awards on Feb. 8, 2006

Show,” means a great deal to us, and we are grateful for their cooperation in both events.

Their musical legacy is our musical legacy, and no doubt will continue to be as long as people can still push play and hear “yeah yeah yeah.”

Thank you John, Paul, George, and Ringo for a lifetime of music and memories.

Ken Ehrlich has produced the GRAMMY Awards since 1980. His company, AEG Ehrlich Ventures, is responsible for hundreds of hours of memorable television productions and his love for music is what has kept him connected to multiple generations of musical artists in all genres. He wants to thank his friends at The Recording Academy, CBS, the thousands of artists with whom he’s worked over the years, and in particular his loyal staff who have worked with him all these years to create what have come to be called “GRAMMY Moments.”

The

Producer’s

Chair

A peek behind the glass as the GRAMMYs prepares to honor its th Producer Of The Year

40

By Larry Crane

T

he art of recording music brings a cast of talented people together, all with various skills and assigned tasks. Even to a layperson, many of the cast members’ roles are transparent: The artist or band is typically the chief creative force and primary composer/songwriter, as well as the namesake of the project. An engineer captures the recording by setting up microphones, moving faders on a console and editing tracks. Session musicians add their respective instrumental talents, playing specifically orchestrated parts or adding overdubs. Studio technicians set up, maintain and repair recording equipment. Mixers, assistant engineers and computer operators also make defined contributions to the recording process.

However, there is one cast member whose role is sometimes less tangible: the producer.

The producer is arguably the most crucial constituent relative to a recording project.

Although it’s an imperfect comparison, in general terms, the role of a producer can be likened to the role of a film director: A producer directs the process of making a recording, much like a director directs the process of making a film.

“The role of the record producer is to help create a recording that is the best, most current representation of the artist’s talent and potential,” summarizes GRAMMY winner Charlie Peacock.

A producer’s interpersonal skills, experience, talents, and musical knowledge formulate their distinct approach to making music. But similar to other crafts such as songwriting, there isn’t a singular blueprint for success.

As a singer, instrumentalist and songwriter, Peacock has released more than a dozen albums under his own name. Fluent in genres such as pop, gospel, jazz, country, and folk, Peacock’s varied talents have helped him excel in the producer chair for artists such as Amy Grant, Switchfoot and, more recently, the Civil Wars.

Photo IllustratIon by rIkkI Poulos

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Another producer possessing an array of skills, Bob Ezrin has helmed albums for legendary rock artists such as the late Lou Reed (1973’s Berlin), Alice Cooper (1975’s Welcome To My Nightmare), Kiss (1976’s Destroyer), Peter Gabriel (1977’s Peter Gabriel), Pink Floyd (1979’s The Wall), and Deep Purple (2013’s Now What?!). Equally comfortable contributing to a project as a songwriter, instrumentalist, arranger, or mixer, Ezrin says his goal as a producer is to “provide the artist with the support, environment and tools they need to realize whatever dreams they have for their project. My job is to help them to rise to the top of their potential.”

As a classical producer and engineer, eight-time GRAMMY winner Judith Sherman has worked with esteemed artists such as Rudolf Serkin, Ursula Oppens, David Golub, and the Kronos Quartet, and has overseen recordings interpreting the works of composers such as Elliott Carter, Steve Reich, John Adams, and Philip Glass.

“My job is quite different from that of a pop producer,” says Sherman, who has won the award for Producer Of The Year, Classical three times. “Although I do have a lot of artistic input, especially with artists I’ve worked with for a long time, my job is tilted toward ‘capturing’ a sound and a performance. With artists that I know, I’m able to guide them toward performances

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alysse Gafkjen

Left: Dan auerbach, Brian Olive and Dr. John at auerbach’s easy eye Sound studio in nashville, Tenn., in 2013 Below: Judith Sherman

they’ll be proud of, as I know their tastes.”

Rick Rubin’s production résumé spans more than 30 years, including collaborations with hip-hop artists (Eminem, Kanye West), metal stalwarts (Slayer, Metallica), pop superstars (Adele, Josh Groban), and iconic singer/songwriters (Johnny Cash, Neil Diamond). He has garnered a reputation for his unique method, which entails focusing on the core elements that allow an artist’s natural personality to shine through. “[I do] whatever it takes to get the best material and best performances, served up in the most beautiful package, in service of the artist and the song,” says the eight-time GRAMMY winner, whose recent work includes Black Sabbath’s GRAMMY-nominated 2013 album, 13.

“There are no rules to making records,” says Dan Auerbach of GRAMMY-winning rock duo the Black Keys. “Each one is a unique, living, breathing life form. That’s what makes it exciting and what keeps it interesting for me.”

Aside from co-producing Black Keys albums such as 2011’s GRAMMY-winning El Camino, Auerbach has expanded his creative horizons through producing other artists such as Hacienda, Jeff The Brotherhood, Hanni El Khatib, Grace Potter & The Nocturnals, Reigning Sound, and Dr. John.

Like Rubin, Auerbach’s work has received the ultimate peer

“A rapper might require a whole track given to him, a rock band might need help with arrangements and song selection, and a singer/songwriter might require a band be put together to get the most out of their songs.” compliment: a GRAMMY for Producer Of The Year, Non-Classical (see sidebar).

Of course, even a producer with a GRAMMY-winning pedigree cannot yield positive results without one key ingredient: a good song. Producers ranging from Robert John “Mutt” Lange (Maroon 5, Nickelback, Shania Twain) to current GRAMMY nominee Dr. Luke (Miley Cyrus, Katy Perry, Britney Spears) are often contracted because of their abilities as songwriters and arrangers, helping artists shape sketches of ideas into finely tuned finished recordings.

“I see myself as a song doctor,” says Tony Visconti, a veteran producer who has worked with artists such as David Bowie, T. Rex, Thin Lizzy, and Angelique Kidjo. “Sometimes the chorus is almost great, and the change of one or two notes, words, [or a different chord or bass note] will make all the difference.

I don’t leave a million decisions for the mix. I edit as I record, and I create an irresistible ‘personality’ for the track that no one wants to tear asunder.”

With Bowie, Visconti has formed one of the more fruitful artist/producer partnerships in music history. Their work together spans more than 40 years, from 1969’s Man Of Words/ Man Of Music (later repackaged as Space Oddity) to 2013’s GRAMMY-nominated The Next Day, a frame of reference that has yielded a sense of comfort, a common language and trust.

Conversely, a producer may undertake projects with artists 124

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Producers Of The Year, 1974–2012 The distinguished list of producers who have won the coveted Producer Of The year, non-Classical GraMMy At the 56th GrAMMY Awards, the award for Producer of The Year, Non-classical will be presented for the 40th time.

Instituted by The recording Academy’s Board of Trustees as a GrAMMY category in 1974, the award honors outstanding creativity and excellence in the field of record production. (A Producer of The Year, classical award was implemented in 1979, honoring the top producer in classical music.) here is a look back at the Producer of The Year, Non-classical award’s diverse roster of previous recipients.

1974

Thom Bell

1975

Arif Mardin

1976

Stevie Wonder

1977

Peter Asher

1978

Bee Gees, Albhy Galuten & Karl Richardson

1979

Larry Butler

1980

Phil Ramone

1981

Quincy Jones

1982

Toto

1983

Michael Jackson & Quincy Jones

1984

(Tie) James Anthony Carmichael & Lionel Richie; David Foster

1985

Phil Collins & Hugh Padgham

1986

Jimmy Jam & Terry Lewis

1987

Narada Michael Walden

1988

Neil Dorfsman

1989

Peter Asher

1990

Quincy Jones

1991

David Foster

1992

(Tie) Babyface & L.A. Reid; Brian Eno & Daniel Lanois

1993

David Foster

1994

Don Was

1995

Babyface

1996

Babyface

1997

Babyface

1998

Rob Cavallo

1999

Walter Afanasieff

2000

Dr. Dre

2001

T Bone Burnett

2002

Arif Mardin

2003

The Neptunes

2004

John Shanks

2005

Steve Lillywhite

2006

Rick Rubin

2007

Mark Ronson

2008

Rick Rubin

2009

Brendan O’Brien

2010

Danger Mouse

2011

Paul Epworth

2012

Dan Auerbach

they have never collaborated with before. Regardless of the relationship with the artist, a producer is tasked with successfully guiding the recording process, which Rubin says is “all dictated by the needs of the artist. A rapper might require a whole track given to him, a rock band might need help with arrangements and song selection, and a singer/songwriter might require a band be put together to get the most out of their songs.”

“Every artist is different, so my process can vary, depending on the person I’m working with,” says Alex Da Kid. A relative newcomer, Alex Da Kid co-produced Eminem’s smash single “Love The Way You Lie,” featuring Rihanna, which garnered him four GRAMMY nominations at the 53rd GRAMMY Awards in 2010. He has since collaborated with a variety of artists, including B.o.B, Skylar Grey, 50 Cent, Nicki Minaj, and Paramore’s Hayley Williams.

“Sometimes I’ll start off sitting with an artist and discussing what’s going on in their life, as well as what inspires them to make music — almost like a therapy session,” says Alex Da Kid. “Other times an artist has an idea from the get-go, and we just build from there. I’m always creating music, so often I just start creating beats without anyone in mind and then play tracks for people to see what inspires them.”

Due to the nature of her work in the classical field, Sherman sees her job as “similar to being a book editor. I’m sort of a conduit, and I help the artists present their best work to the public.”

While the recording process can be both fun and fulfilling on a number of levels, it can also be ripe with challenges.

A producer may have to serve as a mediator between band members, overcome obstacles or bridge creative differences.

In August 2013 the Civil Wars released their self-titled sophomore studio album, a project recorded following a touring hiatus that resulted from internal discord between band members Joy Williams and John Paul White. Despite the 56th Annual GRAMMY Awards

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courtesy of tony vIscontI

“I have always been obsessed with creating something new instead of treading a well-worn path.”

From top: alex Da Kid • Tony Visconti and David Bowie record Bowie’s 2013 album, The next Day, at the Magic Shop studio in new york • Joy Williams and Charlie Peacock share a laugh during the recording of the Civil Wars’ 2013 self-titled album

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tensions that may materialize through working on an album such as The Civil Wars, Peacock says his focus is on guiding a session to the end, “no matter what problems [I encounter] in the process. From arranging to singing a background vocal — we get it done. ‘Impossible’ is permanently erased from my vocabulary.”

Whether working with Black Keys bandmate Patrick Carney or an outside artist, Auerbach sets himself up as “a true collaborator ... not a dictator.”

He adds, “You gotta radiate positivity and let the artist know that anything is possible. A producer also needs to know when to step aside and let things unravel on their own.”

In the case of most projects, there are record labels, managers, agents, and others with a stake in the music being created. These interests create a complex web that can be challenging for a producer to navigate, but that’s all part of the job according to Ezrin.

“The producer is responsible for the creation of an artistically and commercially viable recording, to the satisfaction of all the stakeholders, which includes the artist, the record company and sometimes the manager,” says Ezrin. “Sometimes it is simply [a matter of] empowering [the artist] and providing them with the safe and inspiring environment.”

With disparate considerations such as interpersonal relationships, a creative atmosphere and capturing spirited performances all intertwined, how does a producer keep a session moving while maintaining the vision of the project? Factors such as preparation, planning and communication are vital for Visconti.

“I have always been obsessed with creating something new instead of treading a well-worn path,” says Visconti. “I listen to demos. If they are enticing, then the next step is a face-to-face meeting, which turns into a think tank. We discuss visions, concepts and goals. I make notes, and these become the guidelines and rules of the upcoming production. Even on the last day of the last mix, these rules are still in play.”

With organizations such as The Recording Academy’s Producers & Engineers Wing fostering a sense of fraternity, many producers understand they don’t reside in a singular world of their

courtesy of bob ezrIn

kevIn mazur

“He has no boundaries and is the only producer [who] can switch genres, from Black Sabbath to Jay Z and Kanye West to Johnny Cash. ... He is a genius.”

From top: Bob ezrin • eminem and rick rubin at rubin’s Shangri La studio in Malibu, Calif., in 2013

own creation, and the respect for those who have come before — and those currently plying the trade — is palpable.

Ezrin praises the work of producers ranging from Jack Richardson, Tom Dowd, Phil Spector, and Quincy Jones to T Bone Burnett, Dr. Dre, Kanye West, and Swizz Beatz.

Auerbach says he admires “Norman Petty [Buddy Holly] as a producer, musician, sound creator, and original studio genius. He built his own studio in the ’60s, and his records stand up today against anything.”

“I love Rick Rubin,” says Alex Da Kid. “He has no boundaries and is the only producer [who] can switch genres, from Black Sabbath to Jay Z and Kanye West to Johnny Cash. I appreciate how much time he spends on pre-production and making sure the songs are right.

He is a genius.”

Sherman’s career was “influenced the most” by legendary classical producer/engineer Max Wilcox (Van Cliburn, Artur Rubinstein, Emerson String Quartet). She currently “admires the work of [fourtime GRAMMY winner] Blanton Alspaugh.”

Peacock cites David Kahne (Tony Bennett, Paul McCartney, Stevie Nicks) as someone who helped shape his own philosophy. “I worked with David early on in my career as an artist,” he says, “and I learned so much about the philosophical part of record production, such as the power of one simple idea to shift a production in a new and better direction.”

“George Martin is the master,” Rubin concedes, while Visconti adds that Martin “wrote the first ‘book’ on modern record production.”

Fittingly, Martin’s historic output with the Beatles serves as the prime example underscoring the importance of the producer. But these days — in a music industry ripe with infinite artists and everchanging technology — a producer’s role is arguably more crucial than ever before. The methodologies and talents may differ from one to the next, but the right producer can help an artist fully tap their creative potential and mean all the difference in a project’s success.

Larry Crane is the founder and editor of Tape Op magazine, owner of Jackpot! Recording Studio in Portland, Ore., a record producer/engineer, and archivist for the Elliott Smith estate.

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Sold!

To The Winning Music Fan The growing music memorabilia market has investors and fans alike clamoring for a piece of music history

F

By B ruc e B ri t t

or David Swartz, it was like strolling through a forest and suddenly spotting a unicorn. The New York-based investor was browsing eBay one day when he stumbled upon an extremely collectible orange vinyl copy of Happy Jack, the 1966 sophomore U.S. release from British rockers the Who. “I couldn’t believe it,” Swartz recalls. “It was always rumored that there was an orange vinyl copy out there, but I could never verify that it existed. Then boom — there it was.”

After verifying the LP’s authenticity and provenance, Swartz outbid all other potential buyers, paying a relatively paltry $35 for the rare recording. Now, more than a decade later, Swartz speculates that the LP is valued at approximately $500.

“When I figure out that something is rare and genuine, and other collectors are not understanding, that’s a rush,” says Swartz.

Swartz’s prized Who LP represents the affordable side of a music collectible craze that shows no signs of stopping as more serious investors add music memorabilia to their list of blue-chip assets. Personal items by pioneering artists such as Elvis Presley, the Beatles, Bob Dylan, Jimi Hendrix, David Bowie, and Nirvana are fetching thousands — even millions — of dollars via professional auctioneers, including Bonhams, Sotheby’s, Julien’s 130

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Auctions, CooperOwen, and Christie’s, or online at eBay. But why now?

In the minds of some collectors, the mid-to-late 1900s was a musical renaissance period that will be analyzed, studied and celebrated for decades to come, if not centuries. With prestigious universities offering pop history courses, and music organizations such as The Recording Academy and its GRAMMY Museum paying tribute to past decades in music via the GRAMMY Hall Of Fame and artifact-driven exhibits, respectively, collectors are vying to own historical artifacts from earlier eras, and betting the items will only increase in value.

Thanks to this trend, some music artifacts in your possession could have tremendous value, including rare vinyl albums, limited-run concert posters, and artist-signed recordings and merchandise, among other items.

“It’s no longer something just for baby boomers, or people who just want to collect something,” says

“It’s no longer something just for baby boomers, or people who just want to collect something.”

Darren Julien, founder and president/ CEO of globally renowned Julien’s Auctions. “Hedge funds and other people looking to diversify their funds are now looking to collect rock and roll memorabilia. We have a lot of clients [who] are looking for iconic items, holding on to them for maybe five to 10 years, then turning around and more than doubling their money.”

For auctioneers such as Julien and his well-heeled clients, the operative words are “iconic” and “relevance.”

As part of its Music Icons auction in June 2011, Julien’s Auctions sold the crimson-and-black leather jacket Michael Jackson wore in the music video for “Thriller” for a staggering $1.8 million, the highest price the auction house has fetched for a jacket. (The King of Pop’s rhinestone-studded glove from his performance on the “Motown 25” TV special in 1983 went for a similarly jaw-dropping $420,000 in 2009.) To add some perspective, consider that Julien’s Auctions sold Marilyn Monroe’s 1954 River Of No Return dress for $516,000, while a gown worn by the late Princess Diana fetched $144,000.

As these examples illustrate, music memorabilia compares very favorably to other collectibles. But context is all-important.

“The highest bids go to items that are the most iconic to a celebrity’s career,” Julien explains. “The ‘Thriller’

Michael Jackson’s

The French promotional poster for

the Who’s 1975 film Tommy

rhinestone-studded glove worn during his performance on “Motown 25” in 1983

DAVID SWARTz

Julien’s AucTions

from the personal collection of David Swartz

Elvis Presley’s

courTesy of BonhAms

Gretsch Country Gentleman guitar

Julien’s AucTions

The Rolling Stones’ “Street Fighting Man” picture sleeve

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“The highest bids go to items that are the most iconic to a celebrity’s career.”

Cobain was sold for $87,000.

Collectible fever is so hot even trivial artifacts can pull in big dollars.

In 2005 England-based auctioneer CooperOwen sold two empty packs of Salem cigarettes owned by Hendrix for more than $300. Founder and Creative Director Louise Cooper says such items represent the lighter, “fun side” of what she calls the music heritage market.

Her firm has also made headlines for auctioning items such as Paul McCartney’s childhood Rex guitar, which sold for more than $532,000 in 2006, and John Lennon’s handwritten lyrics for “All You Need Is Love,” which went for nearly $1 million in 2005. Lennon’s childhood My Anthology etchings commanded more than $178,000.

Thousands of dollars aside, included in the cost of a treasured music collectible is the priceless thrill of intimately experiencing the world of an iconic artist.

“Lennon’s childhood anthology is incredible,” says Cooper. “It’s full of Lennon’s own written interpretations of rhymes and so many great examples of his drawing [and] artistic skills — doodles and picture interpretations to the actual stories that he was writing as a child. He was a real talented kid, even as a young boy.”

Though coveted music collectibles like the Lennon anthology are beyond the financial reach of most middle-class investors, Cooper says people of modest means can still join in the fun. “If you inherit something from a family member like an old ticket stub, don’t just shrug your shoulders and think, ‘Oh, that’s just junk,’” Cooper says. “Realize that there’s a story and a value behind a collectible of a well-known, chart-busting artist.

A collector pays between 40-to-200 pounds just for a ticket stub; even more depending on the concert. This is really a blue-chip investment for the wealthy, but that doesn’t stop the public from getting involved as well.”

CHRIS JACKSON/GETTY IMAGES

jacket was featured in a music video that was the first short film on MTV — probably one of the most famous videos of all time. So anything associated with Thriller is probably going to sell higher than items associated with Michael Jackson’s other albums.”

When it comes to music icons with the most sales potential, most experts cite the modern masters — ’50s artists including Presley, Buddy Holly, Jerry Lee Lewis, Little Richard, and Roy Orbison, or ’60s trendsetters such as the Beatles, the Rolling Stones, Eric Clapton, and Cream, and classic rock acts such as the Jimi Hendrix Experience, Janis Joplin, the Doors, the Grateful Dead, and Pink Floyd. Other highly collectible artists include Led zeppelin, Elton John, Queen, Madonna, U2, and Guns N’ Roses.

Opening bids for authenticated items from these artists can start higher, and sell for more, if the item in question was a personal possession. For example, Julien’s sold Presley’s Gretsch Country Gentleman guitar for $180,000, while George Harrison’s Gibson SG guitar sold for $560,000. A jacket worn onstage by late Nirvana frontman Kurt

John lennon’s My Anthology

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Bidding For GRAMMY Charity

W

hile the booming music collectible market is providing investors and music fans alike a way to amass tangible pieces of music history, the sale of rare music artifacts and keepsakes are also providing The Recording Academy’s

affiliated charitable organizations, the GRAMMY Foundation and MusiCares, with a way to raise important funds.

Produced throughout the year in conjunction with Kompolt, the GRAMMY Foundation and MusiCares hold GRAMMY Charity Online Auctions via eBay, with proceeds providing essential support for Foundation initiatives such as its GRAMMY in the Schools education programs, and MusiCares’ programs that ensure music people have a place to turn in times of financial, medical and personal need. Previous auctions have included exclusive meet-and-greet experiences with artists such as the Band Perry, Fall Out Boy, Macklemore & Ryan Lewis, Bruno Mars, and Rod Stewart, as well as signed memorabilia by the Black Keys, Fun., Elton John, Paul McCartney, Mumford & Sons, Rihanna, Red Hot Chili Peppers, and Taylor Swift, among others.

Many of these auction items are signed by artists backstage at the annual GRAMMY Awards telecast, and at other events throughout the year, including the MusiCares MAP Fund benefit concert and the annual MusiCares Person of the Year gala. Silent auction items at the 2013 MusiCares Person of the Year gala honoring Bruce Springsteen included the Boss’ signature cream-colored Fender Telecaster signed by various artists, along with a free guitar lesson from Springsteen himself, a ride in the sidecar of his Harley-Davidson with him at the wheel, eight concert tickets, a backstage tour conducted by him, and even his mother Adele’s lasagna.

“We’re extremely fortunate that many artists over the years have shown their generosity by personalizing items that have raised funds for our Foundations,” says Neil Portnow, President/CEO of The Recording Academy, GRAMMY Foundation and MusiCares. “At the same time, record labels, corporate entities, generous individuals, and others have also made items available for our benefit. These auctions continue to make a very powerful contribution to our charitable mission.”

To view current items available for bid in the GRAMMY Charity Online Auctions, and to place your bid, visit www.ebay.com/grammy.

Indeed, music lovers hoarding rare or autographed albums could possibly be sitting on thousands of dollars. In 2011 Beverly Hills-based Bonhams sold a rare picture sleeve of the classic Rolling Stones’ single “Street Fighting Man” for $17,000. “It had a controversial cover that was pulled, so there were very few copies on the market,” explains Lucy Carr, a Bonhams specialist for entertainment memorabilia.

“Last year, we had a Bob Dylan album that was signed and had inscriptions and messages from him that brought $705,000. If it has that great personal connection to the artist and you can see their hand on the page. That’s what collectors really like.”

Yet another affordable way to crack the collectors market is to try and procure items by current hit-makers whose careers might have long-term appeal. For example, CooperOwen recently consigned the childhood guitar of Coldplay singer/songwriter Chris Martin. “We stress that people buy the artist that they care about and follow,” says Bonhams’ Carr. “If it’s someone who is mainstream popular, has a devoted fan base, and enjoys critical acclaim, and is likely to have a long career, those are all good signs that their memorabilia will be valuable later on.”

During his 20 years of collecting, Swartz has instinctively purchased memorabilia by his favorite artists, most notably the Who. He has witnessed the music collectible market change from local flea markets and record shows to an Internet-enabled phenomenon that allows fast communication between international sellers and buyers. Swartz currently possesses between 4,0005,000 collectibles, including countless rare art posters and instruments, such as components of a drum kit played by the late Who drummer, Keith Moon.

Investment potential aside, Swartz says collecting for him is mostly about owning vital pieces of history.

“We’re all mercenary, but I didn’t get into this thinking how I can make money,” he says. “First and foremost, I’m a fan.”

Bruce Britt is an award-winning journalist and essayist whose work has appeared in The Washington Post, USA Today, San Francisco Chronicle, Billboard, and other publications. He lives in Los Angeles.

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Ringo Starr’s

reBeccA sApp/WireimAge.com

Ludwig drum kit on display at the GRAMMY Museum in Los Angeles

Michael Jackson’s

hAndouT/geTTy imAges

jacket worn in the “Thriller” music video

with his childhood Rex guitar

Julien’s AucTions

Paul McCartney

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Thank You Kris For Your Wisdom, Your Humor And Your Humanity Your Undeniably American Voice And For Your Political Courage Jackson Browne

I �rst met Kris on June the �th, ���� when Joni Mitchell and I were in Nashville. She was appearing on the Johnny Cash t.v. show…

Kris came to our hotel room and played a couple of �ne songs..

He was obviously a great writer and had a wonderful future…. he went on to write some of the most iconic songs of the age, "Sunday morning coming down”, "Me and Bobby McGee” and “Help me make it through the night” to name just three.

David and Stephen and I send our congratulations to Kris as he recong ceives this honor… well done, and here’s to more music from this great writer….

-Graham Nash

Chic Musique

A look back at music and fashion’s simultaneous influence on pop culture during the GRAMMY era

I

t’s hard to argue with the fact that music has influenced fashion, and vice versa.

Just look at the evidence. The only space aliens were in movies until David Bowie came along. A witch was a Wizard Of Oz fantasy before Stevie Nicks.

Androgynous was just a hard-to-pronounce word before the likes of Grace Jones and Boy George. And we still don’t know which came first: one-piece, flaredbottom spandex bodysuits or disco music.

Perhaps more so now than ever, the lines between music and fashion have blurred as professionals from both disciplines have begun working more closely together.

Today, a range of top artists are also creators of their own fashion lines, including Gwen Stefani, Justin Timberlake, Kanye West, and Pharrell Williams, among many others. Similarly, some of today’s top designers have become known for their work with musicians, including John Varvatos, who was influenced by the personal style of rock acts such as Alice Cooper, Jimi Hendrix and Led Zeppelin, among others. In fall 2008, Varvatos opened his New York boutique in the space that formerly housed the seminal underground music venue CBGB. In addition, Gucci Creative Director Frida Giannini has helped fuse the fashion house’s brand with artists such as Jennifer Lopez, Madonna and Rihanna.

Fashion and music have always provided a means for artists, and fans, to express themselves creatively and tacitly proclaim their politics. Looking back on the last six decades — or what we like to call the “GRAMMY era” — each can be defined by at least one important music and fashion trend. The GRAMMYs were born in the ’50s, the true birth of the “teenager” and, perhaps not coincidentally, rock and roll, along with bobby socks, poodle skirts and bohemian black. When everything changed in the ’60s — socially, politically and culturally — music and fashion changed with it, and so emerged the counterculture and a kind of natural anti-fashion. The ’70s brought corporate rock, disco and more conscious and deliberate fashion choices. The ’80s heralded new wave, big shoulder pads and super-teased hair bands. The ’90s saw grunge flannel but also boy-band conformity. And the ’00s popularized grillz and revealing your Fruit of the Looms.

While music and fashion’s kinship was present long before our story begins, we like to think this retrospective of the last 50-plus years will give you a pretty good idea of the cultural impact created when they collide. Perhaps designer Karl Lagerfeld described music and fashion’s enduring relationship best when he said, “Fashion and music are the same, because music expresses its period, too.”

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t thhee

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’50s ’50s

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Clockwise from top left: • Ella Fitzgerald • Ethel Merman • Bobby Darin • Perry Como • Count Basie

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Silver Screen collection/Archive PhotoS/Getty imAGeS

hough often associated with the conservative Eisenhower years, fashion in the ’50s still took some interesting left turns. Long before black was the new black, black was cropping up in the ’50s, primarily in the form of the leather of Marlon Brando and his gang in The Wild One, and the all-black ensembles — including black beret — of the beats, who were heavily influenced by the look and sounds of bebop. Meanwhile, on the softer side, women — like, oh, say, daughter Betty on “Father Knows Best” and fans of such teen idols as Frankie Avalon — were likely in poodle skirts or their boyfriend’s varsity jacket.

Well, so much for the “Happy Days” clichés. Let’s see what real-world fashion statements early GRAMMY winners were making. First up were a couple classics: the traditional black suit and fedora that marked Count Basie as an old-school jazz cat, and the black-tie formal wear of Bobby Darin’s lounge persona (though Darin could also rock and would even ultimately take a ’60s folkie turn during his Big Sur period). On the traditional side for women, there’s the elegantly gowned Ella Fitzgerald, whose A-line flare was introduced by Christian Dior in 1955. But something else was happening in the ’50s: a more relaxed vibe of slacks and cardigan sweaters that matched the comforting tones of Perry Como’s velvety croon. And, of course, the ’50s were the heyday of the Broadway musical, when shows such as “The Sound Of Music,” “My Fair Lady,” “The Music Man,” and “Gypsy,” starring Ethel Merman, were ruling the Great White Way. And ruling Merman was in her tiara and jewels, the full blossom of that final, elegant moment before the disruption of hippie anti-fashion in the ’60s.

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’60s

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ore than any other decade, the ’60s marked a turning point for the United States — socially, politically and culturally. It was the decade that brought the Beatles, Woodstock, the escalation of the Vietnam War, and the March on Washington. As the social and political tides began to turn, so did the fashion. From coast to coast, young people were listening to new music, and patterning new thoughts and new ways to dress on musicians and artists — the protesters and tastemakers of the generation.

The Beatles’ style was equally as influential as their music, from the Beatle haircut (the mop-top) and their characteristic suits to the “Beatle boot” — Cuban-heeled pointed-toe ankle boots that are still worn today. The Supremes rivaled the Beatles in global popularity and became arguably the first black female performers to embrace a more polished stylized image. And one of the most popular female trends to emerge in the ’60s was the miniskirt, which was created in 1964 by designer Mary Quant and included other variations such as the minidress. One trend not too far removed from the ’50s was the pompadour hairstyle, a staple for James Brown in the early ’60s that continues to be adopted by artists such as Janelle Monáe. And who could forget Brown’s colorful capes and iconic suits? Equal parts brooding musician and California cool, the late Doors frontman Jim Morrison rocked a combination of tousled long locks and tight-fitting low-rise leathers.

Janis Joplin’s boho chic style was arguably one of the most influential trends of any decade. Today, Joplin’s style is kept alive via Made for Pearl, a fashion line inspired by the singer’s pioneering look.

Clockwise from top left: Janis Joplin • The Beatles • James Brown • Jim Morrison • The Supremes

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’70s

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Clockwise from top left: • David Bowie • The Jackson 5 • Siouxsie Sioux • Karen Lynn Gorney

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and John Travolta • Cher

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ubbed the “Me Decade” by author Tom Wolfe, the ’70s saw the birth of several fashion trends.

There was an increase in the prevalence of bellbottoms and platform shoes, knee-high boots, the peasant style, and the beginning of punk. While some of these trends are still relevant today, it was disco that left arguably the most indelible mark on ’70s fashion. The Recording Academy even handed out its first and only GRAMMY Award for Best Disco Recording in 1979 to Gloria Gaynor for “I Will Survive.”

The “disco look” was immortalized in the 1977 film Saturday Night Fever, which featured John Travolta in the now-iconic three-piece bell-bottomed suit and Karen Lynn Gorney in the popular jersey wrap dress.

Can you dig it? A pioneer of the emerging glam-rock style, David Bowie helped make glitter rock and extravagant outfits vogue. In 1976 noted fashion designer Yves Saint Laurent introduced fluid and unstructured garments, often featuring floral-patterned prints that became known as the peasant look, which was a popular one for Cher. Arguably one of the biggest (pun intended) hairstyles of the decade, next to Farrah Fawcett’s feathered strands, was the afro. Among the artists who popularized the “natural” were Jimi Hendrix, the Supremes, the Jackson 5, and the Commodores.

The ’70s also marked the beginning of punk, by way of London designer Vivienne Westwood. Siouxsie Sioux popularized the punk and gothic look on both sides of the Atlantic with her signature cat-eye makeup, dark lipstick, all-black attire, and spiky black hair.

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Clockwise from top left: • Madonna • Run-D.M.C. • Dwight Yoakam • Mötley Crüe • Joe Strummer

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he ’80s marked one of the most colorfully daring periods for fashion and an important one for music with the Aug. 1, 1981, launch of MTV. Suddenly images of short skirts, leggings, big hair, and bling were infiltrating television screens in homes across the country, inspiring music fans and fashion aficionados alike to experiment with a bigger, brighter and tighter style.

Madonna has never failed to make headlines with her fashion, and the GRAMMY-winning singer perfectly captured several of the decade’s most notable trends — bright colors, bold makeup, leggings, tighter miniskirts, and stacks of bangles. While the Ramones’ 1976 debut album is said to have laid the musical blueprint for punk, punkinspired fashion carried into the ’80s with the popularity of Mohawks, a hairstyle adopted by the late Clash frontman Joe Strummer after his pompadour period. While punk was running rampant in cities such as New York and San Francisco, Los Angeles’ Sunset Strip was the capital for glam rock and metal. Hollywood kings Mötley Crüe embodied ’80s rock in many ways, most notably with, like, totally big hair, garish makeup and tight spandex. Pairing track suits and sneakers with a thick gold rope chain was also a popular style, and the members of Run-D.M.C. hit ’em hard with both trends. Country music artists were also making fashion statements in the ’80s, like Dwight Yoakam and his tightfitting Wranglers and embroidered cowboy-cut jacket.

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’80s

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Clockwise from top left: Will Smith • Wilson Phillips • Mariah Carey • Kurt Cobain • TLC

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T

he ’90s have often been labeled as the “decade that style forgot.” But similar to the influential decades that predated it, the ’90s go down as one of the most iconic. It was the decade that brought the rise of boy bands, the Spice Girls, Lauryn Hill, and Tupac, while a new wave of rock music was exploding onto the scene by way of Seattle.

The late Nirvana frontman Kurt Cobain was arguably the trendsetter for one of the decade’s most influential looks: grunge. His seemingly haphazard pairing of plaid, flannels, cardigans, ripped Levi’s, and other mismatched layers became the wardrobe for teens with nonconformist attitudes. Also sporting ripped Levi’s, but in a sexier way, was Mariah Carey, who proved the ’90s were the decade of the bare midriff. Equal parts crazy, sexy and cool, TLC helped popularize ’90s style with cross colors, baggy pants and, um, their iconic condom eye patches. Off-the-shoulder velvet tops, skin-tight dresses and stylishly oversized brightred blazers adorned female vocal trifecta Wilson Phillips.

They had us holding on to their brazenly feminine ’90s style, and the number of young adult women who imitated Chynna Phillips’ blond bob is likely endless. And who could forget overalls? Because of their extreme comfort (especially when wearing them with one strap down), some wish they were still in style. We wonder if Will Smith still has his pair?

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rom low-rise jeans and iced-out grillz to the return of skinny jeans and vintage pieces, the ’00s and beyond have seen a rise in the good, the bad and — thanks to the Internet and reality television explosion — the unavoidable.

One of “Punk’d” prankster Ashton Kutcher’s claims to fame is the trucker hat, which Gwen Stefani was no doubt likely to sport, along with a customized blinged-out belt and low-rise jeans revealing Fruit of the Looms, displaying why the ’00s are often called the “mashup decade.” By the time Alicia Keys took home five GRAMMYs at the 44th GRAMMY Awards in 2002 she had already left her mark with her signature braids, which inspired artists from Christina Aguilera to Justin Timberlake to begin twisting their locks. Originally intended to keep Australians warm during the winter, Ugg boots became a worldwide trend in the mid-’00s, ironically thanks in part to surfers. But once celebrities such as Beyoncé found these unisex boots, they quickly became inescapable, no matter the season. Hip-hop heavyweights such as Pharrell Williams and Kanye West influenced style in the ’00s, with Williams launching his Billionaire Boys Club line in 2005 and West dabbling in several ventures, including leather jogging pants.

But no hip-hop fad caught on as much as bling-bling. Not only were artists icing their necks, they were showing off their riches in their teeth, too. Arguably one of the current decade’s most talked about fashionistas, Lady Gaga continues to turn heads with her shockingly chic look. In fact, Gaga may be helping to start a trend for the ’10s: the constantly evolving fashion statement. Blink and it’s a new Gaga.

Clockwise from top left: • Lady Gaga • Pharrell Williams and Kanye West • Beyoncé • Alicia Keys • Gwen Stefani

®

NorwegiaN Cruise LiNe

The Recording Academy and Norwegian Cruise Line partner for first GRAMMYthemed cruise

A rendering of the GRAMMY Experience aboard Norwegian Getaway

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n May 4, 1959, the 1st Annual GRAMMY Awards kicked off with two ceremonies held simultaneously in Los Angeles and New York. At the swanky L.A. affair, stars such as Frank Sinatra, Sammy Davis Jr., Dean Martin, Peggy Lee, and Henry Mancini gathered, prompting Billboard to enthusiastically declare in a headline: “Academy Smoothly Moves Into Orbit.”

The Academy may have reached orbit after only one awards ceremony, but more than 50 years later, the glamour of Music’s Biggest Night is now heading out to sea.

In March 2013 The Recording Academy announced a multiyear partnership with Norwegian Cruise Line to feature The GRAMMY Experience venue onboard its newest ship, Norwegian Getaway, which launched on Jan. 16. As part of the partnership, Norwegian Cruise Line has been named “The Official Cruise Line Partner of the GRAMMY Awards.”

“The Recording Academy is always looking for unique ways to elevate the GRAMMY brand and extend the GRAMMY experience throughout the year,” said Neil Portnow, President/CEO of The Recording Academy. “This new partnership with Norwegian Cruise Line allows us to continue expanding our brand’s reach globally and bring new forms of GRAMMY-themed entertainment to music fans everywhere.”

Located on Deck 8 of the 4,000-passenger Norwegian Getaway, the GRAMMY Experience venue will be in operation year-round and will serve as a key component of the ship’s entertainment offerings. The venue will feature artifacts curated by the GRAMMY Museum, and nightly live performances by GRAMMY-winning and -nominated artists spanning genres from Latin jazz and blues to R&B and Americana in an intimate club for approximately 200 people.

The Miami-flavored Norwegian Getaway will be the largest ship to homeport year-round in Miami and will host seven-day cruises from Miami to the Eastern Caribbean, with ports of call including Philipsburg, St. Maarten; St. Thomas, U.S. Virgin Islands; and Nassau, Bahamas.

In addition, the organizations have partnered to produce the first-ever GRAMMY-themed Festival at Sea. Scheduled to set sail in November 2014, the forthcoming inaugural GRAMMY-themed cruise will offer music lovers an entire ship dedicated to the thrill of Music’s Biggest Night. Hosted on the Norwegian Pearl, the GRAMMY Festival at Sea promises to deliver a four-day, four-night rocking voyage from Miami to Great Stirrup Cay, Bahamas, featuring performances by GRAMMY-winning and -nominated artists. Passengers aboard the ship will have the opportunity to get up close and personal with artists at meet and greets, songwriting workshops and other exclusive events.

For more information, contact Norwegian Cruise Line at 800.327.7030 or visit www.ncl.com.

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Keeping score of the flourishing opportunities for composers in the rapidly expanding video game industry

By Nick kreweN

W

ith 2013’s fourth-quarter rollout of Xbox One and PlayStation 4, the release of a plethora of titles for a variety of platforms, including consoles, mobile and online play, and the record-setting sales pace of “Grand Theft Auto V” and “Call Of Duty: Ghosts,” the latter of which maker Activision claimed broke the $1 billion sales barrier in a matter of hours, the current $66 billion global video game industry shows no signs of disappearing anytime soon.

In fact, such sources as DFC Intelligence and Forbes are forecasting video game markets to substantially increase to $78 billion and $82 billion, respectively, by 2017, leaving one to argue that music’s role in contributing to the bottom line of this visual medium is extremely vital, whether it’s through soundtracks that have been assembled via song placements for titles such as EA Sports’ perennially popular “Madden” or “FIFA” franchises, or scores

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Bungie and Activision’s “Destiny”

KArATEKA.COM

Above:

“As a player, the music is often the key part of the atmosphere. It can set a mood, and if it’s well done, eventually becomes inseparable from our memories of the game.”

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“Karateka” Left: Jordan Mechner

STuArT PETTICAn

delivered by respected composers such as Martin O’Donnell for Bungie’s “Halo” and Russell Brower for Blizzard Entertainment’s “World Of Warcraft” and “Diablo III.” “Music is a lot of things to gaming,” explains Jordan Mechner, the legendary game designer responsible for creating the classic video game “Karateka” — which was recently modernized — and the successful ’80s “Prince Of Persia” franchise. “It’s absolutely critical, and often unjustly overlooked in favor of graphics, because people tend to talk about graphics first, sound second, but they’re both equal partners and critical parts of the players’ experience.”

According to Mechner, there are several hallmarks of good video game music.

“As a player, the music is often the key part of the atmosphere,” he says. “It can set a mood, and if it’s well done, eventually becomes inseparable from our memories of the game.

“From a game design point of view, music can also be a cue to the player, warning them that something’s about to happen, or subtly clue them as to whether they’re on the right or wrong track. And of course, music in games does

D3 Publisher’s

all the things that music does in film: it reinforces the action; creates a feeling of tension and tells the story as well. Game music can have a kind of leitmotif approach where music represents particular characters and themes, so the story is actually being told through music.”

With USA Today reporting a 178 percent growth spurt in the composer and music director professions over the past decade, and the U.S. Bureau of Labor and Statistics projecting a minimum of 32,000 new music director or composer job openings due to growth and replacement needs over the next decade, opportunities for video game music scorers are looking so rosy that even Sir Paul McCartney tried his hand at scoring music for Bungie’s highly anticipated game “Destiny.” Meanwhile, Jay Z served as executive

nEIl MCCOnAChIE

Left: Christopher Tin during a recording session at Abbey Road Studios in London Below: Russell Brower

producer for “NBA 2K13.”

However, breaking into this lucrative field is easier said than done, and usually requires a mix of luck and fortuitous timing to accompany a composer’s dazzling skill set.

“I went to my five-year college reunion and ran into my old roommate,” recalls Christopher Tin, who won a GRAMMY in 2010 for Best Instrumental Arrangement Accompanying Vocalist(s) for “Baba Yetu,” marking the first time a GRAMMY was awarded for a piece of music written for a video game. “He told me he had become a very prominent video game designer and asked me if I wanted to work on the game he was developing, which turned out to be ‘Civilization IV.’” For Austin Wintory, who received a precedent-setting Best Score Soundtrack For Visual Media GRAMMY nomination in 2012 for thatgamecompany’s “Journey,” the lucky break was meeting and working with game designer Jenova Chen at the University of Southern California.

“We were doing student games much like student filmmakers, and one of those — ‘flOw’ — ended up being one that exploded and set all the wheels in motion,” says Wintory. “Sony was just getting ready to launch PlayStation 3 and [was] looking for ways to be different from Microsoft, their chief competitor, and asked us to remake ‘flOw’ as a PlayStation 3 game.”

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COurTESy OF BlIzzArD EnTErTAInMEnT

“It’s a very competitive market, but what it really comes down to is: Can you tell a story with music?”

Brower, senior audio director at Blizzard who presides over a department of 42 employees, including three staff composers, says he just keeps his ears open.

“There was a composer [Edo Guidotti] on [‘World Of Warcraft:] Mists Of Pandaria’ whose work I heard in an Imax film while I was on vacation,” he remembers. “The film was great, but I walked out of there going, ‘Who did this music?’

I found out and two years later, he was working with us.”

Brower, an Emmy-nominated sound designer who also keeps his hand in scoring, says he has a particular goal in mind when recruiting freelance composers.

“It’s a very competitive market, but what it really comes down to is: Can you tell a story with music?”

Mechner says he starts the process for selecting a composer by making a project wish list.

“We look at films and games we’ve admired, as a lot of composers now work in film, TV and game,” he says. “We look at the demands of the project and try to find someone not only whose sensibility and style are privy to the project,

Juilliard See the Future Discover them first in more than 700 performances each season events.juilliard.edu

Joseph W. Polisi, President

but who also has the experience that’s needed for what we’re trying to do.

“For some projects, a composer whose experience is predominantly in film and linear media might be fine. For another project, we might need a composer like Christopher [Tin], who has a deeper understanding of how music works in games and [can] create music that can be taken apart and recombined on the fly according to algorithms, something that traditional composers don’t have to deal with if they’re composing a single piece.”

Once a composer is secured, the role and scope of the music is determined by the project. If it’s a video game where

the music is crucial as a storyline catalyst, usually the composer is brought in early, unlike film, where the music is often started and completed after the film has been locked. “[When] scoring a film, you’re obviously working with a director, producer and the creative talent involved and you’re able to see the film when you’re scoring it,” notes Tin, who composes mainly from his home studio. “At times, when you’re working on a game, you don’t have much more than an Excel spreadsheet to tell you what you need to write. Basically, it’s almost like you’re relying on the audio lead and the in-house people to be your eyes and tell you what you need to do.

Left: Austin Wintory records “The Banner Saga” with the Dallas Wind Symphony at the Meyerson Symphony

SCOTT rOSEnKrAnTz

Center in 2013 STOIC STuDIO

Right: Stoic Studio’s “The Banner Saga”

The Composer saga Austin Wintory provides a play-by-play rundown of composing the music for “The Banner Saga”

R

eleased Jan. 14 in single-player format, “The Banner Saga” is a Viking-themed tactical video game developed by Stoic Studio following a successful Kickstarter campaign that raised approximately $725,000.

According to the game’s description, “‘The Banner Saga’” brings skillfully crafted art, story and strategy to gamers waiting to re-experience classic adventures and tactics.” Gamers will travel through stunning landscapes straight out of an animated film, battle foes in turn-based combat and make decisions that will affect their personal experience and the outcome.

Where does music fit into this epic adventure? GRAMMY-nominated composer Austin Wintory spent 18 months on the project and breaks down his involvement with the score.

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The Beginning:

“I was brought in essentially from day one, which meant we were having conversations over how it should feel and play long before anyone even saw it. It’s a Viking mythology-inspired, turn-based strategy game with hand-drawn animation in an Eyvind Earle/Sleeping Beautystyle from the ’60s. It’s exceptionally beautiful.”

The creATive proceSS:

“I’m writing music, in some cases, inspired by an email description of what that part of the game is going to be like, before they’ve even designed the most fundamental architecture. Because I write the music first, they end up designing the game around the music.

It’s not really step-by-step: I write music and then we put it in the game and we see if it’s working. [At this point] the

game is very rudimentary: [it’s] missing graphics bugs, and you click on something that makes the game crash and you have to reboot your computer. It’s a work in progress.”

written. I make MIDI mock-ups on my computer that sound approximately like the final music, and we code them into the game. By the time I reach the finish line — when I have these finished, produced, fully The recording: recorded, mixed and mastered “With [a game like] ‘The recordings — we’re essentially Banner Saga,’ at some point switching them out with the you have to start committing original placeholder mock-ups. to recording, and this being an “Once that’s done, we orchestral score, I recorded the do our final mixing and then Dallas Wind Symphony — this spend another few months big ensemble of winds, brass ensuring that it’s working how and percussion — in a Dallas you want it to in the game. You concert hall. Later, I added really are just fine-tuning — Lisbeth Scott on vocals and a solo violinist from Detroit named making things a little louder or Taylor Davis. Usually, I record at softer, play testing and having [testers] come and play the the last possible second, so if I want to keep revising the music, game. If problems arise, I can solve them by adding a little I can. Once it’s recorded, you music here, or make it stop can’t change it.” sooner, to clear the way for X, The finiSh line: “The developers of the game Y [and] Z. You feel it out as you go.” — N.K. have heard everything that I’ve

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ThATGAMECOMPAny

thatgamecompany’s “Journey”

“I’ll write a piece of music that could last 45 seconds, but it could also last three minutes depending on how it unfolds, because it’s not linear, traditional music.”

“When I score a game with an interactive score, I’m not the person plugging it into the audio engine and programming it. So I rely very heavily on the audio lead, usually from a staff member of the game developer. They sort of take my hand and walk me through what it is they need for the game and how it needs to work. In a lot of cases, I’ve basically put my trust in them, and I execute, musically, their technical needs.”

Another chief difference between film and game is the time factor, as video games often have more complex scoring demands, seeming as though they offer a potentially infinite soundtrack.

“The solution that we’ve employed for decades is that we take a piece of music and make it loop eternally,” says Wintory, who took three years to write the music for “Journey.”

“You can play ‘Tetris’ for hours, and there’s 10 minutes of music that you hear tens of thousands of times. That’s a very clunky system, but it was a necessary step in the development of interactive audio.

“To be honest, I don’t know how much music I wrote for ‘Journey.’ I’ll write a piece of music that could last 45 seconds, but it could also last three minutes depending on how it unfolds, because it’s not linear, traditional music.

It’s written in a nonlinear way, which is difficult for your brain to wrap around.”

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“Everything that you write has to be modular, and it’s so piecemeal. It’s akin to actors acting in front of a green screen,” adds Tin. “That’s personally where the big challenge is for me. It’s like trying to paint a painting on jigsaw puzzle tiles, assembling the tiles later on and then hoping that what you’ve painted bears some resemblance to what you had in your mind when you started it.”

Though deadlines for producing the final product are tight, Brower’s in-house Blizzard team works in ample time to provide opportune feedback.

“I look at schedules and deadlines as a very constructive way to say, ‘Hey, let’s set down our pencils for a few minutes and look at each other’s work or listen to each other’s work and share it around the company,’” Brower explains. “We all spend some time every day playing the games. And we’ll get comments about the music from character artists on the ‘Diablo’ team, for a random instance. One of our maxims here at Blizzard is: ‘Every voice matters.’ And we do listen.”

As far as the future of video game scoring is concerned, projects such as “Journey” and “Karateka” that place music in the driver’s seat are opening a whole new world of interactivity.

“The music I composed for the recent update of ‘Karateka’ was actually rhythm-based combat mechanic, so you had to listen to the music for cues on how to fight your enemy, and musically, it would give you hints and you’d have to tap in rhythms,” says Tin. “I think that level of interactivity is not found on that wide of a scale, but I think we’re heading that way.”

Nick Krewen is the Toronto-based co-author of Music From Far And Wide: Celebrating Forty Years Of The Juno Awards, a contributor to The Routledge Film Music Sourcebook and has written for The Toronto Star, TV Guide, Billboard, and Country Music. He was a consultant for the National Film Board’s music industry documentary Dream Machine.

Composing for the

GOLD Olympic-themed songs and their composers help keep music aflame amid the world’s foremost sporting competition

By Bruce Britt

W

hen the 2014 Winter Olympics begins Feb. 7 in the Russian city of Sochi, the event will mark the continuation of a musical legacy dating back to the games’ Grecian origins.

In fact, music has played a vital and evolving role over the course of the games’ 118-year modern history, with the International Olympic Committee commissioning thematic works from a range of authors spanning renowned classical composers, pop trailblazers, rock stalwarts, and more.

In keeping with its custom of showcasing musical artists from host countries, the 2014 winter games will spotlight Olympic-themed songs by a variety

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AlexAnder nemenov/AFP/Getty ImAGes

The Olympic Torch Relay in Moscow on Oct. 6, 2013

l-r: John Williams; Giorgio Moroder

of artists and composers spanning Russian cities such as Moscow, Sochi, Yekaterinburg, Kazan, Ufa, and Vologda, among others, in an attempt to familiarize listeners with the distinctive culture and traditions of Russia’s various regions. A collection of these songs is featured on Hits Of The Sochi 2014 Olympic Games, a 10-track set comprising compositions authored and performed by winners of Russia’s Hits of the Sochi 2014 Olympic Games contest, one of the main components of the Cultural Olympiad’s Year of Music celebration in 2012. The winning compositions were selected by popular vote and include odes to Russia and the Olympics such as “And Again In Russia,” “Olympic Flame” and “Hello, Olympiad!”

This year, the Sochi 2014 Organizing Committee has added another musical element by commissioning an original song for an integral Olympic tradition: the torch relay. Titled “We Are All Under The Sky,” the song’s lyrics were written by Andrey Belyaev, Andrey Shalimov and Anthon Mishenin, with music composed by 164

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Evgeniy Bardachenko, and it will be played in each of the 2,900 towns and villages participating in the Olympic Torch Relay celebration.

Music’s lasting role in the summer and winter games is further demonstrated by the prestigious and ever-growing family of Olympic composers, from classical legend Richard Strauss, who penned “Olympische Hymne” for the 1936 Summer Olympics in Berlin, to GRAMMY-winning British rockers Muse, who authored and performed an anthemic number titled “Survival” for the 2012 Summer Olympics in London.

Other composers include 21-time GRAMMY winner John Williams, who crafted “The Olympic Spirit”

for the 1988 Summer Olympics in Seoul, South Korea, and GRAMMYand Latin GRAMMY-winning pop songstress Gloria Estefan, who recorded “Reach,” a song she co-wrote with GRAMMY winner Diane Warren, for the 1996 Summer Olympics in Atlanta.

One of the Olympics’ most prolific composers, GRAMMYwinning disco pioneer Giorgio Moroder was recruited to compose the official theme for the 1984 Summer Olympics in Los Angeles, in an effort to modernize the games.

The legendary Italian music man went on to compose two additional Summer Olympics themes, “Hand In Hand” (1988, Seoul) and “Forever Friends” (2008, Beijing).

l-r: Muse; Gloria Estefan

So just how are composers selected? According to Olympic Order recipient William K. Guegold, author of 100 Years Of Olympic Music: Music And Musicians Of The Modern Olympic Games 1896–1996, in years past Olympic theme composers have often been selected by a host country committee sanctioned by the International Olympic Committee.

Guegold says that while the IOC and its authorized committees do not place creative constraints on artists, the organizations reserve the right to approve or reject whatever music is submitted.

“The [IOC] doesn’t say that it 166

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has to be classical, contemporary, rock … or anything like that,” Guegold says. “But the IOC would like to see something that reflects the indigenous, historic or cultural background of a particular country.”

During his experiences writing music for the games, Moroder learned that composing for the Olympics places unique creative demands on a musician.

“There’s no formula to it,” says Moroder. “It has to be a little bit of a solemn feel, so it’s a little different than doing a song. But it’s quite interesting. While you are composing, you [might] sit down at a piano or synthesizer with a drum

loop and watch some of the prior Olympics footage and start to write.”

Moroder says that aside from creative considerations, political sensitivities also have to be taken into account.

“The [IOC] wants something solid, something big, and the record company wants something commercial,” he adds. “The record company can have a lot of say in who is going to compose the song, who is going to sing it, and how it is going to be marketed. But the final decision, of course, comes from the committee.”

A longtime fan of the Olympics, Moroder says few accomplishments in a musician’s life can compare to the excitement of being chosen to compose songs for the world’s most epic sporting event.

“It is quite big,” he says. “Just the thought that there may be 1 or 2 billion people looking and listening to your music — and maybe more listening throughout the games — is something you can only get with the Olympics. There’s no other way to have an audience that large.”

Jamie Squire/Getty imaGeS

A view of the closing ceremony at the 2012 Summer Olympics at Olympic Stadium in London

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Olympic-Sized

Spectacle

For participating performers and music directors, the Olympics are a delicate balance of preparation, pressure, excitement, and pride

By Chuck Crisafulli

Every four years, the world’s attention is focused on some of the most thrilling activities that can be done on snow and ice: hurtling a body down a luge run, launching off a giant ski jump, or packing two to four bodies into a speeding bobsled.

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In terms of the performers brought together and sheer production value, recent Olympic opening and closing ceremonies have evolved

iGor Butman’S PreSS Service

Jeff J. mitchell/Getty imaGeS

into epic performance spectacles.

Igor Butman

The Spice Girls perform at the closing ceremony for the 2012 Summer Olympics in London

At heart, the Winter Olympics are a celebration of remarkable — and sometimes frightening — athleticism. But both the summer and winter Olympic Games also call for a celebration of the culture of a host country — a celebration in which music has played an increasingly prominent role.

In terms of the performers brought together and sheer production value, recent Olympic opening and closing ceremonies have evolved into epic performance spectacles.

At the opening ceremony for the 2008 Summer Olympics in Beijing, more than 14,000 performers participated in a performance that chronicled the history of Chinese culture, including virtuoso classical pianist Lang Lang, who serves as the GRAMMY Cultural Ambassador to China. The closing ceremony for the games in Beijing set a new standard for Olympic extravagance, combining grandiose fireworks and spectacular choreography with scintillating performances by artists such as Plácido Domingo, Chinese singer Wei Wei and a duet by Led Zeppelin guitar maestro Jimmy Page and Leona Lewis.

The opening ceremony for the 2012 Summer Olympics in 170

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London arguably raised the bar further. Masterminded by Academy Award-winning film director Danny Boyle, the three-hour ceremony, titled Isles of Wonder, provided a remarkable journey through British culture, highlighting the Industrial Revolution and key contributions to literature, film, music, and technology. The closing ceremony was equally spectacular, combining colorful visuals (the field at Olympic Stadium was transformed into a giant union flag) and elaborate stage sets with musical performances by the Spice Girls, George Michael, Jessie J, Queen, the London Symphony Orchestra, and the Who, among others.

While plans are still in the works for the ceremonies at the forthcoming Winter Olympics Feb. 7–23 in Sochi, Russia, the games will, like its predecessors, provide an extraordinary global stage for local talent.

One of the featured performers at the games in Sochi will be saxophonist Igor Butman, a Saint Petersburg, Russia, native who has become an internationally recognized figure in jazz, having performed or recorded with the likes of GRAMMY

Interactive, online, personalized music coaching.

Bringing you closer to your own GRAMMY Moment. 速

www.livemusictutor.com Congratulations to all the GRAMMY Awards速 nominees.

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David Pierce

winners such as Gary Burton, Chick Corea, Pat Metheny, and Wynton Marsalis. Butman has been a performer at every Olympics since the 2004 summer games in Athens, Greece, but he says the 2014 winter games will be special.

“It’s very important to me personally, and I’m very proud to be one of the ambassadors of the games — this is our big chance to show the world that Russians are not evil,” Butman jokes. “A lot of us are very friendly and there are some very beautiful places in our country, and some beautiful music.

Of course, the athletics are the main purpose, but the chance for a host country to share its culture with the world is very important. And it’s always emotional. When you have 70,000 people counting down to the opening of the games, all in their own language, it’s emotional to begin with. To be in my home country — that will be an incredible feeling.”

Pulling together all the music featured in the Olympics is never an easy task. In addition to lavish opening and closing ceremonies, the musical components of recent Olympics have included original theme music (see page 162), nightly medal ceremonies and nightly concerts that are part of each city’s “Cultural Olympiad.”

At the 2010 Winter Olympics in Vancouver, all things musical were overseen by music director David Pierce, an Alberta-born composer/producer who composed more than five hours of orchestral score and produced another 500 hours of special recordings.

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A view of the opening ceremony at the 2010 Winter Olympics at BC Place Stadium in Vancouver

“It’s an event on such a large scale — I believe the number was 3.2 billion people who tuned in to the Vancouver opening ceremony,” says Pierce. “The scope of the music has to reflect that, so you’re creating a lot of music in broad strokes with very few subtleties. At the same time, the music plays an important role in focusing on the spirit of individual athletes and the emotions they experience. Every moment has to be timed and crafted to have just the right impact. The music really helps tell the story of each Olympics the way a soundtrack supports the story of a film.”

Getting the musical moments to flow flawlessly through the course of the Olympics is a uniquely complicated

KevorK DJanSezian/Getty imaGeS

logistical challenge. Performing artists are booked months in advance, but there’s usually very little rehearsal time and a lot of last-minute decision-making. For the forthcoming games in Sochi, some 3,000 circus performers have been recruited to perform at the opening and closing ceremonies at Fisht Olympic Stadium. Organizers said they will be used for “dance and acrobatic scenes.” Meanwhile, at press time, auditions for “main performers” were being held.

Even with the limited prep time available, the full spectacle of opening and closing ceremonies don’t really come together until they’re performed live for the world — another highpressure element of the music director’s job.

“The music really helps tell the story of each Olympics the way a soundtrack supports the story of a film.”

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“It really is difficult not to be swept away by the magnitude of the moment and the magic

michael Steele/Getty imaGeS

all around you.”

Tina Arena performs at the opening ceremony for the 2000 Summer Olympics in Sydney

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JeD JacoBSohn/Getty imaGeS

Leona Lewis and Jimmy Page perform at the closing ceremony for the 2008 Summer Olympics in Beijing

“No matter what you’ve got planned, you really only get one shot at it,” says Pierce. “You can’t really ask the world to tune back in next week after we’ve worked out all the bugs.”

For performers, the Olympic stage offers a unique opportunity to present one’s talents and home-country pride to a global audience. At the Summer Olympics in Sydney in 2000, Australian pop star Tina Arena created an emotional highlight singing a specially written song, “The Flame,” during the opening ceremony.

“I remember being on that stage and feeling so many emotions at once — nervousness, excitement, inspiration,” says Arena. “I had to concentrate on breathing deeply and drawing on every bit of inner strength, while hoping that I wouldn’t let the home team down. It really is difficult not to be swept away by the magnitude of the moment and the magic all around you, and after I was done singing I could barely speak — I was far too overwhelmed.”

Butman is also preparing himself for some high emotions in Sochi.

“Usually I can keep my emotions in control because there’s a job to do — you need to perform, so you just worry about that,” he says. “But a few times I’ve had to play the Russian national anthem in front of these Olympic crowds, and then it’s very hard not to be nervous and emotional. You want to be able to just play and enjoy the moment, but you’re thinking, ‘Do not make a mistake.’ In Sochi, I’ll be thinking, ‘Do not make a mistake here.’”

Butman will have a full schedule of performance duties throughout the games in Sochi, but he’s also confident that he’ll find some time to enjoy himself.

“With all that good music and all that good vodka — yes, I’ll be a happy man.”

Chuck Crisafulli is an L.A.-based journalist and author whose most recent works include Go To Hell: A Heated History Of The Underworld, Me And A Guy Named Elvis and Elvis: My Best Man.

MusiCares Person of the Year Carole King is still weaving a rich tapestry Carole King was honored as the 2014 MusiCares Person of the Year on Jan. 24 at a special tribute performance and dinner in Los Angeles, recognizing her accomplishments as an artist and humanitarian.

MusiCares’ mission is to ensure that music people have a compassionate place to turn in times of need while focusing the resources and attention of the music industry on human service issues that directly impact the health and welfare of the music community.

You can learn more on page 198 and at the MusiCares section of GRAMMY.org.

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B Y W IL L IE G EIST

n our hyperbolic modern world where everything is “epic” and everyone is “iconic,” Carole King is the real thing. There is no hyperbole required in describing her life and career. You know about her writing a No. 1 hit as a teenager with “Will You Love Me Tomorrow.” You know about Tapestry, which became a part of the American fabric and made King one of the biggest-selling artists in the history of music. You know about sold-out stadiums and 100,000 people packing Central Park to see her play. You know about a lifetime of songwriting and collaboration

with her friend James Taylor. You know about the GRAMMYs, and the Library of Congress Gershwin Prize for Popular Song given to her by President Barack Obama.

And if you don’t know, in 2012 she published her memoir, A Natural Woman, which made The New York Times best-seller list. This is the résumé of an icon.

To spend time around Carole King, though, is not to feel in the overwhelming presence of a music giant. She is warm and kind. She is humble and generous. If she has an entourage, I’ve never seen it. They don’t really do entourages out in her part of Idaho, I guess. King’s amazing life is about so much more than the songs she writes and sings. It’s about using all that has come with those songs for good — for preserving the world’s natural resources, for lifting up those who need a hand and for political justice. She is the kind of star who lights up other people more than she does herself. King would much rather talk about politics, the environment and her children than about “I Feel The Earth Move” or “You’ve Got A Friend.”

This year, King adds the prestigious 2014 MusiCares Person of the Year honor to her distinguished résumé. It’s a fitting honor for an icon who embodies the transformative power of what music can do in a cultural and social context.

Maybe now it’s time for an entourage, Carole.

Elissa KlinE PhotograPhy

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It was a musical household. My parents’ first piece of furniture was an upright piano.

was 13 and I actually write about that in my book, the coming of rock and roll came with [my] coming of age so suddenly I was feeling the bass in parts of my body I was just becoming aware of [laughs].

And you were 4 years old when you started playing?

Who were your early rock and roll influences?

You grew up in Brooklyn in the 1950s. Was it a musical household?

Yeah, I started at 4. My dad had a natural ear and so I inherited that. My mom had had musical training and loved music so I got all of that and I was the right vessel, apparently.

And what was the point when they knew they had something special in their daughter?

Well, I was their only child for about six years so of course I was special [laughs]. But I don’t know, I just always had an affinity for music. My mom encouraged that. My dad encouraged it. They were great about being supportive and encouraging but it was never anything that I was ambitious to do, even at that age. I just did it.

What music did you listen to back then? Who were you a fan of?

In the early years, the Andrews Sisters or the McGuire Sisters. Later on, [I liked] Guy Lombardo’s “Bell Bottom Trousers,” stuff like that. And then later I just listened to popular music, [artists like] Patti Page. This was obviously pre-rock and roll. Rock and roll kind of happened when I

As you got older, into your teen years, I’m amazed by your circle of friends. You were cutting demos with Paul Simon, and Neil Sedaka was a high school friend.

Yeah, yeah, and, you know, these are household names now but we were all just kids doing music.

So you got the songwriting bug very early in your life?

Very early. I would write commercials. I would write whatever came to mind. My mom told me that my first song ever was a song called “Galloping” and she knew music so she wrote the sheet music. I don’t have the sheet music and I don’t have any recollection of the song.

It’s one thing to sing and to play music but it’s an entirely different talent to be able to sit down and write a song. What does it take for you when you sit down with a blank piece of paper to pour a song onto a page?

There are so many ways to write a song. Some people [ask], “Which comes first, the music or the lyrics?”

Clockwise from top left: At the piano at age 4 • Gerry Goffin and King during a recording session in a New York studio, circa 1959 • The Aldon Music staff in the Brill Building, circa 1963: (top, l-r) Jack Keller, Artie Levine, Lou Adler, Al Nevins, Sheila Kirshner, Don Kirshner, Emil La Viola, Morris Levy, Howard Greenfield (bottom, l-r) Barry Mann, Cynthia Weil, Gerry Goffin, King, Neil Sedaka

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Bmi/miChaEl oChs arChivEs/gEtty imagEs

CarolE King Family arChivEs

miChaEl oChs arChivEs/gEtty imagEs

“Tapestry reached so many people for whom it became their voice.”

Chuck Berry, Little Richard, the Alan Freed rock and roll revues, where they had every artist you could think of all in one show. It was quite remarkable, and I went to most of them.

“EVOCATIVE, SOULFUL, ENORMOUSLY ENTERTAINING.” - Los Angeles Times

Located alongside the Tennessee River, Muscle Shoals, Alabama has helped create some of the most important and resonant songs of all time. Overcoming crushing poverty and staggering tragedies, Rick Hall brought black and white together to create music for the generations. He is responsible for creating the “Muscle Shoals sound” and The Swampers, the house band at FAME Studios that eventually left to start their own successful studio known as Muscle Shoals Sound. Gregg Allman and others bear witness to Muscle Shoals’ magnetism, mystery and why it remains influential today.

GRAMMY® NOMINEE:

Best Compilation Soundtrack For Visual Media

“MUST SEE” - THE HOLLYWOOD REPORTER

“MAGNIFICENT” - BOSTON GLOBE

© 2012 EAR GOGGLES PRODUCTIONS, LLC. ALL RIGHTS RESERVED.

AVAILABLE ON BLU-RAY™ AND DVD 2/25/14!

WWW.MAGPICTURES.COM/MUSCLESHOALS GRAMMY is a registered trademark of The Recording Academy.

© 2014 MAGNOLIA HOME ENTERTAINMENT. ALL RIGHTS RESERVED.

Jim mCCrary

From left: King posing with her GRAMMYs outside Lou Adler’s office on the A&M Records lot after winning four awards in 1971 • King, James Taylor and the band Jo Mama touring together in 1971: (top, l-r) Charlie Larkey, King, Taylor, Leland Sklar, Abigail Haness (bottom, l-r) Joel O’Brien, Danny “Kootch” Kortchmar, Ralph Schuckett

It varies. I didn’t actually write my own lyrics until after Gerry Goffin and I divorced. When I was [much] younger, I guess I did write my own lyrics and they were horrible, which is why I was thrilled to meet somebody who could actually write lyrics. But it takes a “something” — because you’re actually either creating something where there was nothing or you’re inspired to create something where there was nothing and really all it takes is a glimmer, a chord, a phrase, a melodic idea, and it’s always different.

One of the great moments in your career came in 1960 at age 17. You wrote a song that became a hit.

Yes, “Will You Love Me Tomorrow” was the first hit song Gerry Goffin and I wrote together. I was already a year out of high school. I graduated at 16 so lest anybody think I was a dropout. And I actually was going to college, or planning to go to college.

How did you, at that age, get a song to become a hit?

Most kids are in high school trying to figure out what they’re going to do with their lives.

I had taken forays into New York, into Manhattan from Brooklyn, and met with actual record company executives and by the time “Will You Love Me Tomorrow” came out, I had a publisher, Donny Kirshner, whose job it was to bring the song to recording companies and make that connection.

You were thrust right into the middle of the music business. Was it difficult to be 17, 18 years old and surrounded by adults all the time?

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PEtEr ashEr

“I never thought, ‘Oh, I can’t do this because I’m a woman.’”

Well, first of all, these adults were very young. And second of all, teenage music was what was wanted so I had what was wanted. I didn’t think of it as strange at all. It was exciting.

It had kind of a startup feel to it. You were on the ground floor of something.

Exactly. … People say, “What was it like to be in that scene and to know that you were doing all this great songwriting and everything?” We had no idea. We were just doing what we did. Again, in my book [I write about the] quest throughout my life for a normal life and that my parents were divorced by then. I just wanted to have a normal life and a family and I had a husband and a daughter and that was my focus and getting the songs published was like, “Yeah, that’s what we do.”

Is there a diva Carole King?

There is a diva Carole King but only in the service of making the work better and I will say that I get very demanding when I’m going to do a show and something doesn’t feel right, and it has to be right. I’ll jump ahead to the Troubadour Reunion [tour in 2010]. James Taylor and I have this wonderful, wonderful relationship, this great friendship. We have similar sensibilities about almost everything. The “almost” word becomes operative when we had a disagreement about our video screen in that show. [It] was very big and very central to the arena feel and he wanted a lot more video than I did and … he can be very strong in what he wants and most of the time

KEvin mazur/WirEimagE.Com

Gloria Estefan, Mariah Carey, Aretha Franklin, King, Celine Dion, and Shania Twain tape “VH1 Divas” in 1998

“The music needs to be heard and felt and appreciated and touch people and they’re the other end of that equation.

Without them, it doesn’t matter.” most people give him what he wants [laughs]. And I’m happy to defer but, in this case, I wasn’t. I became a diva.

And what happened was we achieved a wonderful blend of both of us getting what we want. We decided I would have control over what was on the video of my songs, he would have control over his songs and it worked out to be the balance that I was looking for.

Let’s go to your first solo album, Writer. What was that like for you to step out front? Was it scary at all?

No. No, it was not scary because, bearing in mind I’m a songwriter first, I became a recording artist, really, when I started making demos because I was the voice of how you get the song to the people. So it was not unfamiliar and the album Writer was really making demos, only making them for release. I wasn’t ever uncomfortable about that as long as I didn’t have to tour or perform.

In between that time, James Taylor had me as his “sideman.” I would go out on weekends with him to do college tours. That was when I became a performer, ever so reluctantly, pushed by James. And I wasn’t comfortable being a performer before then and, again, I go to my book because there’s a whole chapter on how that was.

He asked me, well, sort of said, “I want you to sing ‘Up On The Roof’ tonight.” And I’m like, “I can’t do this, no, please don’t make me do this.” There was no arguing with him. That was going to happen and I was terrified of it. We were at my alma mater, Queens College, and James says, “OK, you’re going out there,” and onstage he gives an introduction and he tells everybody about all the songs I had written that they already knew. … And even so, I start singing very timidly, you know, “When this

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old world starts. ...” And I describe in the chapter how I am still timid and then there’s this imperceptible crossover when I go, “They’re with me,” and I was good after that.

And I watched him, too. … [James] had this gift of just being himself and I watched him do that and I thought, “OK, I have the songs, I’m just myself.” And that’s what got me through all these years and I finally sort of owned that people loved the songs. … I remember always at all times why they’re there. They’re there because they love the music and they’re there because the music speaks to something in their lives and my job onstage is to bring them the music that speaks to something in their lives and that’s why they love me [laughs]. I love them back because without them, there’s no purpose for the music and the music needs to be heard and felt and appreciated and touch people and they’re the other end of that equation.

Without them, it doesn’t matter.

Most of us mortals will never know the feeling of having something we created played in a car or a house halfway around the world, a song that touches people and inspires them. What is that feeling like for you, to know that you sat in a room, you wrote something, you went into a little studio and recorded it, and it traveled around the world?

It’s indescribable and it comes home to me in the way of meeting a woman from Afghanistan some years back who said, “We used to listen to you in the women’s quarters on a cassette that we snuck in there.” They were listening to me in Afghanistan where women were so disrespected, which could bring us to another subject: Apparently I have had some influence on inspiring women to step out into the role of being full human beings, which we have long not been recognized as. I never realized that there was that problem because when I stepped into a recording studio, I never thought, “Oh, I can’t do this because I’m a woman.” And I would pick up the baton and lead a whole orchestra full of mostly men, and at the age of 15 I did that for the first time and got respect. It never occurred to me that there was a problem and I think that was part of

marK Davis/WirEimagE.Com

King receives a star on the Hollywood Walk of Fame in 2012

“I think the key to every Person of the Year is that they’re people [who give back].” what has empowered women to [say], “Well, she could do that. I can do that, on a very small level.” How meaningful is that to me? Tremendously. … The fact that my music has touched so many people and inspired women, but it’s also touched men. You would be amazed how many men join me in singing “Natural Woman” at concerts [laughs].

Your musical legacy is something we’ve talked about with someone like Alicia Keys who has said she has sat down at a piano at a young age and thought about Carole King and her sound and the way she carried herself and ran her career. That must give you incredible pride to hear something like that.

I’ve heard that about many, many up-and-coming or established younger artists and it is tremendously meaningful. And I have had occasion to work with Alicia and to hear her play. She’s magical and she did an arrangement that was so superlative and so creative on blending two of our songs. And I thought, “She’s my musical granddaughter.”

Are there other artists today that you are impressed by?

God, there are so many and I always go blank on this, but [Lady] Gaga is amazing. I mean, Gaga, for all the flash and 184

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everything, this is something she loves to do. I do politics as my other side. She does art and fashion as her other side and she is spectacularly gifted as a musician and a songwriter and a pianist and singer. She’s very talented and she [does] meaningful work, too, [with] the Born This Way Foundation. But she has taken that and taken that ability and inspired young people [and championed] antibullying. … I just love her for that. She, too, is a spiritual and musical granddaughter.

Speaking of using music for good, the incredible list of previous MusiCares Person of the Year honorees represents some of the biggest names in music who are obviously superstars in their own right but are also doing good with their fame. What does this award mean to you?

I’ve known many of the recipients before and I sang with James Taylor at his [gala in 2006]. But it’s your peers in the music industry who are validating that you are the person you hoped to be in both regards, [in music and] in giving back. I think the key to every Person of the Year is that they’re people [who give back] … Bruce Springsteen, James Taylor and I [are] that kind of person. It’s the person I have always hoped to be. I never, by the way, hoped to be a star. I never thought I’d be a performer. I just wanted to write songs for other people, so to have become someone who is accepted as a singer, which for years I kept saying, “No, no, no, I can’t really sing. Celine Dion really sings.” But I’ve finally owned that I’m a singer.

How Many Of These GRAMMY® Moments Do You Remember?

Barbra Streisand/Neil Diamond: “You Don’t Bring Me Flowers” Aretha Franklin: “Nessun Dorma” Ricky Martin: “Livin’ La Vida Loca” Elton John/Eminem: “Stan” Bob Dylan: “Gotta Serve Somebody” Count Basie/Ray Charles/Little Richard/Jerry Lee Lewis: medley Bruce Springsteen/Bonnie Raitt/Impressions etc.: Curtis Mayfield tribute Mary J. Blige: “No More Drama” Marvin Gaye: “Sexual Healing” Beck: “Where It‘s At” Christina Aguilera/Mya/Lil’ Kim/Pink/Patti LaBelle: “Lady Marmalade” Ella Fitzgerald/Manhattan Transfer: “How High The Moon” Whitney Houston: “I Will Always Love You” Metallica: “Enter Sandman” Black Eyed Peas/Franz Ferdinand/Gwen Stefani/Maroon 5: opening number Tina Turner: “What’s Love Got To Do With It” Bruce Springsteen: “Streets Of Philadelphia” Eric Clapton: “Tears In Heaven” Savion Glover/Riverdance: “Challenge” Eurythmics: ”Sweet Dreams” (Annie Lennox as Elvis) Alanis Morissette: “You Oughta Know” Whitney Houston/CeCe Winans/Mary J. Blige: “Count On Me” Simon And Garfunkel: “Sounds Of Silence” Shania Twain: “Man I Feel Like A Woman” Garth Brooks: “Friends In Low Places” B.B. King/Albert King/Steve Cropper/Willie Dixon/Koko Taylor: “Blues” Aerosmith: “Come Together” Michael Jackson: “Man In The Mirror/The Way You Make Me Feel” Madonna: “Music” Red Hot Chili Peppers/George Clinton: “Give It Away” Moby/Blue Man Group/Jill Scott: “Natural Blues” Faith Hill: “Breathe” Ray Charles/Stevie Wonder: Paul McCartney tribute Bruce Springsteen/Dave Grohl/Elvis Costello/Steven Van Zandt/Tony Kanal: “London Calling” Prince/Beyoncé: medley Christina Aguilera: “It’s A Man’s, Man’s, Man’s World” Usher/James Brown: “Caught Up”/“Sex Machine” Jay-Z/Paul McCartney/Linkin Park: “Numb/Yesterday” Kanye West/Jamie Foxx: “Gold Digger” Police reunion: “Roxanne” Bruce Springsteen/The Edge/Elvis Costello: Hurricane Katrina finale Andrea Bocelli/Mary J. Blige: “Bridge Over Troubled Water” Michael Jackson tribute: “Earth Song” Lady Gaga/Elton John medley: “Breathless/Your Song” Pink: “Glitter In The Air” Tina Turner/Beyoncé: hits medley Jay-Z/Kanye West/Lil Wayne/T.I./M.I.A.: “Swagga Like Us” Coldplay: “Politick” (with New York Philharmonic) Lynryd Skynyrd/Elvin Bishop/Dickey Betts/Keith Urban/Tim McGraw/Gretchen Wilson: Southern rock medley OutKast/Earth, Wind & Fire/George Clinton: “Who Got The Funk” Melissa Etheridge/Joss Stone: Janis Joplin tribute Alan Jackson: “Where Were You (When The World Stopped Turning)” Coldplay/Jay-Z: “Lost/Viva La Vida” Bruce Springsteen: “We Take Care Of Our Own” Foo Fighters/John Paul Jones: “Walk” Jennifer Hudson: Whitney Houston tribute Radiohead: “15 Step” Eminem/Rihanna: “Love The Way You Lie” Bruno Mars: “James Brown” Madonna/Gorillaz: “Feel Good Inc/Hung Up” Celine Dion: “My Heart Will Go On” Bob Dylan/Mumford & Sons/Avett Brothers: medley Taylor Swift: “Mean” Bonnie Raitt/Billy Preston: “Do I Ever Cross Your Mind” (For Ray Charles) Adele: “Rolling In The Deep” Cee Lo Green/Gwyneth Paltrow: “Forget You” Mick Jagger: “Everybody Needs Somebody To Love” (Solomon Burke tribute) Paul McCartney/Bruce Springsteen/Joe Walsh/Dave Grohl: Abbey Road medley Bruno Mars/ Sting/Rihanna/Steven Marley/Damien Marley: Bob Marley tribute

To the artists and my remarkable creative team who have helped us present these and all of our GRAMMY moments for the past 34 years, I thank you from the bottom of my heart.

— Ken Ehrlich

Elissa KlinE PhotograPhy

From top: Performing “Smackwater Jack” in Portland, Ore., during the Living Room Tour in 2004 • Inductee Lou Adler with King at the 28th Annual Rock and Roll Hall of Fame Induction Ceremony at Nokia Theatre L.A. Live in 2013

Actually, before I became famous I first became socially active in the Kennedy election. I went around and canvassed in 1960. I couldn’t even vote then. I was over 18 but at that time you had to be 21 so I couldn’t even vote but I was canvassing and doing things to help Kennedy get elected. We won that one [laughs]. And after that, I kind of got involved in the civil rights movement. You know, I had a home and family and my work so I didn’t travel but I did everything I could. .... And then I think I didn’t really get active until ’72. My first political event was Four For McGovern. Lou Adler brought me into that concert because he knew Warren Beatty, who worked for McGovern.

Barbra Streisand headlined, James I think was the second, I was the third and [then] Quincy Jones, so we were the four and it was fun. I mean, it was great fun and we were raising money for a cause. I’ve been a progressive since before they were called progressives.

Then in the late ’80s, early ’90s I got involved with the cause that’s been my cause for 23 years, protecting the Northern Rockies ecosystem. And that’s been the focus but I’m certainly an environmentalist and I work with the National Resources Defense Council on their larger issues and I’m just totally into that.

It feels like you’ve spent almost as much of your time fighting for these things as you do on your music.

Sometimes more [laughs]. No, but it is true. I’m trying to write a second book about that, literally, half of my life.

In those 23 years since you’ve started, have you seen big progress on the issue? Are you happy with where you are?

I haven’t because the issue that I work on, the Northern Rockies Ecosystem Protection Act, was first introduced

by Peter Kostmayer [in the early ’90s] and then he lost his election so we had to find someone new. We found Carolyn Maloney … and she’s still the main proponent of

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KEvin KanE/WirEimagE.Com

When did you bring social activism into your life and decide, “I can use the attention I’m getting for music in other productive ways”?

this bill. It’s huge. It involves getting 10 senators onboard.

It involves getting all the representatives from the districts that we affect and most of those people are timber people.

Timber is the biggest thing and the problem now has become recreational vehicle use, off-road vehicle use, and that’s oil. We have so many people [who] don’t want to see this thing happen and all we’re trying to do is take the existing wilderness that’s already protected and add the remaining areas that are roadless, which are eligible, to the system to expand the range of the grizzly bear to meet the biological needs of the region. There’s so much land left for multiple use, so that’s been my case. But it’s really hard to get everybody we want onboard so we just keep going.

Persistence. I’ve been told this by people in Congress, persistence will pay.

“I do give credit because it’s important. ... You need people. And I want to acknowledge those people because not many people do.”

person and he protected me so I could keep my feet on the ground and I’m so grateful to him. May I also mention that the production on that album was amazing and that was Lou. The musicianship on that album was amazing: Russ Kunkel, Danny Kortchmar [and] Charlie Larkey, who was my husband but a stellar bass player.

It seems to be that you love being out in Idaho, perhaps more at this point than being in New York or in the music business.

Carole, this right here is why people love you. We’re talking about the record that made you an international superstar and all you can do is talk about everyone else who worked on the record. You’re not a diva after all.

I love being in Idaho but I love coming to New York. It’s where I grew up. It’s a culturally vibrant place. There’s a lot of diversity in terms of people you see on the streets. But I do love Idaho. It’s been a haven for me.

I want to go back, because we kind of skipped over Tapestry. How could we not talk about Tapestry?

How could we not?

The album was No. 1 for 15 consecutive weeks, and has been estimated to have sold more than 25 million copies.

Rolling Stone ranked it the 36th greatest album ever recorded. You won four GRAMMYs that year, including Album Of The Year. How did that record change your life?

[laughs] I think it just made me extremely high-profile, which at the time I thought, “I don’t want this.” But it was good and, how do I say this: Tapestry reached so many people for whom it became their voice. It expressed feelings they wanted to express and they had a song to express them.

“It’s Too Late,” [so] many people said, “Oh, that song got me through my divorce.” And “Natural Woman,” I can’t tell you how many people said, “Oh yeah, so-and-so was conceived to this.” “So Far Away,” everybody feels that when they’re away from a loved one. [The album] helped people express through song things they were already feeling and, of course, I didn’t set out to do that. I just expressed what I was feeling.

Were you surprised by the success?

I was totally, totally shocked. And Lou Adler was my intermediary to the world. I wasn’t doing press at all at that point and Lou took all the press, and was my manager. He was really my intermediary between me and the world of a famous

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President Barack Obama presents King with the 2013 Library of Congress Gershwin Prize for Popular Song at the White House on May 22, 2013

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No, I’m not, but they were so much a part of it. They gave me this comfortable space and the songs, it’s always about the songs. And I will take credit for the songs to the extent that I get the inspiration and they are given to me. But then I have the craft, I know how to put a song together. … [But] I do give credit because it’s important and you know in your work there are people [who] do the lighting and the cameras and the makeup and, you know, who help bring you the material you need and you have an assistant. You need people. And I want to acknowledge those people because not many people do.

The last thing I have to ask you is there were some rumblings, some whispers, maybe some rumors, that you had said or implied that you were done making music?

Well, here’s the quote. [What] I said is, “It would be lovely to retire.” I did not say, “I’m retiring” [laughs].

Oh, that’s nothing. She’s still playing music. We’re good.

Well, I’m playing. I still play in various venues. As far as writing, I haven’t written a new song in a while and if I don’t write a new song in a while longer, that’s OK with me. I’m not seeking to write new songs nor am I saying I’ll never write a new song again.

Television personality and author Willie Geist is co-host of the 9 a.m. hour of NBC’s “Today” show and the co-host of MSNBC’s “Morning Joe.” His books include The New York Times bestseller American Freak Show, and, as co-author, Loaded! Become A Millionaire Overnight And Lose 20 Pounds In 2 Weeks Or Your Money Back!, a satire of the self-help genre.

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Recording Academy Membership Membership in The Recording Academy is open to individuals who are actively working in all realms of music and recorded sound, from its creation to presentation, dissemination and protection. Through active participation in The Recording Academy, members help ensure that the proposed activities of The Academy are current and relevant to the industry. Individuals may join The Recording Academy in three separate categories.

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In 2005 The Academy launched GRAMMY, a digital newsletter/magazine that brings together news about Academy programs with feature content in a publication geared specifically to members but of interest to all music fans.

Additionally, in 2014 The Academy will launch GRAMMY Pro, a new member benefit providing tools to help members grow in their careers creatively and technically. GRAMMY Pro’s dedicated website, GRAMMYPro.com, will feature an exclusive library of video and editorial content exploring the industry and the craft of music. Through GRAMMYPro.com, Academy members will be able to collaborate and connect socially with fellow members, artists and music professionals in a true professional network.

Members of The Recording Academy are involved in the GRAMMY Awards process. The GRAMMYs are the only peer-presented award to honor artistic achievement, technical proficiency and overall excellence in the recording industry. Member involvement is essential to the integrity of the GRAMMY Awards.

The staff headquartered in Santa Monica, Calif., as well as in the 12 Chapters, conducts the daily operations of The Recording Academy with guidance provided by the National Board of Trustees. The Trustees are elected by the Governors of each Chapter to provide vision and ensure effective corporate governance of The Academy.

For more information on Recording Academy membership, visit www.grammy.org. Learn more about GRAMMY Pro on page 208.

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GRAMMY® Week

Norah Jones (left) and Anoushka Shankar accept a Lifetime Achievement Award on behalf of their late father, Ravi Shankar, from Recording Academy President/CEO Neil Portnow at the 2013 Special Merit Awards Ceremony

Larry Busacca/Getty Images

With GRAMMY Week, The Recording Academy will unleash seven days of cultural events leading up to the GRAMMY Awards.

From helping to preserve our nation’s musical heritage to honoring luminary industry figures, The Recording Academy takes advantage of the days prior to the highly anticipated GRAMMY Awards telecast to produce a colorful schedule of private and public programs that celebrate and illuminate the indelible place of music in our society.

Usher performs at Clive Davis and The Recording Academy’s 2013 Pre-GRAMMY Gala

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The Academy honors groundbreaking industry leaders with GRAMMY Salute To Industry Icons, celebrated during Clive Davis and The Recording Academy’s Pre-GRAMMY Gala, an exclusive event that saw The Academy team with the innovative music executive to produce this legendary annual GRAMMY party.

Honored by The Academy at the Special Merit Awards Ceremony are the recipients of the Lifetime Achievement, Trustees and Technical GRAMMY Awards and GRAMMY Hall Of Fame selections, as well as the Music Educator Award, recognizing its initial recipient this year.

Immediately following the ceremony is our official GRAMMY Nominees Reception, an event that brings together GRAMMY nominees in a night of celebration prior to the GRAMMY Awards telecast.

During a high-profile gala, the Producers & Engineers Wing celebrates excellence in music and audio and the professionals working “behind the glass” whose visionary talents have significantly impacted the audio production landscape.

The GRAMMY Foundation sponsors a number of events focused on music education and preservation throughout the week. High school students are invited to participate in GRAMMY Camp — Basic Training, which provides students with advice from industry professionals and allows them to participate in career-specific workshops and panel discussions.

Members of GRAMMY Camp — Jazz Session, comprised of the nation’s top high school instrumentalists and vocalists, travel to the host city of the GRAMMY Awards and perform at key events, including the GRAMMY Celebration after-party, the Special Merit Awards Ceremony & Nominees Reception, and more.

GRAMMY In The Schools Live! celebrates music and music education by showcasing the activities of the GRAMMY Foundation through performances featuring young program participants with special guest artists. The fundraising dinner and concert support a wide range of GRAMMY in the Schools music education programs for high school students and schools.

The GRAMMY Foundation Legacy Concert spotlights the Foundation’s role in preserving our recorded music heritage by showcasing restored films and other

media that contain unique and historical musical content together with prominent speakers and live musical performances.

The Entertainment Law Initiative aims to promote future careers in entertainment law by inviting the nation’s top law students to participate in a legal writing contest and scholarship competition. ELI is toasted with a high-profile luncheon and awards ceremony attended by students, music attorneys, executives, and members of The Recording Academy.

MusiCares hosts the prestigious Person of the Year tribute dinner and concert two nights before the GRAMMY Awards. The event honors individuals (the most recent honorees include Bruce Springsteen, Paul McCartney, Barbra Streisand, and Neil Young) for their philanthropic and creative achievements.

Funds raised from the annual Person of the Year tribute benefit MusiCares’ human service programs and the event draws attention to the important work of the organization.

The GRAMMY Charity Online Auctions, which raise money for the GRAMMY Foundation and MusiCares, are held in conjunction with the GRAMMY Awards at www.ebay.com/grammy.

For the fifth consecutive year, the GRAMMY Museum staged a variety of events highlighting GRAMMY categories and nominated music and artists. Meanwhile, also in Los Angeles, The Academy spotlighted music and social media with GRAMMY Connect.

Finally, the week ends with the GRAMMY Awards Pre-Telecast and telecast ceremonies and the GRAMMY Celebration after-party, a glamorous post-show affair that allows attendees the opportunity to celebrate not just the 56th Annual GRAMMY Awards nominees and recipients, but also the spirit and importance of music in everyone’s lives.

GRAMMY Week is a concentrated, high-profile showcase of The Academy’s year-round commitment to a mission dedicated to cultural enrichment, arts advocacy, education, and honoring musical excellence — a commitment mirroring the impact, magnitude and scope of the iconic GRAMMY Award itself.

The Recording Academy’s full calendar of GRAMMY Week programs differs slightly each year. For complete news and information on GRAMMY Week, visit www.grammy.com.

GRAMMY Museum®

Courtesy of the GRAMMY Museum

Having just celebrated its five-year anniversary, the GRAMMY Museum has served as a dynamic educational and interactive institution dedicated to the power of music since opening its doors in December 2008. The four-story, 30,000-square-foot facility is part of L.A. Live, the premier sports and entertainment destination in downtown Los Angeles.

A joint venture of The Recording Academy and Anschutz Entertainment Group, the Museum serves the community with an array of public and education programs.

The GRAMMY Museum explores and celebrates the enduring legacies of all forms of music; the creative process; the art and technology of the recording process; and, of course, 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 addition to more than two dozen exhibits exploring GRAMMY-winning music including everything from rock, hip-hop and country to classical, Latin, R&B, and jazz, the Museum offers the 200-seat, state-of-theart Clive Davis Theater as well as curated special programs, lectures and film series.

Although the GRAMMY Museum isn’t a traditional museum, there are many iconic and historical artifacts on display. The

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Museum aims to have visitors experience the artistic and creative process of making music with a number of interactive and experiential exhibits. At its essence, the GRAMMY Museum supports and recognizes artistic excellence and the art of making music across all genres.

The GRAMMY Museum serves as home to a living archive of the GRAMMY Awards’ colorful history.

Dedicated computer databases contain information on more than 50 years of GRAMMY recordings and artists, and rare artifacts connect visitors to the legendary recordings and artists that have been honored by the GRAMMY Hall Of Fame and The Recording Academy’s Special Merit Awards. The Museum also shares the process through which GRAMMY winners are selected as well as how the telecast comes together.

Since its inaugural year, the Museum has presented exhibits including the political Songs Of Conscience, Sounds Of Freedom; a Michael Jackson memorial retrospective; an expanded Latin GRAMMY Awards exhibit; Elvis At 21, a Smithsonian-curated collection of Alfred Wertheimer’s insightful photographs chronicling arguably the most pivotal year in Presley’s career; Strange Kozmic Experience, exploring the innovations, legacies and continued impact of the Doors, Jimi Hendrix and Janis Joplin; George Harrison: Living In The Material World; This Land Is Your Land, an exhibit dedicated to Woody Guthrie; the Songwriters Hall of Fame Gallery, which premiered the exhibit John Lennon, Songwriter; and Whitney! Celebrating The Musical Legacy Of Whitney Houston. The Museum’s recent exhibits include Jenni Rivera, La Gran Señora, Ringo: Peace & Love and Cheap Trick: I Want You To Want Me! The GRAMMY Museum also hosts a wide range of public programs in the Clive Davis Theater. Programs include artist interviews, live performances, film

series, lectures, continuing education classes, town hall meetings, and more.

The past year has seen an exciting lineup of critically acclaimed programs with Bad Company, the Beach Boys, Black Sabbath, Michael Bolton, Stanley Clarke, Clive Davis, Plácido Domingo, John Fogerty, Amy Grant, Skylar Grey, Josh Groban, Kaskade, Paul Kelly, Kris Kristofferson, Macklemore & Ryan Lewis, Natalie Maines, Graham Nash, Orianthi, Phillip Phillips, and Verdine White, among others.

The Museum’s Education Division also offers a variety of multidisciplinary programs to inspire, teach and engage students, teachers and families. The education staff uses music as a gateway to learning by providing hands-on experiences that allow students to deepen their understanding of music, culture and history. From education workshops that are developed based on state and national educational content standards, to digital music production, DJ and photography workshops emphasizing various career pathways, and outreach programs designed to bring music to disenfranchised communities, the Museum aims to enrich those of all ages interested in learning. In 2012 the GRAMMY Museum launched the Music Revolution Project, a new program that offers talented youth the opportunity to engage in musical discourse and performance with their peers.

In June 2013 a groundbreaking ceremony took place for the GRAMMY Museum Mississippi in Cleveland, Miss.

Expected to open in summer 2015, the 20,000-plus-square-foot facility is planned to be the most technologically advanced music-themed museum in the world.

Membership dues and donations support the Museum’s public and educational programs as well as maintain the Museum’s cutting-edge exhibits. There are a variety of membership packages available, including corporate packages.

All members enjoy exclusive access to the Museum and its programs.

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, please visit the Museum on Twitter (@TheGRAMMYMuseum) and Facebook (The GRAMMY Museum).

The GRAMMY Museum速 On Display Until March 30, 2014 800 W. Olympic Blvd., Los Angeles, CA 90015 Monday-Friday 11:30am - 7:30pm, Saturday- Sunday 10:00am - 7:30pm

For more information, go to GRAMMYMUSEUM.ORG GRAMMY Museum and the Museum logo are registered trademarks of The Recording Academy and are used under license.

MusiCares Foundation®

The Mission MusiCares was established in 1989

by The Recording Academy to provide a safety net of critical assistance for music people in times of need. MusiCares’ services and resources cover a wide range of financial, medical and personal emergencies, and each case is treated with integrity and confidentiality. Since its inception, MusiCares has developed into a premier support system for music people and its innovative programs and services are designed to meet the specific needs of its constituents. Last year MusiCares distributed more than $3.5 million in direct financial assistance to thousands who needed help.

Emergency Financial Assistance Program

Kevin Mazur/WireImage.com

With a commitment to providing help to those in need as quickly as possible, the Emergency Financial Assistance Program provides assistance for basic living expenses including rent, utilities and car payments; medical expenses including doctor, dentist and hospital bills; psychotherapy; and treatment for HIV/AIDS, Parkinson’s disease,

Alzheimer’s disease, hepatitis C, and other critical illnesses.

The program is open to music people who are able to document at least five years of employment in the music industry and/or credited contribution to six commercially released recordings or videos, and who can demonstrate proof of need. MusiCares operates toll-free phone lines in the West region (800.687.4227), East region (877.303.6962) and South region (877.626.2748).

in the production of televised music shows and other major music events.

In addition, MusiCares offers weekly addiction support groups for people in the music industry to discuss how to best cope with the issues surrounding the recovery process, and the MusiCares Sober Touring Network provides a resource of individuals across the United States who take music people to recovery support meetings while on the road.

Healthy Essentials Services

The annual MusiCares Person of the Year tribute dinner and silent auction take place during GRAMMY Week. Each year, the dinner honors a recording artist who has made important contributions to the world of music and has demonstrated extraordinary humanitarian and philanthropic efforts.

The event generates significant financial support for MusiCares and draws attention to the critical work of the organization.

The 2014 honoree is Carole King; previous honorees include Tony Bennett, Bono, Natalie Cole, Phil Collins, David Crosby, Neil Diamond, Gloria Estefan, Aretha Franklin, Don Henley, Billy Joel, Elton John, Quincy Jones, Paul McCartney, Luciano Pavarotti, Bonnie Raitt, Paul Simon, Bruce Springsteen, Sting, Barbra Streisand, James Taylor, Brian Wilson, Stevie Wonder, and Neil Young.

Proactive services can often prevent our community members from falling into crisis. MusiCares has developed a slate of Healthy Essentials maintenance and preventative services, including dental and medical screenings and clinics; workshops on financial, legal and health issues; and panels at industry conferences and festivals. In addition, MusiCares will be helping music professionals understand medical insurance options available under the Affordable Care Act.

Addiction Recovery

The MusiCares MAP Fund, launched when MusiCares joined with the Musicians’ Assistance Program, has become a leading force in the effort to identify and address the problems of addiction in our industry by utilizing a pool of resources set aside specifically to provide members of the music community access to addiction recovery treatment and sober living. The MusiCares MAP Fund benefit concert is held annually to generate resources for our addiction recovery services.

Staffed by qualified chemical dependency and intervention specialists, MusiCares Safe Harbor Rooms offer a support network to those in recovery while 2013 MusiCares Person of the Year Bruce Springsteen they are participating

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Person Of The Year Tribute

How Can I Help?

Your help is more important now than ever. Please talk to us about the people you know who are in need. Invite us to your company, studio or other gathering to talk about how we can help, and please consider MusiCares for your personal or professional charitable contribution. Your contribution can make a real difference in the lives of the members of our music family.

Throughout the year, the GRAMMY Charity Online Auctions raise funds for these programs by bringing exclusive VIP experiences and autographed memorabilia to the public at www.ebay.com/grammy.

To learn more about MusiCares’ programs and services, visit www.musicares.org or call 310.392.3777.

The GRAMMY Foundation was established in 1989 to cultivate the understanding, appreciation and advancement of the contribution of recorded music to American culture. The Foundation accomplishes this mission through programs and activities designed to engage the music industry and cultural community as well as the general public.

The Foundation works in partnership year-round with its founder, The Recording Academy, to bring national attention to important issues such as the value and impact of music and arts education and the urgency of preserving our rich cultural legacy. An important part of this mission includes the direct involvement and interaction of music professionals.

to receive $2 million in scholarships.

GRAMMY Signature Schools provides awards and grants to public high school music programs in two categories: need and excellence.

Using the model of the GRAMMY Signature Schools program, the GRAMMY Foundation created the GRAMMY Signature Schools Community Award, which provides grants to high school music programs across the United States.

The Recording Academy and GRAMMY Foundation will debut the new Music Educator Award during GRAMMY Week in 2014. Applications for the 2015 award are available at GRAMMYMusicTeacher.com and GRAMMYintheSchools.com.

Education Programs

Preservation & Advancement

Under the banner of GRAMMY in the Schools, the GRAMMY Foundation achieves its goals in music education through programs that draw public attention to the importance of maintaining music education as a curriculum element; bringing students together with working professionals for “real-life” exchanges of information and inspiration; and recognizing excellence in musical achievement nationwide among individual students and school music programs.

GRAMMY Camp is a residential summer camp for high school students with a focus on the many careers in the music industry. In 2013 GRAMMY Camp was presented in Los Angeles and New York. Applications for this year’s GRAMMY Camp are currently online at www.grammyintheschools.com and the deadline is March 31.

GRAMMY Camp — Basic Training is a one-day event that brings top music industry professionals together with high school students to make them aware of careers that are available in music and present a behind-thescenes look into the industry.

GRAMMY Camp — Jazz Session selects top high school instrumentalists and singers to form a band, choir and combo. They receive an all-expensespaid trip to Los Angeles during GRAMMY Week to perform at GRAMMY-related events, record an album and attend the GRAMMY Awards, and they are eligible

The GRAMMY Foundation’s preservation and advancement initiatives are designed to foster dialogue about the compelling issues facing the music industry, support projects that increase the understanding of music and its role in society, and raise public awareness about the urgent need to preserve our nation’s recorded sound legacy.

The Entertainment Law Initiative is comprised of a legal seminar series, a national scholarship essay competition for law students and a high-profile luncheon during GRAMMY Week. Now in its 16th year, ELI has awarded more than $160,000 in scholarships and prizes since its inception. Winners’ essays are also published in professional law journals.

The GRAMMY Foundation Grant Program, with funding generously provided by The Recording Academy, awards grants each year to organizations and individuals in two categories: scientific research and archiving and preservation.

The Grant Program has awarded more than $6 million over the life of the program.

The GRAMMY Living Histories program preserves on visual media the life stories of key recording industry professionals and visionaries who helped create the history of recorded sound. This footage is utilized by the GRAMMY Foundation and its partner organizations to develop educational video programs. To date, the Foundation has completed more than 200 interviews with artists, producers,

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GRAMMY Foundation®

GRAMMY Foundation Honorary Chair Ryan Seacrest attends GRAMMY Camp in Los Angeles on July 19, 2013

executives, and technology pioneers.

The GRAMMY Foundation continues to partner with organizations and archives to preserve and feature historic music performances and materials.

Entering it’s 16th year, the GRAMMY Foundation Legacy Concert, a special event produced during GRAMMY Week, highlights this effort.

The GRAMMY Foundation was instrumental in writing and successfully passing the National Recording Preservation Act in 2000. This legislation created a National Recording Preservation Board that works with the Librarian of Congress and the public to select entries for the National Recording Registry, ensuring the preservation of these designated historic recordings. To date, 375 recordings have been added to the Registry.

Throughout the year, the GRAMMY Charity Online Auctions raise funds for programs by bringing exclusive VIP experiences and autographed memorabilia to the public at www.ebay.com/grammy.

For more on the GRAMMY Foundation, visit www.grammyfoundation.org. For more on the Foundation’s education programs, visit www.grammyintheschools.com.

Advocacy & Industry Relations

Advocacy & Industry Relations: Advancing The Rights Of Music Creators The only membership organization representing all music creators, The Recording Academy is known as the “supersized musicians lobby” by Congressional Quarterly. The Academy’s Advocacy & Industry Relations office in Washington, D.C., serves as policymakers’ go-to representative of the collective world of recording professionals — performers, songwriters and studio professionals.

Through its year-round GRAMMYs on the Hill Initiatives, Academy members from across the country partner with the Advocacy team to present a compelling, 20,000-member strong lobbying corps for music creators’ rights. From congressional hearing testimony by Academy witnesses to online advocacy tools to the music industry’s only annual grassroots advocacy day, the music community’s point of view is heard by leaders from the Capitol to the White House.

Through advocacy, education and dialogue, The Recording Academy protects the rights of music makers and advances their interests on important policy matters.

Programs include:

Advocacy • GRAMMYs On The Hill Awards And Advocacy Day This two-day event in Washington brings hundreds of music creators to

Capitol Hill for an awards ceremony honoring artists and legislators who have improved the environment for music, followed by a grassroots lobby day during which Academy members meet with their members of Congress

Industry Relations objectives and successes. An educational tool for music professionals and policymakers alike, the publication can be accessed at www.grammy.com/advocacy (click Year in Review)

• Congressional Testimony Numerous Recording Academy leaders have served as expert witnesses before key congressional hearings determining music policy.

Most recently, former Academy Chair Jimmy Jam testified on behalf of performers, songwriters and producers for fair performance royalty rates

• Online And Social Media Engagement Through its Advocacy Action tool, members can contact federal, state and local government officials to advocate for pro-music policy. Through Facebook (GRAMMYs on The Hill) and Twitter (@TRAinDC), Academy members receive real-time updates on policy matters, with new online tools launching in 2014

• Congressional Caucus The Recording Academy works closely with the Recording Arts and Sciences Congressional Caucus, co-chaired by congressional leaders Rep. Kevin McCarthy (R-Calif.) and Rep. Steny Hoyer (D-Md.), the two House “whips” of their parties. In conjunction with the caucus, The Academy produces congressional briefings and events at the Capitol to educate policymakers

• Panels, Seminars And Speaking Engagements From South by Southwest to legal seminars and Chapter events, the Advocacy & Industry Relations team fans out across the country to paint the policy picture for those interested in creators’ rights

• State Advocacy From Washington state to Washington, D.C., The Recording Academy partners with its 12 Chapters to advocate for local and state initiatives that help the local music community

Education • Advocacy Year In Review This annual publication serves as a roundup of the year’s Advocacy &

Dialogue • GRAMMY Industry Roundtable A series bringing together policy leaders and music professionals to discuss critical issues in a private, off-the-record setting • “Give Fans The Credit” An industrywide discussion on finding ways to include the credits of songwriters, musicians and studio professionals on digital players, “Give Fans The Credit” was launched with spokespeople such as Skylar Grey, T Bone Burnett and Diane Warren. In the campaign’s first year, its petition garnered more than 12,000 signatures and Rhapsody became the first music service to support the initiative

Mark Sullivan/WireImage.com

• Music Leaders Retreat A semiannual retreat for leaders of every major music association. Cofounded by The Recording Academy and co-hosted by Recording Academy President/CEO Neil Portnow, the leaders discuss their common legislative goals and important community issues

(top row, l-r) The Recording Academy’s Daryl P. Friedman, Chairman of the House Committee on Homeland Security Rep. Michael McCaul (R-Texas), Rep. Marsha Blackburn (R-Tenn.), songwriter Josh Kear, and producer Mark Bright (bottom row, l-r) Chairman of the House Judiciary Committee Rep. Bob Goodlatte (R-Va.), Chairwoman of the Democratic National Committee Rep. Debbie Wasserman Schultz (D-Fla.), Rep. Louie Gohmert (R-Texas), Jordin Sparks with Shelby Schultz, and Reps. Linda Sánchez (D-Calif.), Joseph Crowley (D-N.Y.), Ted Deutch (D-Fla.), and Karen Bass (D-Calif.)

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For more information about Advocacy & Industry Relations at The Recording Academy, visit www.grammy.org/advocacy. To learn more about the “Give Fans The Credit” campaign, visit www.givefansthecredit.com.

速

The Latin Recording Academy®

®

and creating a greater public awareness of the cultural diversity of Latin music artists and creators, both domestically and internationally. The Latin GRAMMY nominees and winners are chosen via a process that is similar to the GRAMMY Awards, with a few subtle but important differences: membership and voting are international and the releases eligible for awards can be issued both inside and outside the United States.

The Latin GRAMMYs, the most high-profile celebration of Latin music culture, was the first primetime English-, Spanish- and Portuguese-language telecast on U.S. television. After redefining the international market approach to the Latin GRAMMY Awards telecast, the show was sold to approximately 50 international markets (representing more than 100 countries), with a focus on branding, long-term objectives, and social media impact — as well as a goal of reaching more than 75 million pairs of eyes and ears with the best in Latin music.

Culminating a week full of Latin GRAMMY-related events, the 14th Latin GRAMMY Awards telecast aired on the Univision Network live for a sixth consecutive year from the Mandalay Bay Events Center in Las Vegas. Approximately 10 million viewers tuned in to all or part of the live three-hour broadcast. The telecast also delivered an average audience of 4.6 million total viewers 2+, 2.4 million adults 18–49 and 1.2 million adults 18–34, and positioned Univision as the No. 3 broadcast network for the entire night among adults 18–34. Additionally, the telecast ranked as the No. 1 social TV broadcast of the entire night based on the number of unique tweets.

The Latin Academy continued another longstanding tradition when singer/ actor Miguel Bosé was celebrated as the 2013 Latin Recording Academy Marc Anthony performs at the 14th Annual Latin GRAMMY Awards. Anthony won Record Of The Year for “Vivir Mi Vida.” The night’s big winner, with three awards, Person of the Kevin Winter/WireImage.com

In 2013 The Latin Recording Academy celebrated its 14th year of honoring the best in Latin music. Established in 1997 as the first international venture launched by The Recording Academy, The Latin Recording Academy is a unique membership-based association dedicated to improving the quality of life and cultural condition for Latin music and its creators.

The Latin Academy has offices in Miami and Santa Monica, Calif., and conducts outreach through educational and other events in cities such as Sao Paulo, Mexico City and Madrid. The Latin Recording Academy is a virtual meeting place for members, including music professionals in Spanish- or Portuguesespeaking communities from more than 35 countries around the world.

Since 2002 The Latin Recording Academy Board of Trustees has guided the organization from its initial stages of growth to the 14th Latin GRAMMY telecast.

The Board members, who rotate after serving their respective terms, drive the organization’s efforts in staging the annual Latin GRAMMY Awards and ancillary events while achieving annual goals. The Latin GRAMMY Awards aims to recognize artistic and technical excellence, not sales figures or chart positions, and the nominees and respective winners are determined by their peers — the qualified voting members of The Latin Recording Academy.

A main purpose of the Latin GRAMMY Awards is recognizing achievement

was Colombian singer/songwriter Carlos Vives 204

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Year. The day prior, The Latin Recording Academy recognized the impressive long-lasting careers of Oscar D’León, Juan Formell, Roberto Menescal, Totó La Momposina, Palito Ortega, Eddie Palmieri, and Miguel Ríos as 2013 Lifetime Achievement Award recipients; and Mario Kreutzberger aka “Don Francisco” and Pedro Ramírez Velázquez as 2013 Trustees Award recipients.

Through the Latin GRAMMY Street Parties, a successful signature event for more than 10 years, The Latin Recording Academy brought music and the Latin GRAMMY brand to top U.S. Hispanic markets. Additional efforts included educational sessions in the United States, Mexico and Colombia and the Latin GRAMMY Acoustic Sessions, which was held for the first time in Bogota, Colombia, and repeated successfully in Mexico City in addition to several U.S. cities. As an extention of these efforts, this year The Latin Recording Academy, in conjunction with The Recording Academy, GRAMMY Foundation and MusiCares, will launch the Latin GRAMMY Cultural Foundation as a means to provide funds to individuals who have the potential to excel in genres related to Latin music.

LatinGRAMMY.com, which was recently relaunched, will continue to be the preferred communication tool with members, media and Latin music fans.

The Latin GRAMMYs’ Twitter account has surpassed more than 1.7 million followers and the organization’s presence on Facebook provides a connection for more than 230,000 constituents. In addition, music fans can learn more about how The Latin Recording Academy operates and obtain information about Latin GRAMMY winners and the awards process.

The active, generous and selfless participation of The Latin Recording Academy’s Trustees and various committees and members around the world, along with the help of its sister organization, The Recording Academy, ensures that programs and activities are current and relevant to the music community.

For more information, visit www.latingrammy.com, or contact The Latin Recording Academy’s headquarters in Miami at 305.576.0036 or the Awards office in Santa Monica at 310.581.8689.

The Digital Academy

As The Recording Academy has grown its mission, programs and services to meet the needs of the 21st century music community, so too has it evolved its methods for interacting with that community. The organization’s digital initiatives reveal an embrace of new technologies to communicate and advance our mission and the GRAMMY brand.

GRAMMY.com has been the exciting online extension of the GRAMMY telecast for nearly two decades. While helping to build awareness for and drive viewership to the GRAMMY Awards, the site presents Recording Academy news, events and information; engaging features, video and photos; and its own unique content and creative coverage of the GRAMMYs. And with the upcoming launch of GRAMMYPro.com, the online component of the new GRAMMY Pro initiative (see page 208), GRAMMY websites will continue to provide a 24/7 connection for all Recording Academy members.

For the 56th GRAMMY Awards, GRAMMY.com offered more video, more photos, and a more live and interactive “second-screen” GRAMMY experience than ever before. For the fifth year, The Recording Academy presented GRAMMY Live — a live video stream of

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GRAMMY activities that included a live webcast of the Pre-Telecast Ceremony and special behind-the-scenes action and backstage coverage during the GRAMMY telecast, including red-carpet interviews, and exclusive GRAMMY Week content. Nearly 70 categories of awards are presented in the Pre-Telecast, and until 2008 the presentation was only available to those in attendance.

Social engagement, live event blogs, real-time video, photo uploads, and user comments enhanced the lively GRAMMY dialogue on the site. The mobile-optimized GRAMMY.com accommodated a growing community of visitors viewing the site on smartphones and tablets.

Additionally, The Academy continues to expand its digital presence for both the GRAMMY Awards and the organization’s year-round initiatives by creating unique pages on YouTube and such social networking sites as Twitter, Facebook, Tumblr, Instagram, and others where users can interact with the GRAMMY brand in a meaningful and authentic way. The success of this engagement led to the 55th GRAMMY Awards generating 24.8 million social media comments, up 47 percent compared to the 54th GRAMMY telecast in 2012.

GRAMMYPro.com will provide Academy members with exclusive professional development video and articles, easy online membership management tools and a new-and-improved members-only social network where they can share, connect and learn from one another. All Academy members will be able to access GRAMMYPro.com for unique content and to create a personal profile page and post status updates as well as audio, video, photos, and more.

For 2014 The Academy has once again launched Amplifier Center Stage: A GRAMMY U Initiative. Centered around an interactive online platform, the program invited emerging artists to share their songs via SoundCloud for a chance to have their music vetted by a panel of artist curators, who narrowed talent based on criteria such as quality and “amplification” — the amount of shares/ likes they achieved. Ultimately, three winners were selected from the finalists by the Amplifier Center Stage ambassador.

Meanwhile, GRAMMY.com remains an invaluable and growing year-round destination and key content syndication hub for music news, a GRAMMY winners database, blogs, unique performance and interview video such as GRAMMY Best New Artist content, @theGRAMMYs and the ReImagined series, content from The Academy’s vaults, the GRAMMY.com First Listen and First Look series, exclusive interviews, and enlightening features.

GRAMMY.org launched in 2010 as a platform dedicated specifically to our mission — the work of The Academy (including our advocacy efforts and the Producers & Engineers Wing), as well as the MusiCares and GRAMMY Foundations.

And this GRAMMY season, The Academy continued to grow its commitment to providing voting members with the ability to listen to full tracks of nominated music in a streaming, on-demand format. This online evaluation tool has become a powerful resource to support our GRAMMY Awards process.

It’s all part of The Academy’s ongoing digital development, with powerful tools providing members as well as the general public greater access to and interaction with The Academy.

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GRAMMY Pro™

Recording Academy members can enjoy access to GRAMMYPro.com online and on their smartphones and tablets

GRAMMY Pro is The Recording Academy’s newest Member Services initiative, designed to provide tools to help members grow in their careers creatively and technically. Through online content, events, community engagement, and collaborations with industry partners, GRAMMY Pro will offer a wide range of professional development resources to expand the knowledge base and networks of today’s music professionals.

Representing the diverse interests of membership, GRAMMY Pro will evolve with the changing needs and feedback of Recording Academy members.

GRAMMY Pro’s new members-only website, www.grammypro.com, is scheduled to launch in early 2014 and will give Academy members 24/7 access to exclusive online content. The website will feature a library of videos and articles

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exploring the business and craft behind music. Quick tutorials will provide tips and techniques from industry veterans while in-depth interviews with professionals from various backgrounds will deliver insight into the latest topics, trends and technologies shaping the music industry. Marketing, branding, social media, production, engineering, singing, songwriting, touring, management, and licensing will be among the array of topics covered through the site. In addition, coverage of professional development events presented by The Recording Academy’s 12 Chapters will bring local programming directly to members nationwide.

The website will also be members’ gateway to the GRAMMY Awards process with links to balloting and ticket information, as well as an online listening function; will serve as a one-stop shop for

membership management, allowing for easy sign-ups and renewals; provide one-click access to Member Services staff; and feature more detailed “Privacy & Notifications” settings. Brimming with new features, www.grammypro.com will offer a community where members can build business relationships, collaborate creatively, or simply connect socially with other artists and music professionals across the country.

In addition to offering on-demand resources via the new website, GRAMMY Pro will expand into live event programming with a range of new professional development events to be announced in 2014, including up-closeand-personal conversations, engaging presentations and a variety of activities to serve Recording Academy members of all backgrounds and experience levels.

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Supporting this vast information archive is Joel’s unrivaled collection of charted and non-charted recordings across all genres. The entertainment industry relies on Joel’s vast catalog of print books, eBooks, and his online database – the MusicVault, for accurate and unbiased reporting of music history.

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GRAMMY Awards® Process

Each fall at the annual GRAMMY Awards screening meetings, hundreds of music experts from around the country — musicians, producers, A&R representatives, journalists, and other music professionals — gather in Los Angeles to pour through every entry for the upcoming GRAMMY Awards and endeavor to place each recording in its appropriate category.

For two days this past September, The Recording Academy hosted the “core” screening meeting, where a musical evaluation committee dedicated itself to defining the proper category placement for entries in the General, Rock and Pop Fields.

Similar panels of people knowledgeable in their fields worked through the same process for recordings in the American Roots Music, Classical, Country, Dance/Electronica, Gospel, Jazz, Latin, and R&B Fields.

As much as these folks love music, eight-hour days analyzing it can be exhausting. Add to that the collective hours spent debating in which category a song or album belongs — an often lengthy process of barely controlled passions and thoughtful, if determined, argument — and these volunteers are spent. But they fight for the music they love, learn minute details about other music, and in the end walk away satisfied with the committee’s final decision.

These screening meetings are one of the many vital steps in the complete GRAMMY Awards process. From the time entries are first submitted to the big night when the GRAMMYs are proudly bestowed and accepted, there are long months of painstaking preparations.

The Awards process is more complex and involved than many casual observers realize. Each entry is subjected to verification, screening and nominating procedures that ensure fairness for every genre and the integrity of the process as a whole.

From early July through August 2013, The Academy received approximately 18,000 entries, which were processed and verified for eligibility. A total of 10 preliminary screenings were held during which committees of specialists in specific genres of music made the first round of categorization. At these 210

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® preliminary screenings, a team of authorities on world music might listen to a recording and come to the conclusion that it’s not world music as The Academy defines it. They would then recommend it for consideration in a different genre by another committee at the full-scale annual screening meeting taking place the following week. It’s at this meeting that all entries eventually find a home.

When the rigorous two weeks of screening meetings are finished and the staff has processed all the category moves, the Entry List is developed and sent with a Nominating Ballot to all voting members of The Recording Academy.

This voting body, of more than 12,000 artists, producers, songwriters, engineers, and other qualified, creative music

professionals — along with special review committees of genre specialists in some Fields — votes to determine the final nominations. For the 56th GRAMMYs, these final nominations were announced Dec. 6 during a special live telecast, “The GRAMMY Nominations Concert Live!!” Approximately two weeks later, final ballots were sent to the voting members of The Academy, who selected the GRAMMY winners.

It’s then up to the accounting firm to tabulate the votes and seal the results in envelopes that are opened for the first time on the GRAMMY telecast and Pre-Telecast. It’s only then that the world learns who will receive these coveted gramophones.

Congratulations Peter Kater for your GRAMMY Award Nomination 速

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P E T E R K A T E R I L L U M I N A T I O N Peter Kater has scored over 100 TV and Film Productions including 11 On & Off-Broadway Dramatic Plays. He is a proud recipient of 9 GRAMMY 速 Award nominations and the Environmental Leadership Award from the United Nations.

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The Recording Academy速

Executive Staff

NEIL PORTNOW

WAYNE ZAHNER

PRESIDENT/CEO

Branden Chapman Executive In Charge Of Production & Chief Business Development Officer

Daryl P. Friedman

Barb Dehgan

Rick Engdahl

Vice President, Communications & Media Relations

Gaetano Frizzi

Chief Advocacy & Industry Relations Officer

CHIEF FINANCIAL OFFICER

Bill Freimuth

Chief Information Officer

Senior Vice President, Awards

Chief Human Resources Officer

Chief Marketing Officer

Evan Greene

David Konjoyan

Kristen Madsen

Scott Goldman

Dana Tomarken

Nancy Shapiro

Vice President, Creative Services

Senior Vice President, Member Services

MusiCares and GRAMMY Foundations

Senior Vice President

Vice President

Vice President

Advisors

Joel Katz

General Counsel

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Chuck Ortner

National Legal Counsel

Bobby Rosenbloum Deputy General Counsel

Gary Smith

Managing Partner, Deloitte & Touche

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Not everyone is board certified in plastic surgery.

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The Recording Academy速

National Trustee Officers And Trustees

Trustee Officers

Christine Albert CHAIR OF THE BOARD

John Poppo Vice Chair

Eric Schilling Secretary/Treasurer

George J. Flanigen IV Chair Emeritus

Trustees

Carlos Alvarez

Peter Asher

Larry Batiste

Jennifer Blakeman

Helen Bruner

John Burk

Brandon Bush

Beth Cohen

Sue Ennis

Pete Fisher

Fletcher Foster

Florida

Maurette Brown Clark Washington, D.C.

Sheila E. Los Angeles

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Philadelphia

Pacific Northwest

Los Angeles

Los Angeles

Nashville

San Francisco

Atlanta

Nashville

New York

Florida

Bill Gibson

Pacific Northwest

The Recording Academy®

National Trustee Officers And Trustees Trustees

Malcolm Harper Jr.

Anne Harris

Stephen Hart

Terry Hemmings

Daniel Hill

Tammy Hurt

David Ivory

Scott Jacoby

Johnny K

Mike Knobloch

Sebastian Krys

Ruby Marchand

Kitty Margolis

Susan Marshall

Harvey Mason Jr.

David Massey

Lana “MC Lyte” Moorer

Kurosh Nasseri

Nicki Richards

Ken Shepherd

Karen Sherry

Peter Strand

Gilbert Velasquez

Paul Wall

Dan Warner

Texas

Atlanta

Los Angeles

New York

New York

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Chicago

Philadelphia

New York

Los Angeles

Chicago

San Francisco

New York

San Francisco

Washington, D.C.

Texas

Nashville

Chicago

Memphis

New York

Texas

Nashville

Los Angeles

Los Angeles

Memphis

Florida

National Staff Thank You To The Dedicated Staff Of The Recording Academy Executive Staff

Lani Simmons

Stephen Salazar

Yvonne Faison

Branden Chapman

Tirsa St. Fort

Justin Shover

Annika Frank

Barb Dehgan

Charlotte Williams

George Thompson

Sara Furrer

Neal Youn

Mylea Gacutan

Rick Engdahl Bill Freimuth Daryl P. Friedman Gaetano Frizzi Evan Greene David Konjoyan Neil Portnow

Communications & Media Relations Jasmin Alejandrez

Marketing & Strategic Alliances

Lourdes Lopez Patton

Jim Cannella

Stephanie Schell

Lindsay Gabler

Jerry Sharell

Shumetris Halford

Louis Vazquez

Andrew Hinze

Nancy Shapiro Wayne Zahner

Creative Services Kiana Butler

Advocacy & Industry Relations Janine Coveney Todd Dupler Crystal Hypolite

Awards Michael Almanza Joanna Chu Brian Clasby Nick Di Fruscia Jennie Freeburg

Crystal Larsen Tim McPhate

Marlena Campbell Froylan Gutierrez

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Analisa Lono

Brittany Presley

Kevin Colligan Frank San Filippo

Member Services

Frances Inomata

Rob Accatino

Aaron Pecson

Christee Albino

Adrian Tosh

Jessica Allen Stacy Anderson Lyn Aurelius Grace Baca Erin Baxter Deston Bennett

Kelley Purcell Paul Raksit Mark Schulz Laura Segura Mueller Susan Stewart Alicia Warwick Reid Wick Michael Winger Candice Yang Lisa Zahn

Facilities & Operations

Jodie Blum

Jose Cardenas Jr.

Christina Brehm

Brian Klinsport

Nicole Brown

Troy Lillestol

Michele Caplinger

Production & Process Management

Esperanza Ramirez

Jamieson Chandler

Adrian Diaz

Tim Whalen

Wendi Cherry

Fabrizio Fajardo

Marta Clark

Casey Immoor

Human Resources & Development Stacey Adams Shonda Grant Lila Mayes

Alexa Zaske

Ashley Coleman

Nora Luna

Michael Compton

Leigha Nettleton

Lacy Cowden

Rex Supa

Laura Crawford

Clay Upton

Neil Crilly

Jaimie Jenkins

Information Technology

Kayenecha Daugherty

Daniel Lopez

David Mar

Maureen Droney

Alan Matkovic

Joseph Melendez

Ashley Ernst

Ann Meckelborg

Kiyumi Nishida

Virginia Faddy

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Leah LaRocco

Sarah Mudler

Tracy McKee

Ali Arenberg

Maurice Kalous

Scott Petersen

Digital Media

Laura Sibigtroth

Business Affairs

Candace Jones

Daniel Mendoza

Claudine Little

Linda Wilvang

Theresa Jenkins

Hillary Melin

Marina Martinez

Mary Stewart

Jon Hornyak

Paul Madeira

Vicky Hofmann

Julie Smith

Nate Hertweck

Iman Saadat Woodley

Rosa Guerrero

Jay Sloan Jr.

Matt Young

Tera Healy

Christen McFarland

Angela Jollivette

Tahsan Scott

Kourtney Richard

Elizabeth Healy

Media Productions

Executive Office

Sean Riley

Adrienne Reed

Brittany Hardy

Philip Merrill

Lisa Goich-Andreadis

Marc Mutnansky

Ben Lamb

Frank Guillen

Foundations Staff And Boards Executive Staff

Communications

Programs & Events

Scott Goldman

Hannah Berryman

Kate Allen

Cortney Bailey

Kristen Madsen

Christina Cassidy

Kelly Darr

Danielle Bowker

Kellyn Robison

Brett Bryngelson

Dana Tomarken

Development

Administration

Loren Fishbein

Events

Renee Jones

LaShon Malone

Andrea Adelman

VanAn Tranchi

Marisela Huerta

Business Affairs

Dorit Kalev

Ryan Donahue

Education

Carol Flores

Joseph Langford

Jules Goodman

Julie Mutnansky

Judy Wong

Thomas Piland

Wynnie Wynn

Health & Human Services

Debbie Carroll Shireen Janti Reid Erica Krusen Jennifer Leff Nicole Oliva Harold Owens Anita Ramsarup

David Sears

GRAMMY Foundation Board of Directors President/CEO

Secretary/Treasurer

Neil Portnow

Geoff Cottrill

Honorary Chair

Chair Emeritus

Ryan Seacrest

Beatriz R. Perez

Troy Carter Dan Cherry

Jeanne Meyer

Greg “Stryke” Chin

Elizabeth Moody

David Dorn

David Webster

George J. Flanigen IV

will.i.am

Chair

Rusty Rueff

Christine Albert

Vice Chair

Rachna Bhasin

Tim Bucher

Amanda Marks

Ethiopia Habtemariam

Darrell Brown

John Hamm

MusiCares Foundation Board of Directors President/CEO

Chair Emeritus

Neil Portnow

Scott Pascucci

Chair

Pete Fisher

Alissa Pollack

Susan Genco

Scott Powell, M.D.

Bill Silva

Christine Albert

Kevin Lyman

Gary Veloric

Vice Chair

Martin Bandier

Tero Ojanpera

Stasia Washington

John Burk

Jon Platt

Rod Essig

Tom Poleman

Alexandra Patsavas Secretary/Treasurer

Arnie Herrmann

The Latin Recording Academy

®

Executive Staff

Awards

Digital Media

Gabriel Abaroa Jr.

Diana Alvarado

Adriano Haubenthal

Member Services Lina Borda

Davina Aryeh

Uziel Colon

Executive Office

Livys Cerna

Luis Dousdebes

Claudia Santos

Grace Santa-Ana

Aida Scorza

Business Affairs

Business Development

John Munoz

Caitlin Marino

Latin Recording Academy Board of Trustees Executive Committee

Trustees

Chairman Emeritus

Chairman

Christine Albert

Kike Santander

Luis Cobos

Fernando Barbosa

Vice Chairman

Marcelo Castello Branco

Moogie Canazio Secretary

Mary Black-Suarez Treasurer

George J. Flanigen IV Maria Cristina Garcia-Cepeda

Luis Villanueva

Oscar Gomez

Neil Portnow

Sebastian Krys Terry Lickona Cris Morena Laura Tesoriero Johnny Ventura

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Legal Counsel

Joel Katz Bobby Rosenbloum

Trustee Ad Honorem

Andy Garcia

Jorge Hernandez-Torano

Chapter Boards And Staff Chapter Boards And Staff

Atlanta Chapter Chapter Board Trustees

Brandon Bush Tammy Hurt President

Billy Johnson Vice President

Thom “TK” Kidd Secretary

Billy Johnson

Gwen Hughes Governors

Iain Bluett Brandon Bush

Kristian Bush Dot Bustelo Steve Dancz Richard Dunn Diane Durrett Blake Eiseman Wes Funderburk Michael Graves Omara Harris Tammy Hurt Peggy Still Johnson Steve Jones

Scott Keniley Thom “TK” Kidd Melissa Love Stephen Moretti Gary Douglas Motley Doria Roberts Tom Roche Bradford Rogers Dr. Lyn Schenbeck Mala Sharma Joey Sommerville Matt Still

William Beckett Chris Catalano Angelin Chang Karen Clark Sheard Shayla Cooper Shemekia Copeland Brian Deck Wanda Ewing Hillel “Frankie” Frankel Michael Freeman Matthew Hennessy Kelly Hogan Daryl Jones

Johnny K Phil Kosch Mary Mazurek Gabe McDonough Barry O’Connell Justin Roberts Manny Sanchez Matthew Skoller Terry Stewart John Stirratt Patrick Stump Larry Sturm Paul Wertico

Bryan Bassett Beth Cohen Michael Dagnery Jimmy Douglass Serona Elton Doug Emery Mike Fuller Javier Garza Christopher Glansdorp Nate “Danja” Hills Gloria Lemmey Lee Levin Angela N. Martinez

Pete Masitti Boris Milan Veronica “Milcho” Milchorena Tom Morris Ivan Parron Armando “Pitbull” Perez Lauren Reskin Julio Reyes Copello Leesa Richards Andres Saavedra Eric Schilling Elsten Torres Mark Tremonti

Peter Asher John Beasley Evan Bogart Mike Clink Larissa Collins Qiana Conley Ivory Daniel Nick Egan Siedah Garrett Richard Glasser Marcus Grant Lalah Hathaway Booker T. Jones Dave Jordan Julianne Jordan Amy Keys Sebastian Krys

James Leach Christopher Lennertz Gavin Lurssen Brian Malouf Susan Markheim Julia Michels Marcus Miller Loretta Munoz Ray Parker Jr. Diana Rodriguez Akiko Rogers Daniel Rojas Andrew Sandoval Rafa Sardina Jason Schweitzer Rachel Stilwell Christopher Tin

Nikki Taylor Miles Walker Stephanie Wallin Matt Williams Advisors

Jorel “JFLY” Flynn John Driskell Hopkins

Chapter Staff Senior Executive Director

Michele Rhea Caplinger Senior Project Manager

Erin Baxter

Chicago Chapter Chapter Board Trustees

Anne Harris Johnny K Peter Strand President

Matthew Hennessy Vice President

Angelin Chang Matt Hennessy

Secretary

Bonny Dolan Governors

Ken Abdo Ruben P. Alvarez

Alexandra White John McLaughlin Williams Advisors

Andrae Ambrose Andrew Barber

Chapter Staff East Regional Director

Tera Healy Senior Manager, Chapter Operations

Sarah Mudler Membership Coordinator

Maurice Kalous

Florida Chapter Chapter Board Trustees

Carlos Alvarez Beth Cohen Dan Warner President

Greg “Stryke” Chin Vice President

Melanie Masterson Greg “Stryke” Chin

Secretary

Elsten Torres Governors

Randy Barlow James Bass

Dan Warner Angel Zamora Advisors

Kristian Krempel Radha Mehta

Chapter Staff Senior Executive Director

Neil Crilly Senior Project Manager

Marta Clark Project Coordinator

Jessica Allen

Los Angeles Chapter Chapter Board Trustees

Peter Asher John Burk Sheila E. Mike Knobloch Sebastian Krys Harvey Mason Jr. Lana “MC Lyte” Moorer Mindi Abair

President

Mindi Abair Vice President

Cheryl Pawelski Secretary

Jeff Greenberg Governors

Mindi Abair Adam Anders 222

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Chris Walden Verdine White Tremaine Williams Advisors

Stephanie LaFera Ximena Munoz

Chapter Staff West Regional Director

Kelley Purcell Regional Membership Manager

Yvonne Faison Regional Manager, Chapter Operations

Nicole Brown Production Manager

Paul Raksit Chapter Assistant

Christina Brehm

Chapter Boards And Staff Memphis Chapter Chapter Board Trustees

Susan Marshall Ken Shepherd President

Lawrence “Boo” Mitchell Vice President

Joel Savoy Secretary

Lawrence “Boo” Mitchell

Kim Bledsoe Lloyd

Governors

Elliot Adams Chris Bell Scott Billington Scott Bomar Lahna Deering Erin Frankenheimer Gary Goin Catrina Guttery D.A. Johnson

Kim Bledsoe Lloyd Susan Marshall Jim McCormick Shannon McNally Johnny Palazzotto Jeff Powell Joel Savoy Lester Snell Jody Stephens Kim Stephens

Clay Cook David Corlew Rod Essig Trey Fanjoy Pete Fisher Fletcher Foster Ben Fowler Tracy Gershon Steve Gibson Brandon Heath Terry Hemmings Scott Hendricks Daniel Hill Doug Howard John Ingrassia Brett James Marion Kraft

Chandra LaPlume Jim Lauderdale Frank Liddell Martina McBride Pat McMakin Shawn McSpadden Justin Niebank Robert K. Oermann LeAn Phelan Michael Rhodes Leslie Roberts Scott Robinson Shannon Sanders Victoria Shaw Jon Randall Stewart Alan D. Valentine Ben Vaughn

Jonatha Brooke David Caddick Norman Chesky Ray Chew Lauren Davis Charlie Feldman Sharon Isbin Bashiri Johnson Claude Kelly Jill Krutick Emily Lazar Jeff Levenson Andres Levin David Massey Christian McBride Ann Mincieli Brian Montgomery

Martha Mooke Cathleen Murphy Ted Nash Arturo O’Farrill Deirdre O’Hara Porfirio Pina Matt Pinfield Billy Porter Neeta Ragoowansi Nile Rodgers Maria Schneider Kathy Sommer Rich Stumpf Sharon Tapper Andy Tavel Bethany Thomas Judy Tint

Nick Blasko Charles R. Cross Bart Day Tom Dyer Brandon Ebel Jack Endino Steve Fisk Beth Fleenor Michael Gettel Lisa Grace Christen Greene Dave Gross

Sean Horton Pali Kaaihue Kisha Kalahiki Steve Mack Kris Orlowski Ed Pierson Jonathan Plum David Sabee Portia Sabin Jovino Santos Neto Aaron Starkey Tyler Stone

Jay Weigel Advisors

Kim Richardson John “Jdogg” Shaw

Chapter Staff Senior Executive Director

Jon Hornyak Administrative Assistant

Brittany Presley

Nashville Chapter Chapter Board Trustees

Pete Fisher Fletcher Foster Terry Hemmings Daniel Hill President

Jeff Balding Vice President

David Corlew

Jeff Balding

Secretary

Lisa Harless Governors

Chuck Ainlay Lori Badgett Jeff Balding Woody Bomar Allen Brown

Jay Williams Advisors

Leslie Fram Eric Holt

Chapter Staff South Regional Director

Susan Stewart Senior Regional Production Manager

Lyn Aurelius Senior Project Manager

Alicia Warwick Regional Manager, Chapter Operations

Ashley Ernst Chapter Assistant

Laura Crawford

New York Chapter Chapter Board Trustees

Jennifer Blakeman Scott Jacoby Ruby Marchand David Massey Nicki Richards Karen Sherry President

Linda Lorence Critelli

Linda Lorence Critelli Vice President

Tom Chapin Secretary

Joe D’Ambrosio Governors

Geri Allen Ben Allison Carlos Alomar

Darryl Tookes Philip Traugott Lenny White Advisors

Pete Ganbarg Riggs Morales

Chapter Staff Senior Executive Director

Elizabeth Healy Senior Project Manager

Lisa Zahn Manager, Chapter Operations

Stacy Anderson Senior Project Coordinator

Candace Jones

Pacific Northwest Chapter Chapter Board Trustees

Sue Ennis Bill Gibson President

Geoff Ott Vice President

Mike Jones Secretary

Geoff Ott

Lauren Daniels Governors

Tim Bierman John Bishop 224

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Jerry Suarez Steve Turnidge Alan Yamamoto Astra Yaver Advisors

Jennifer Petersen Nancy Rumbel

Chapter Staff Executive Director

Michael Compton Chapter Assistant

Alexa Zaske

Chapter Boards And Staff Philadelphia Chapter Chapter Board Trustees

Helen Bruner David Ivory President

Ivan Barias Vice President

Lauren Hart Secretary

Terry Jones

Ivan Barias

Governors

Glenn Barratt Adam Blackstone

Matt Cappy Gloria Domina Nik Everett Lauren Hart David Ivory Jeri Lynne Johnson Terry Jones Andy Kravitz Lori Landew Andrew Lipke Dena Marchiony Don Marrazzo

Phil Nicolo Kristal “Tytewriter” Oliver Brandon Pankey Michael Pedicin Bernard Max Resnick Donald Robinson Ritchie Rubini Ryan Schwabe Anne Sciolla Ashley Scott Toby Seay Wendell “Pops” Sewell

Jim Thorpe Craig White Rodney Whittenberg Corey Latif Williams

Kevin Arnold Roem Baur Laura Bergmann Nona Brown Brad Dollar Frances England Gregory J. Gordon Kylee Swenson Gordon Beverly Robin Green Leslie Ann Jones Sarah Jones Zoe Keating Judy Kirschner

Mitchell Koulouris Stacy Kray Camilo Landau Ledisi Damien Lewis Kitty Margolis Tom Murphy Piper Payne Nick Phillips Gino Robair Tom Shimura aka Lyrics Born Michael Starita Alex Theory

Ben Van Houten Wayne Wallace

Jay Boy Adams Randy Adams Carlos Alvarez Ricky Anderson Caroline Burruss CJ Eiriksson Ernie Gonzales Malcolm Harper Jr. Gary Hickinbotham Terrany Johnson Danny Jones Freddie Krc David Messier

Merry Miller Casey Monahan Laura Mordecai Nakia Donnie Nelson Rick Orozco Tim Palmer Dick Reeves Carlos Sosa Joseph Stallone Carl Thiel Alex Trevino Andrea Villarreal

Heather Wagner Reed Paul Wall Dan Workman

Governors

Nicolas Laget Carolyn Malachi James McKinney Richard On Elise Perry Pete Reiniger Lita Rosario Carl “Kokayi” Walker Crystal Waters Janine Wilson

Advisors

Advisors

Michael McArthur Tayyib Smith

Chapter Staff Executive Director

Mark Schulz Membership Coordinator

Ashley Coleman

San Francisco Chapter Chapter Board Trustees

Larry Batiste Stephen Hart Kitty Margolis President

Michael Romanowski Vice President

Michael Starita Michael Romanowski

Secretary

Lia Rose Governors

Nate Anderson

Advisors

Patrick Brown Sam Smith

Chapter Staff Executive Director

Michael Winger Senior Production Manager

Christen Pocock McFarland Membership Manager

Analisa Lono

Chapter Assistant

Mylea Gacutan

Texas Chapter Chapter Board Trustees

Malcolm Harper Jr. Gilbert Velasquez Paul Wall President

Eric Jarvis Vice President

Carlos Alvarez Secretary

Eric Jarvis

Tamera Bennett Governors

David Acosta

Advisors

James “Pharoah” Brown Fletch Wiley

Chapter Staff Senior Executive Director

Theresa Jenkins Project Manager

Christee Albino Chapter Assistant

Brittany Hardy

Washington, D.C. Chapter Chapter Board Trustees

Maurette Brown Clark Kurosh Nasseri President

John Simson Vice President

Wayne Bruce Secretary

John Simson

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Diane Blagman

56th Annual GRAMMY Awards

Deborah Bond Wayne Bruce Bill Carpenter Maurette Brown Clark Priscilla Clarke Robert Aubrey Davis Sean Glover Tom Goldfogle William “Malachai” Johns Lorenzo Johnson

Chelsey Green Ric Peters

Chapter Staff Executive Director

Wendi Cherry Administrative Coordinator

Kayenecha Daugherty Administrative Assistant

Brittany Presley

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The Recording Academy® Past Chairs

James B. Conkling Acting National Chairman 1957–1961

F.M. Scott III

Chairman/President 1965–1966

George Avakian

Robert L. Yorke Chairman/President 1962–1963

Pete King

Chairman/President 1966–1967

Chairman/President 1967–1968

John Scott Trotter Chairman/President 1963–1964

Mort L. Nasatir Chairman/President 1968–1969

Nesuhi Ertegun Chairman/President 1964–1965

Irving Townsend

Wesley H. Rose

Chairman/President 1969–1971

Chairman/President 1971–1973

Chairman/President 1973–1975

Chairman/President 1975–1977

Jay L. Cooper

J. William Denny Chairman/President 1977–1979

Chairman/President 1979–1981

Chairman/President 1981–1983 Chairman 1989–1991

William Ivey

Michael Melvoin

Michael Greene

Alfred Schlesinger

Ron Kramer

Henry L. Neuberger III

Joel A. Katz

Phil Ramone

Leslie Ann Jones

Garth Fundis

Daniel Carlin

Terry Lickona

Jimmy Jam

George J. Flanigen IV

Bill Lowery

Chairman/President 1985–1987

Chairwoman 1999–2001

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Paul Weston

Chairman/President 1961–1962

Chairman 1987–1989

56th Annual GRAMMY Awards

Chairman 2001–2003

Chairman 1991–1993

Chairman 2003–2005

Jay S. Lowy

Chairman 1993–1995

Chairman 2005–2007

Chairman 1995–1997

Chair 2007–2009

Chairman/President 1983–1985

Chairman 1997–1999

Chair 2009–2013

In Memoriam Alexandre Magno “Chorão” Abrão

Steve Blailock

William Ovid Collins Jr.

Manolo Escobar

Shelton Harrison

William Adam

Elliot Blaine

Frank Comstock

Ali Eskandarian

Jane Harvey

Timothy “Tim Dog” Blair

Harrianne Condra

Don Evans

Danny Hatcher

Bobby “Blue” Bland

Tom “Stompin’” Connors

Phil Everly

Richie Havens

Edward Bland

Lindsay Cooper

Dorothy A. “Dottie” Eyler

Pete Haycock

Les Blank

Hank Corwin

Eduardo Falú

Tim Hensley

Allan Block

David Counter

Arash Farazmand

Adolph Herseth

Erik Blumenfeld

Al Coury

Soroush Farazmand

Clara Hieronymus

Trevor Bolder

Joey Covington

Mick Farren

Donna Hightower

Ross Bolton

Wayne Cox

Francisco “El Gran” Fellove

Baltaza “Balta” Hinojosa

Eddie Bond

Dani Crivelli

Barry Fey

Mike Hinton

Leroy “Sugarfoot” Bonner

James Frank Crowell Jr.

Stewart “Dirk” Fischer

Harold Hitt

Amar Bose

Lee Crystal

Mark Fisher

Ken Hodges

Simone Bosé

Benjaimin Curtis

Rachel Fitzgerald

Morris “Magic Slim” Holt

Marques Bovre

Mac Curtis

Chet Flippo

Jane Dabney Hopkins

John Braheny

Colin Davis

Jim Foglesong

Monroe Hopper

David Braun

Eric “Guitar” Davis

Faye Hunter

Jules Brazil

Jimmy “Fast Fingers” Dawkins

James Lewis Carter “T-Model” Ford Billy Joe Foster

Steve Hyams

Billy Adamson Keith Adkinson Jewel Akens Raefe Akhbar Marie-Claire Alain Marià Albero Tandyn Almer Jimmy Amadie Chrissy Amphlett Terri Anderson Patty Andrews Polly Anthony João Araújo Antonio De Jesús Torres Arellano Miguel Angel Torres Arellano Elsa Armenta Graham Armstrong Leon Ashley Horacio Avendaño Kevin Ayers

Alvin Breeden David Brodeur Steve Brodsky John Bromell Jon Brookes Cedric Brooks

Jean Bach Phil Baheux Chris Bailey DeFord Bailey Jr. Orlando Donald “Duck” Bailey

Bob Brozman Phil Buerstatte Josh Burdette David Burge Clarence Burke Jr.

Teddy Days

Fred Franchi

Richard Dedeaux

Laurie Frink

Bobby Dee

John Eric Fritz

Clyde Denney

Annette Funicello

James DePreist

Pavlos “Killah P” Fyssas

Manna Dey

Manolo Galvan

Diómedes Díaz

Gerardo Gandini

Dick Dodd Ray Dolby

Alberto Ramón “Pajarito Zaguri” García

José “Dominguinhos” Domingos de Morais

Pete Gentil Murray Gershenz

Oralia Dominguez

Walter Paul Gibson Jr.

Pat Donoho Jr.

Russell “Skip” Gildersleeve

Paul Drew

Tompall Glaser

Frank D’Rone

Carl D. Glickman

Dean Drummond

Carl “Chuck” Goff Jr.

George Duke

William F. “Bill” Joe Gokey

Kenny Ball

Sonny Burnette

Peter Banks

Clive Burr

Eduardo Baptista Fernández

Rahn William Burton

George Barrow

Donald Byrd

William “Bill” Bartell

Juan Carlos Calderón

Bruno Bartoletti

J.J. Cale

Paul Robert Battle

Will D. Campbell

Bob Beckham

Jim Carlson

Ricky “Lord Infamous” Dunigan

Eydie Gormé

Shamshad Begum

Charles Carr

Deanna Durbin

Jim Belk

Gregory Carroll

Henri Dutilleux

Doug Grassel

Sathima Bea Benjamin

Oscar Castro-Neves

Pham Duy

William Bennett

Chi Cheng

Roberta Edging

John Bergamo

Patrice Chéreau

Pat Egan

Sid Bernstein

Kenneth “Kenny Clutch” Cherry Jr.

Joseph Eger

Steve Berrios Kathy Bigley Joe Bihari

Frank Christian Larry Wayne Clark

Karen Black

Jack Clement

Lorne Black Page Morton Black Donald Blackman 230

Philip Chevron

Van Cliburn Dan Collins

56th Annual GRAMMY Awards

Marta Eggerth Arnold Eidus Arik Einstein Mack Emerman John Scott Emerson Ray Emmett Bob Engemann

Paul Gourlie Bob Greene Jack Greene Marek Greschek George Gruntz Jim Hall Sherman Halsey Chico Hamilton David Hamilton Jeff Hanneman Scott Hardkiss Damon Harris Noel Harrison

Rick Huxley Horacio Icasto Mel Ilberman Bobby Jackson George Jackson Ronald Shannon Jackson Tutti Jackson Roland Janes Wojciech “Ikaroz” Janus Andy Johns Sammy Johns Awood “Mr. Magic” Johnson Harry B. “H.B.” Johnson Harry Johnson Virgil Johnson Wendy Suits Johnson George Jones Steve Jones Marvin Junior Mark Kamins Fred Katz Dianne Lasater Keenan Chris Kelly Fred Kewley Wojciech Kilar Louisa Jo Killen Claude King George Walter King III Marilyn King Eric Kitteringham Stanley G. Knight Kidd Kraddick

mack avenue records congratulates our GRAMMY nominees 速

Best Jazz Instrumental Album

Best Jazz Instrumental Album

Best Jazz Instrumental Album

Best Jazz Vocal Album

mackavenue.com

Mack Avenue Grammy Ad2.indd 1

12/13/13 2:49 PM

In Memoriam Dick Krizman Chester J. Krolewicz Stefan Kudelski Jan Kuehnemund Jules I. Kurz John La Montaine Johnny Laboriel Joey LaCaze Diane Lampert Harry Lane

Miguel Angel Cordova Luis Antonio Arellano Ortega Sánchez Emilo Santiago Randy Ostin

Glenn “Doe B” Thomas

Willis Page

Wolfgang Sawallisch

Ramblin’ Tommy Scott

Ben Todd

Jim Mees

José Guadalupe Flores Paredes

Jim Seal

Mimi Melnick

Bobby Parker

Toshi Seeger

Robert Meza

Ezequiel Yossimar Olvera Patiño

Sid Selvidge

Jody Payne

Bobby Sharp

Kalaparusha Maurice McIntyre Lawrence McKiver Glenda Joyce McNalley Marian McPartland

Mulgrew Miller Scott Miller Wayne Mills

Allen Lanier Nelson Larkin

Grayson Minney

Mike O’Neill

Eddie Pérez Gary Pickford-Hopkins

Marguerite Mitchel McClelland

Andy Pierce

Dwike Mitchell

Betty Pino

Nikki Mitchell

Daniel Ponce

Ollie Mitchell

Frank Pooler

Chana Mlotek

Roger Pope

Jason Molina

César Portillo de la Luz

Vincent Montana Jr.

Nic Potter

Cory Monteith

Maxine Powell

Sara Montiel

Reg Presley

Dwight Moody Jr.

Ray Price

John “Juke” Logan

Anthony “Romanthony” Moore

Dolores Prida

Jackie Lomax

Charles Perry “Buck” Moore

Robert Lovelace

Kermit Moore

Greg Quill

Bill Lowe

Roland Moritz

Larry Lujack

Colonel Robert Morris

Felix Ramos Luñiga

Lawrence D. “Butch” Morris

Jim Lunsford

Mick “MickDeth” Morris

Gloria Lynne

Rob Morsberger

Marshall Lytle

George “Shadow” Morton

Rita MacNeil

Cordell “Boogie” Mosson

Johnny MacRae

Sam Most

Jack Maheu

Georges Moustaki

Andy Maiden

Michael O’Hara Mowry

Lorene Mann

Ilyas Muhammad

Lotfollah “Lotfi” Mansouri

Billy Mure

Ray Manzarek

Albert Murray

Peppi Marchello

Junior Murvin

Larry Marks

Alan Myers

Austin John Marshall

Mort Nasatir

Bobby Martin

Anthony Natividad

Ruben Paz Martínez

Jim Nayder

Gypie Mayo

Don Nelson

Barry McCloud

Bernie Nolan

Michael G. McCormack

Joel Oberstein

Hugh McCracken

Alan O’Day

Mindy McCready

Milton Olin

Larry McDaniel

Kongar-ol Ondar

Elaine Laron Yusef Lateef Patti Laursen Ricky Lawson Judi Lederer Alvin Lee Claudio Leo Chris Levoir Curly Lewis Bertha Marie Liddington David Lloyd

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56th Annual GRAMMY Awards

Kroum Pindoff

Harold Shapero Martin Sharp Sid Sharp Ed Shaughnessy George Beverly Shea Tony Sheridan Mike Shipley

Bob Thompson Storm Thorgerson Dan Toler Filip Topol Jon Torres Stan Tracey Armando Trovajoli Billy Lee Tubb aka X Lincoln Tom Tucker Claramae Turner Maria Elena Valdelamar Bebo Valdés Alberto López Vásquez

Donald Shirley

Diego Armando Vásquez Vásquez

Stephen Simon

Arturo Vega

Bobby Slone

Brett Walker

Bobbie Smith

Lindsay Walleman

Cal Smith

Cedar Walton

Johnny Smith

Robert Ward

Lawrence Leighton Smith

Edward “Butch” Warren

Livia Rose Smith

Fran Warren

Neil Smith

Patti Webster

Paul Smith

Nat Weiss

Valentine Smith III

Tommy Wells

Stanley Snadowsky

Frank Wess

Fritz Rau

Zachary David “Zach” Sobiech

Bill West

Peter Rauhofer

Stanley Solow

Carline Ray

Marcus Ariel Herrera Soria

Roy “Chuck” White

Shirley Ray

Thoguluva Meenakshi Iyengar Soundararajan

Rafael Puyuna Ann Rabson Marvin Rainwater Phil Ramone

Kayo Redd Layne Redmond Lou Reed Raymond Reid Regina Resnik Melvin Rhyne David Richards Deke Richards Janet Rickman Delia Rigal Tabu Ley Rochereau Bobby Rogers Marion Lignana Rosenberg Arnold Rosner Santo J. “Sonny” Russo Cheb I Sabbah Vikki Sallee

Cleotha Staples Janos Starker William Steck Risë Stevens Gordon Stoker Richard Street Senén Suárez Michael Sundén Conrad Susa Lee Tanner Paul Tanner Timothy Norman Tappan Juan Tarodo Dorothy Taubman

Ken Whaley Slim Whitman Tommy Whittle Virginia Wicks Benny Reed Williams Esther Williams Paul Williams David Wilson Russell Lee Wilson Norman Winter Jonathan Winters Cecil Womack Tim Wright Lin Youren Andrew Youssef Mandawuy Yunupingu Robert “RZ” Zildjian

John Tavener Chuck Thagard Adrian “DJ Ajax” Thomas

(List through Jan. 3, 2014)

CONGRATULATIONS TO THE 56th GRAMMY AWARDS速 NOMINEES.

For the sixth consecutive year, The Recording Academy launched the countdown to Music’s Biggest Night with an exciting live TV special to announce nominees in select categories for the 56th Annual GRAMMY Awards. “The GRAMMY Nominations Concert Live!!” took place Dec. 6, 2013, at Nokia Theatre L.A. Live in Los Angeles and featured a diverse lineup of performances by some of music’s biggest acts, including Lorde, Macklemore & Ryan Lewis, Katy Perry, Taylor Swift, Robin Thicke with T.I. and members of Earth, Wind & Fire, and Keith Urban and Miguel, who teamed for Bill Withers’ “Ain’t No Sunshine.” LL Cool J returned as host, and artists ranging from Melissa Etheridge and Enrique Iglesias to Kelly Rowland and Ed Sheeran announced nominations.

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LL Cool J Enrique Iglesias announces nominees for Album Of The Year Keith Urban performs a cover of Bill Withers’ “Ain’t No Sunshine”

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Melissa Etheridge and Pauley Perrette announce nominees for Record Of The Year Arsenio Hall announces nominees for Best New Artist Kelly Rowland announces nominees for Best Country Album E arth, Wind & Fire’s Verdine White, Robin Thicke and T.I. perform “Blurred Lines”

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Lorde performs “Royals” Macklemore performs “Thrift Shop” Ed Sheeran announces nominees for Best Pop Duo/Group Performance iguel performs a cover of Bill M Withers’ “Ain’t No Sunshine”

Photos: Getty Images

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56th Annual GRAMMY Awards

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Reid Long

Kris, my brother.

I love you.

Congratulations!

Rosanne

sensibility music congratulates

on their 56th GRAMMY Awards® nomination for Best Country Duo/Group Performance “From This Valley” from their acclaimed eponymous album

T h e C i v i l Wa r s

R E C O R D S

The Recording Academy速 2014

KISS Photographed by Danny Clinch, Brooklyn NY 2014

V I E W T H E F I L M A T J O H N VA RVA T O S . C O M