57th GRAMMY Awards® by FX Group

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THE 57TH ANNUAL GRAMMY AWARDS速 | SUNDAY FEBRUARY 8 2015

GRAMMY AWARDS 速

ANNUAL

THE RECORDING ACADEMY速 | SUNDAY FEBRUARY 8 2015 | 8 PM ET/PT | CBS TELEVISION NETWORK | AEG EHRLICH VENTURES

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An Astonishing World.

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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

Vice President, Marketing Communications

Neda Azarfar

Executive In Charge Of Production & Chief Business Development Officer

SUNDAY, FEBRUARY, 8, 2015 STAPLES CENTER

RECORDING ACADEMY TELEVISION COMMITTEE ADVISORY GROUP

12:30 P.M. GRAMMY AWARDS

Gabriel Abaroa Jr. Leslie Ann Jones Joel Katz Terry Lickona Glenn Lorbecki Hank Neuberger Richard Ranta

LOS ANGELES

Branden Chapman

Vice President, Artist Relations & Corporate Communications

Barb Dehgan

Chief Information Officer

Rick Engdahl

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

Vice President, Creative Services

David Konjoyan

PREMIERE CEREMONY 5:00 P.M. LIVE-TELECAST

GRAMMY AWARDS CEREMONY

Chuck Ortner

Deputy General Counsel

Bobby Rosenbloum

Ken Ehrlich Director

Eric Cook

Consulting Producer

Vice President

National Legal Counsel

Executive Producer

Supervising Producer

Vice President

Scott Goldman

Joel Katz

AEG EHRLICH VENTURES LLC

Terry Lickona

Kristen Madsen

General Counsel

Deloitte & Touche Gary Smith

Co-Producer

Senior Vice President

ADVISORS

BALLOT TABULATION

Ken Ehrlich David Wild

FOUNDATIONS EXECUTIVE STAFF

Judy Wong

Rogers & Cowan

Writers

Nancy Shapiro

Vice President, Finance

PRESS REPRESENTATION

Louis J. Horvitz

Senior Vice President, Member Services

Dana Tomarken

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

Walter C. Miller

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, to help reduce The Academy’s ecological footprint.

Production Designer

Brian Stonestreet Lighting Designer

Robert A. Dickinson Talent Producer

Chantel Sausedo Premiere Ceremony Producer

Greg Fera

Premiere Ceremony Musical Director

Ray Chew

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THE RECORDING ACADEMY® As the GRAMMY Awards celebrates its 57th 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

Paul McCartney and Ringo Starr at the 56th Annual GRAMMY Awards

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-ofthe-art live extravaganza (in 2003 the GRAMMYs became the first awards show to broadcast in high-definition television and 5.1 surround sound) and the premier music awards show on television. 10

In addition to the GRAMMY Award, The Recording Academy presents several other awards to honor important music and music professionals. The Lifetime Achievement Award celebrates performers and other music professionals who have made outstanding contributions to recording in their lifetimes. The Trustees Award recognizes primarily nonperforming contributors. The Technical GRAMMY Award is presented to individuals and/or companies who have made contributions of outstanding technical significance to the recording field. The GRAMMY Legend Award is presented on occasion to individuals or groups for ongoing contributions and influence in the recording field. And the GRAMMY Hall Of Fame 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 23,000 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. 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-of-the-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 this fall. 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.

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W I L L I A M H E N R Y. C O M

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From the President/CEO

It’s my pleasure to welcome you to the 57th Annual GRAMMY Awards. This telecast continues to build on its deserved reputation as Music’s Biggest Night. But I’m pleased to say that over the last few years, it has been complemented by a growing roster of Recording Academy-produced television events that have highlighted our desire to bring outstanding, original music-themed television to audiences both domestically and internationally. Last February, on the 50th anniversary of the Beatles’ first U.S. appearance on “The Ed Sullivan Show,” CBS joined us in presenting “The Beatles: The Night That Changed America — A GRAMMY Salute.” This December we presented our first-ever GRAMMY Christmas special, featuring Mary J. Blige, Ariana Grande, Maroon 5, Tim McGraw, Sam Smith, and Pharrell Williams, who kicked off the holiday and GRAMMY season. And, on Feb. 16 on CBS, just a little more than a week after the GRAMMY telecast, we’ll present the TV special “Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute” in honor of this legendary artist. It’s a continuing and growing part of expanding our unique position in the industry into more opportunities and awareness for music and artists on TV. Fittingly, we’ve also rebranded the portion of the GRAMMY Awards that had come to be informally known as the pre-telecast. Some 70 categories of GRAMMYs are presented at this event, and in recent years we have built an elegantly appropriate showcase, moving the event into the spacious Nokia Theatre L.A. Live, enhancing the production values, featuring top-notch nominee performers, and live streaming the entire event to an audience of nearly 5 million GRAMMY.com visitors. Going forward, this presentation will be known as the GRAMMY Awards Premiere Ceremony, a name befitting its stature and importance. We’re also celebrating some notable milestones this year. Our longtime GRAMMY Awards executive producer Ken Ehrlich marks his 35th year with the show in 2015. Ken has been an essential part of our success and especially of our “GRAMMY Moments,” those unique pairings and performances pioneered by the GRAMMY show. I offer my personal congratulations and thanks to my good friend, as does our entire Academy family, and look forward to continued success. This year we also mark the 25th anniversary of one of our most important GRAMMY Week events, the MusiCares Person of the Year gala. This isn’t just one of the most amazing invitation-only events of the year, it’s a crucial part of our fundraising efforts that allow us to offer the critical services on which music people in need have come to rely. I want to thank all of the honorees over the years, including this year’s honoree, Bob Dylan, for lending their talents and support to this worthy cause. The Latin Recording Academy celebrated its 15th annual show in 2014 with another stellar broadcast and impressive ratings. They also enhanced the milestone by launching the Latin GRAMMY Cultural Foundation, providing a formal structure behind their ongoing efforts to support the Latin music community though education programs, and setting the stage to build a foundation of powerful reach and impact. When it comes to the welfare of our members, we are continually ramping up our advocacy on behalf of music creators. I had the privilege of serving as the opening witness for a series of congressional hearings on music licensing in Washington, D.C., in 2014. Stressing the importance of protecting music’s creators with a comprehensive update of music licensing, I was pleased to see a number of the legislators pick up our theme of an omnibus (or “MusicBus”) approach to solving the complex issues of fair compensation. We also launched GRAMMYs In My District, the only nationwide, grassroots advocacy program for music makers. And in April, we’ll celebrate 10 years of our GRAMMYs on the Hill Advocacy Day — the largest annual music advocacy day on Capitol Hill. And we continue to support and nurture the music community throughout the year, whether it’s through student programs such as GRAMMY U, member services such as GRAMMY Pro, the educational initiatives of the GRAMMY Foundation, strengthening the creative and audio professional community through our Producers & Engineers Wing, the impressive ongoing cultural work of the GRAMMY Museum, or supporting local and regional music communities through our network of Chapters. I’m proud of what our team has achieved, and look forward to meeting the goals we’ve set for ourselves in the near future; everyone involved with The Academy’s work and successes has my heartfelt gratitude. Speaking of achievements, congratulations to all of our nominees, and thank you for the incredible recordings we’ve enjoyed over the last year. On behalf of The Academy’s elected leaders, staff and partners, please enjoy the show.

Neil Portnow

President/CEO of The Recording Academy

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From the CHAIR

Greetings and welcome to the 57th Annual GRAMMY Awards. Music’s Biggest Night is upon us once again and on behalf of the entire Board of Trustees I’d like to congratulate the nominees and winners. This is an achievement that will become part of your legacy, as you will likely be referred to as “GRAMMY nominee” or “GRAMMY winner” from this day forward. And why is this particular award so prestigious, whether it is presented on the telecast or during the newly rebranded GRAMMY Awards Premiere Ceremony? This is the only peer-presented award to recognize artistic achievement in the recording arts. The voting members of The Recording Academy determine the final outcome. The Recording Academy and GRAMMY Awards were created 57 years ago by a group of music professionals with a vision that has endured and grown far beyond their wildest dreams. As the current Chair of the Board, I have the privilege of working with my colleagues — both elected leaders and staff — to ensure that we maintain the highest integrity in our Awards process and make wise and informed choices when faced with a decision that impacts the future of this iconic award and the membership organization that sustains it. It is critically important that we support our members — provide opportunities for professional development and networking, keep them informed as the music business changes at lightning speed, harness their voices to lobby for music creators’ rights, provide assistance during times of need, and educate the next generation of music makers and GRAMMY voters. Through 12 regional Chapters around the country, our Advocacy & Industry Relations office in Washington, D.C., the MusiCares and GRAMMY Foundations, and the GRAMMY Museum, we do just that 365 days a year. I’d like to congratulate and thank The Recording Academy staff who, under the wise leadership of our President/CEO Neil Portnow, bring these programs to life. I would also like to thank my fellow elected leaders — both national and regional — for their time, vision and commitment, as well as the many volunteers from around the country who serve on our committees, bringing their expertise to the work at hand. It is an honor to hold this esteemed office and to collaborate with all of you. Onward and upward.

Christine Albert Chair of the Board of Trustees

57th Annual GRAMMY Awards

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CONTENTS

Welcome 13 President/CEO’s Message 15 Chair’s Message

Nominees 26 Iggy Azalea Featuring Charli XCX 28 Sia 29 Sam Smith 30 Taylor Swift 32 Meghan Trainor 34 Beck 36 Beyoncé 38 Ed Sheeran 40 Pharrell Williams 42 Bastille 44 Brandy Clark 46 Haim 48 Song Of The Year 52 Complete Nominations List

Special Merit Awards

Lifetime Achievement Awards 78 Bee Gees by Russ Titelman 80 Pierre Boulez by Esa-Pekka Salonen 82 Buddy Guy by Jeff Beck 84 George Harrison by Tom Petty 86 Flaco Jiménez by Raul Malo 88 The Louvin Brothers by Jerry Douglas 90 Wayne Shorter by Esperanza Spalding Trustees Awards 92 Richard Perry by Carly Simon 94 Barry Mann & Cynthia Weil by Lionel Richie 96 George Wein by Mavis Staples Technical GRAMMY Award 98 Ray Kurzweil Music Educator Award 100 Jared Cassedy by Tim Raymond Hall Of Fame 102 2015 GRAMMY Hall Of Fame

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CONTENTS

Features

160 Five-Star Studios

108 Festival Fashion: The New Black

Music festivals are driving the latest fashion trends year-round

236 In Memoriam

114 The Ultimate Music Experience

Music festivals are becoming a real lollapalooza for the industry, and reaping significant revenues

Official GRAMMY portrait photographer Danny Clinch handpicks 11 unforgettable backstage portraits

168 Tangled Up In Gold We revisit 2015 MusiCares Person of the Year Bob Dylan’s rich GRAMMY history

134 The GRAMMY Fashion Evolution

Eight artists who don’t settle for the same old same old on the red carpet

182 Celebrating 25 Persons Of The Year

152 Mastering The Remaster

Remembering the music people we lost in 2014

Special Section: MusiCares Person Of The Year 25th Anniversary

122 GRAMMY-Clinching Moments

A peek at state-of-the-art recording studios housed within luxury hotels

A gallery of the 25 influential artists who have been honored as MusiCares’ Person of the Year since 1991

With the aid of today’s technology, remastered recordings are restoring the music to its original glory

anye West

48th GRAMMY Awards, 2006

Kanye showed up in a purple tuxedo looking really sharp and also had a pair of driving gloves on, which I thought was awesome. He won three GRAMMYs that year and what I remember most about this is that his mom was with him and after I took these photographs I took a great portrait of him and his mom. He ended up using it inside the album booklet for 808s & Heartbreak Heartbreak, as a tribute to his mother.

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CONTENTS

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168

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The Recording Academy Today 10 192 194 196 198 200 202 204 206 208 210 212 214 218 222 228 20

The Recording Academy Membership And Member Services GRAMMY Week GRAMMY Museum MusiCares Foundation GRAMMY Foundation Advocacy At The Academy The Latin Recording Academy The Digital Academy GRAMMY Pro The GRAMMY Awards Process Executive Staff National Trustee Officers And Trustees National Staff Recording Academy Chapters Past Chairs

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®, GRAMMY Pro®, Latin Academy of Recording Arts & Sciences®, The Latin Recording Academy®, MusiCares Foundation®, GRAMMY Legend Awards®, GRAMMY in the Schools®, and GRAMMY Foundation®.

The 57th Annual GRAMMY Awards Program Book is published by The Recording Academy, 3030 Olympic Blvd., Santa Monica, CA 90404, in association with FX Group.

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

FOR FX GROUP Kristian Krempel President & Co-Publisher Angela Krempel Vice President of Operations Giacomo La Rosa Chief Creative Officer Frank G. Fernandez General Counsel Laurie Bailey Office Manager Advertising Sales Jennifer Dugan Joe Gonzalez Blair Hall Chris McCormick Bryan Silver Charles Warner Jonathan Wilson Tom Brady Sr. VP of Entertainment Curse Mackey Artist & Media Relations Director Remy Mackowski Brand Strategy & Marketing Communications Director Ken Rose Sr. Director of Entertainment & Artist Relations Elizabeth Ferris Artist Relations Advisor Joseph Duhamel Art Director & Production Manager Simone Tieber Senior Graphic Designer Jason Lowsy Graphic Designer Alicia Kais Intern Designer Scot Shuman Internet & Technical Services SPECIAL THANKS FX Group, Inc. would like to extend a special “Thank You” to the following people for their contribution and support: Professional Sports Publications, Tampa Media Group/Tampa Tribune, Sharon Singer, and Mapiletisim.

Contributing Writers Steve Baltin Jeff Beck Melissa Blazek Bruce Britt Danny Clinch Chuck Crisafulli Randee Dawn Alan di Perna Jerry Douglas Shannon Edwards Bill Forman Paul Grein Steve Hochman Nick Krewen Tammy La Gorce

Raul Malo Kelly Osbourne Tom Petty Tim Raymond Bryan Reesman Lionel Richie Esa-Pekka Salonen Carly Simon Esperanza Spalding Mavis Staples Russ Titelman Roy Trakin Lisa Zhito Paul Zollo

Front Cover Artwork Laurence Gartel Photographed by Tom Keller Art Direction by Rikki Poulos © 2014 The Recording Academy Official Photographer For The GRAMMY Awards WireImage.com GRAMMY Award Statue Designed And Manufactured By John Billings The Official 57th Annual GRAMMY Awards program book is published by The Recording Academy, 3030 Olympic Blvd., Santa Monica, CA 90404, and produced in association with FX Group, Inc., 202 South Parker Street, Suite 100, 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 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. © 2015 The Recording Academy. All rights reserved. Published by

In association with

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Iggy Azalea Featuring Charli XCX

Miller Mobley/Billboard Magazine

Record Of TheYear, Best New Artist

Although their music video for “Fancy” pays homage to the 1995 film Clueless, Iggy Azalea and Charli XCX are anything but. With their sass-and-swag ode to ambition, the Australian rapper and British dance-pop chanteuse scored an electro-tinged hit that makes the sentiments of Fergie’s “Glamorous” sound modest by comparison. True to their intentions, the combination proved as profitable as their lyrics had promised. “Fancy” was the first No. 1 single for either performer, has been certified quadrupleplatinum and earned GRAMMY nominations for Record Of The Year and Best Pop Duo/Group Performance. For Azalea, the inescapable song of summer 2014 was even more of a milestone. Combined with her featured artist role on Ariana Grande’s “Problem,” Azalea became the first artist since the Beatles whose first two Billboard Hot 100 singles occupied the No. 1 and No. 2 positions simultaneously. (The Fab Four did it exactly 50 years earlier with “I Want To Hold Your Hand” and “She Loves You.”) Azalea’s major label debut, 2014’s The New Classic, also garnered her another impressive accolade. With her nomination for Best Rap Album, Azalea is only the

fourth female solo artist to score a nod in the category. Described by esteemed critic Robert Christgau as “damn good [and] engaging [from] front to back,” The New Classic gets big assists from production teams the Invisible Men (George Astasio, Jason Pebworth, Jon Shave) and the Arcade (Joey Dyer, Kurtis McKenzie, Jon Mills), who provide a potent combination of no-frills club beats and electro-pop synth stabs. Meanwhile, Azalea’s vocals draw upon the influence of childhood heroes ranging from pop icon Gwen Stefani to pioneering femcee Lil’ Kim. The Sydney native’s Dirty-South-by-way-ofDown-Under sound remains one of the year’s most unlikely and undeniable success stories. — Bill Forman

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Sia

Pretty Puke/RCA Records

Record Of The Year

The one-woman Australian sensation Sia Furler became a pop star in the States for the first time in 2005, when her moody piano ballad “Breathe Me” appeared in the final scene of the popular HBO series “Six Feet Under.” The song became an instant smash, catapulted by an exponential sales spike. And then Sia, as she was simply known, seemed to disappear. But only to pop music fans who weren’t listening carefully. While Sia spent much of the last decade avoiding the spotlight — the fame-phobic singer appeared on the cover of a 2013 issue of Billboard wearing a bag over her head, and performed with her back to the audience on “The Ellen DeGeneres Show” — she was busy building a résumé as a prolific co-writer of songs for GRAMMY winners such as Christina Aguilera (“You Lost Me”), Beyoncé (“Pretty Hurts”), Britney Spears (“Perfume”), and Maroon 5 (“My Heart is Open”), among others. Songs come to Sia in a creative gust. She wrote Rihanna’s “Diamonds” in 14 minutes and the melody and lyrics to David Guetta’s “Titanium” in 40 minutes. In all, the songs she has penned — many of them anthems of love and loss — have sold more than 25 million copies.

Sia’s massive success as a behind-the-scenes hit-maker may have made fame unavoidable, which could be what led her back toward the public eye in 2014 with the release of her sixth studio album, 1000 Forms Of Fear. The album, released in July, became her first chart topper in the United States; its lead single, “Chandelier,” which reached the Top 10 on the Billboard Hot 100, is also nominated for Song Of the Year, Best Pop Solo Performance and Best Music Video. The flavor of 1000 Forms Of Fear is less bold than the hits she’s hung her name on in recent years — the lyrics to its collection of songs are often sadder and more introspective. But the artist’s gigantic voice, full of warmth and pure feeling, tells the story of someone who understands the allure of swinging from the chandelier, even if she’s not always up for the ride. — Tammy La Gorce

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Sam Smith

Blessed with an angelically golden falsetto and an ability to transform longing into an instrument of intimacy that cuts right to the core of emotion, Sam Smith has become America’s latest irresistible UK import. And the lightning speed in which he’s done it — a couple of lead vocal guest spots commencing with electronic duo and fellow GRAMMY nominees Disclosure’s 2012 hit “Latch” and Naughty Boy’s boisterous “La La La,” plus his own seven-song EP, 2013’s Nirvana, and shatteringly soulful debut album, 2014’s In The Lonely Hour — is the stuff of which legends are made. Winning the 2014 Brit Critics’ Choice Award and topping the BBC’s Sound of 2014 list all served as a potential harbinger of things to come. His six GRAMMY nominations — Record Of The Year, Song Of The Year (with James Napier and William Phillips) and Best Pop Solo Performance for “Stay With Me (Darkchild Version)”; Album Of The Year and Best Pop Vocal Album for In The Lonely Hour; and Best New Artist — announced Smith had arrived. And he’s only the second male solo artist to land nominations in each of the General Field categories, following Christopher Cross in 1980. But if there’s a secret to the 22-year-old London native’s gift for digging into every note — notes in which you can hear the legacies of Aretha Franklin, Stevie Wonder, Chaka Khan, and many of the old-school soul heroes who have inspired his expressive vocal phrasing — it’s his ability to personalize the heartache. We’ve all been isolated at one time or another — our hearts yearning for companionship when none seems imminent, attempting to gather the

Nick Dorey

Record Of The Year, Album Of The Year, Best New Artist

strength to approach the one who unknowingly possesses your unrequited love and transform the situation into something so celebratory and life-changing that you run and rerun the scenario 1,000 times in your mind, hoping for an outcome different than the inevitable. Smith feels it. In “Leave Your Lover,” featured on In The Lonely Hour, he not only feels it, he sings it, plucking at the heartstrings and striking a chord of recognition even within those of us who have succeeded in conquering loneliness and securing love. What becomes of the brokenhearted? In Smith’s case, he puts that heartbreak into song and, with a voice seemingly made to stir despair and emotion, connects with everyone who’s ever experienced disconnection and vulnerability. It’s what turns a singer into a star. — Nick Krewen

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Taylor Swift

Sarah Barlow

Record Of The Year

Also nominated for Song Of The Year and Best Pop Solo Performance, “Shake It Off,” the lead single from Taylor Swift’s 1989 blockbuster, finds the now-25-year-old singer/ songwriter in a playful mood, responding to criticism with this pure pop confection, further consolidating her crossover from country teen prodigy to the Top 40 airwaves. Written by Swift with co-producers Max Martin and Shellback — the team behind “We Are Never Ever Getting Back Together,” which earned a 2013 nomination in this same category — the song’s sparkling, infectious urgency draws us in with its thumping Bo Diddley drum beat, assorted “claps and shouts” and Jonas Thander’s honking old-school saxophone. “I go on too many dates/But I can’t make them stay/ At least that’s what people say, mmm-mmm,” sings a breathless, self-effacing Swift, toying with our media perceptions. A mid-track rap break helps us in “getting down to this sick beat,” punctuated with the sing-song rhyming of the “play/hate/shake/break/fake/shake” call and tidy brass-in-pocket response, courtesy of trumpet player Jonas Lindeborg and trombonist Magnus Wiklund.

Credit Martin (who is also nominated for Producer Of The Year, Non-Classical) and Shellback with constructing a perky, quirky frame to capture Swift’s endearingly mock-geek personality. The song became the 18th Billboard Hot 100 chart topper for Martin as a songwriter, a total that stretches back to Britney Spears’ 1999 smash “… Baby One More Time.” “I think it’s the most important thing in life to dance to the beat of your own drum,” Swift told Rolling Stone in 2014 about the motivation for the song, “and to look like you’re having more fun than the people who look cool, like they fit in.” When Swift warbles, “It’s like I got this music in my mind,” she manages to describe the way “Shake …” instantly insinuated itself into the national consciousness. Indeed, the year’s most potent assemblage of nonstop hooks is hard to shake off. — Roy Trakin

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Meghan Trainor

Sarah McColgan

Record Of The Year

It is somehow fitting that Meghan Trainor broke big. After all, the singer/songwriter who earned two GRAMMY nominations (Record and Song Of The Year) for her quirky body-proud tune “All About That Bass” clearly has no problem with being large and in charge. “All About That Bass,” which Trainor co-wrote with producer Kevin Kadish, is a sweet-spot song — a musical hybrid of attitudinal pop and light rap, which combines a bold stance: women of a certain size are equally, if not more, desirable than the “size two” ladies often portrayed in the media with the track’s novelty presentation (“bass” refers to a woman’s healthy bottom). Yet prior to the June 2014 release of “... Bass,” Trainor was little-known outside her home state of Massachusetts. Sure, she’d written music since adolescence, spent high school summers at Boston’s Berklee College of Music, and had even signed to indie publisher Big Yellow Dog Music as a songwriter just after her 18th birthday. But even

after 2011, when she self-released two albums (I’ll Sing With You and Only 17) and had songwriting cuts from bands such as Rascal Flatts, the spotlight hadn’t swung her way … yet. Then came “All About That Bass,” whose demo led record executive L.A. Reid to sign her to Epic Records. Since then that’s what her career has been: epic. The song topped charts around the world, has been certified quadruple-platinum and was Billboard’s No. 8 song of 2014. In January she released her full-length debut, Title, and will kick off her first headlining tour on Feb. 11. “I’ve always been a songwriter, my whole life, and that’s where I’ve worked the hardest,” she told Billboard in December 2014. “The message of ‘All About That Bass’ really helped me be the artist that I am today. If I won a GRAMMY for that, that’d be ridiculous.” — Randee Dawn

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Beck

Given that he initially made his name with the ironic, accidental single "Loser," it’s not surprising that Beck has maintained an outsider status in the mainstream music world. And that’s been an asset rather than a liability. Over the course of his more than 20-year recording career, the adventurous yet accessible pop experimentalist has sold millions of albums and has scored 16 GRAMMY nominations — including four this year — Album Of The Year and Best Rock Album for his 12th studio release, Morning Phase, and Best Rock Song and Best Rock Performance for "Blue Moon." Similar to its 2002 cousin, Sea Change, Morning Phase is a delicate acoustic album, albeit less somber but equally intimate. The '60s folk-inspired collection is a change of pace from his general stock-in-trade of siphoning different genres of interest — everything from funk to psychedelic rock and hip-hop — into a unique Beck mix. His overall penchant for lo-fi sounds echoes his love for ’60s and ’70s rock and pop, yet he has channeled the past to invent something distinct. Beyond his solo material, Beck has indulged in some intriguing collaborations over the last two decades, including collaborations with artists as disparate as Air, the White Stripes and Pink. He’s produced for artists such as Marianne Faithfull, Thurston Moore and Charlotte Gainsbourg; remixed songs by Björk and David Bowie; and curated and performed on the album Rework_Philip Glass with the iconic

Peter Hapak

Album Of The Year

composer himself. Such eclecticism seems natural given that Beck's father is a highly prolific conductor, composer and arranger, his mother was a fixture on the Andy Warhol factory scene in the ’60s, and his grandfather was an avant-garde artist. And it further makes sense that Beck would write an eponymous song about microtonal composer Harry Partch and implement his 43-tone scale in the process. How many artists would dare to do that? Given these side projects and the near-novelty approach he sometimes takes through outlets such as his online record club, it’s easy to fall into the trap of seeing Beck as an artist bent on finding the quirkiest route to a hook. Morning Phase’s intricate melodies, acoustic instrumentation and sense of introspection, like Sea Change before it, shows Beck’s masterful grasp of almost any musical idiom. — Bryan Reesman

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Beyoncé

So much for resting on her laurels. When Beyoncé released her self-titled album in the waning days of 2013, she had absolutely nothing to prove. An international household name and one of the top-selling artists of all time, Beyoncé had already earned 17 GRAMMY Awards and was designated the most certified artist of the 2000s by the Recording Industry Association of America. Add in The Mrs. Carter Show World Tour she kicked off earlier in 2013, and Beyoncé could easily have taken the rest of the year off. Instead, the singer/songwriter/producer holed up in the studio with a distinguished team of collaborators, including husband Jay Z, Pharrell Williams, Justin Timberlake, Drake, Frank Ocean, Ryan Tedder, and Timbaland, among others. By the time her new songs were completed, Beyoncé had created a boundary-pushing “visual album” accompanied by 17 iTunes-exclusive videos that offered fans a revealing glimpse into her life. For all its modernity and electronic sleekness, Beyoncé contemporizes the conceptual funk of the early to mid-’70s. Much like Stevie Wonder’s Songs In The Key Of Life and Marvin Gaye’s Here, My Dear, Beyoncé’s album draws listeners into her personal world, with all its glitz (the steamy “Partition” about lovemaking in a limousine), self-recrimination (“No Angel,” on which the songstress confesses her flaws) and familial delights (the ballad “Blue,” in which Beyoncé sings the praises of her daughter, Blue Ivy, who is featured on the song). In all, Beyoncé is a musical experience, a song collection that begs to be listened to in its seductive entirety. Yet despite its 36

Robin Harper for Parkwood Entertainment

Album Of The Year

commendable cohesion, the album has spawned its share of singles, including the Top 40 hits “Drunk In Love” featuring Jay Z and “Partition.” Released without a whiff of the usual public relations fanfare that attends such albums, Beyoncé wowed fans and critics alike. “What a gift,” gushed Entertainment Weekly, stating that Beyoncé’s masterpiece “balances formal inventiveness with emotional directness.” The Los Angeles Times was no less impressed, writing, “What’s exciting about the record … is how the music similarly blends the intimate and the extravagant.” Now, Beyoncé’s creative audacity has culminated in six GRAMMY nominations. Moreover, with 53 total nominations she stands as the most nominated woman in GRAMMY history. Far from resting on her laurels, Beyoncé is adding more to her copious collection. — Bruce Britt

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Ed Sheeran

Ben Watts

Album Of The Year

Ed Sheeran made a cameo in the Album Of The Year category at the 56th GRAMMY Awards as a featured performer on Taylor Swift’s 2012 hit Red. This year he is back in the category in a starring role, with a nod for his sophomore album, X. The British singer/songwriter, who earned his first nomination for Song Of The Year for 2012 for his Top 20 hit “The A Team,” and followed with a Best New Artist nomination for 2013, has quickly proven his staying power. This year that status is cemented with three nods: Album Of The Year and Best Pop Vocal Album for X, and Best Song Written For Visual Media for “I See Fire” from The Hobbit: The Desolation Of Smaug. An Album Of The Year nomination for his second collection — the follow-up to his successful 2012 debut, + — proves Sheeran has escaped any signs of falling into a sophomore slump. “If you look at any act in history, if they have a massive first album, if they have a huge second album, they go global … from Coldplay to Adele to Eminem,” said Sheeran in a 2014 interview with GRAMMY.com. “I want to keep building and growing … so it is a terrifying thing that you have to get the right songs at the right time and record them the right way.”

Similar to GRAMMY winner Adele, Sheeran brings a level of soulfulness and honesty to his intimate personal tales. And just as they did with the former, fans have connected with the universal truthfulness of songs such as “I’m A Mess,” which Sheeran has said was “written in the shower,” and the Van Morrison-esque beauty of “Thinking Out Loud.” X peaked at No. 1 in both the United States and the UK, and was declared the most streamed album of 2014 on Spotify with 430 million streams worldwide. In an interview with MTV following the announcement of GRAMMY nominations in December 2014, Sheeran said the Album Of The Year nomination is “the only one I’ve ever, ever wanted.” The millions of fans who listened to Sheeran’s music throughout the world last year would no doubt agree it’s one he richly deserves. — Steve Baltin

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Pharrell Williams Record of the Year

Cass Bird

Album Of Album of the Year The Year Best New Artist

Maybe if Pharrell Williams had worked just a little bit harder this past year, he’d have had something to do with all five nominated works in the Album Of The Year category. As it is, the extremely busy and extremely talented Williams had a hand in crafting the sound of three of the five: He’s a coproducer of Beyoncé’s eponymous release, a co-producer of Ed Sheeran’s X and is the producer and star of his own show on Girl, his second full-length solo album. There aren’t many artists who can match Williams’ mix of behind-the-board skillfulness and on-the-mic charisma, so while it’s always a pleasure to hear the music he helps create with others (Frank Ocean’s Channel Orange, Robin Thicke’s “Blurred Lines,” Daft Punk’s “Get Lucky,” et al.), it’s a particular treat to hear what he creates when he gives himself a chance to shine. As prolific as Williams — a seven-time GRAMMY winner, who also has nominations for Best Pop Solo Performance, Best Urban Contemporary Album and Best Music Video this year — has been over the last decade, it’s been more than eight years since his solo debut, In My Mind. Still, on Girl Williams doesn’t seem intent on unloading any pent-up proclamations or delivering any heavy messages. Instead, he throws exactly the funk-forward party he wants to hang out

at, complete with tight rhythms, irresistible hooks, easygoing soulfulness, understated arrangements, and some clothing-optional fun. Even on his own, Williams remains a masterful collaborator, and the guest list at this particular party includes Miley Cyrus, Daft Punk, Alicia Keys, Kelly Osbourne, Justin Timberlake, and Hans Zimmer. It’s fitting that Girl’s lead single was “Happy” (an Original Song Oscar nominee last year) because so much of Williams’ work seems to flow not from inflated ego or crass commercial ambitions, but from a pure, simple joyfulness in the act of making music. Williams is more generous than most when it comes to sharing his creative energies, and Girl marks another happy achievement in a career that so far has been equal parts groove and uplift. That’s certainly worth a tip of the hat. — Chuck Crisafulli

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Bastille

Gregory Nolan

Best New Artist

“Until recently a lot of our friends were so patronizing,” Bastille frontman Dan Smith told DIY magazine in October 2014, regarding his South London mates who quizzed him on the band’s U.S. touring. “‘How was America? Did you play to empty rooms?’ And we were like, ‘Actually, we sold 4 million singles.’” America, not to mention the world at large, has indeed fallen for Bastille, who are nominated for Best New Artist. Their inspired and original blend of synth-pop melodicism, anthemic choruses and flawless production values is pretty hard to resist. Case in point: Bastille’s biggest hit to date, “Pompeii,” is the UK’s most streamed song of all time, according to the Official Charts Company. “It is essentially about fear of stasis and boredom,” Smith told The Telegraph regarding the brooding yet uplifting track. “Being quite a shy, self-conscious person, I was afraid my life might get stuck.” Smith’s vulnerable vocals, pensive lyrics and pop idol looks are Bastille’s undeniable focal point, and the whole thing did start out as his solo project. But soon drummer Chris “Woody” Wood, bassist William Farquarson and keyboardist Kyle Simmons joined the fold. The band’s name comes from the French holiday Bastille Day, which falls on Smith’s birthday, July 14. Bastille’s 2010 debut single, “Flaws”/”Icarus,” caught the attention of the UK music press and fans. Viral,

unbridled Internet love for these tracks and subsequent singles led to the release of the band’s first album, Bad Blood, in 2013. It instantly went to No. 1 in the UK, but the big surprise was that it peaked at No. 11 in the United States. “There’s no guitars on the album at all,” Smith noted. “Instead we used things like layered vocals, string arrangements, interesting beats, and electronic sounds to achieve the same effect in surprising ways.” A deluxe reissue, All This Bad Blood, and a series of mixtape collaborations with artists such as MNEK, Angel Haze and fellow Best New Artist nominees Haim have cemented Bastille’s reputation. Their next move is highly anticipated. “I don’t think my songwriting will change,” Smith hinted. “I’m not going to write seven-minute, rambling monk chants.” — Alan di Perna

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Brandy Clark

David McClister

Best New Artist

Brandy Clark’s name may be new to country music fans, but inside the tight-knit music community in Nashville, Tenn., she’s already an established star. Heralded as one of country’s smartest, most adept writers, her songs have been recorded by Kacey Musgraves, Keith Urban, Reba McEntire, Sheryl Crow, LeAnn Rimes, and Toby Keith, to name a few. She’s penned hits for Miranda Lambert and the Band Perry, including 2013’s platinum-selling “Mama’s Broken Heart,” which earned Lambert a GRAMMY nomination for Best Country Solo Performance. Clark also co-wrote Musgraves’ hit “Follow Your Arrow,” which was featured on Musgraves’ Best Country Album-winning Same Trailer Different Park. Clark’s sharp wit and keen observations about modern American life have made her a favorite among her Nashville peers. At a time when country music has been dominated by glossy fantasies depicting pickup trucks, dirt roads and girls in cutoff shorts, Clark’s songs are a splash of cold realism. Her songs tell stories of substance-abusing housewives, jilted women and the everyday struggles of people just trying to get by. Clark calls her music “a dark comedy,” saying it mirrors her perspective on life. It’s an off-kilter viewpoint that may be skewed a tad too far afield for conventional country.

“I was just writing songs,” she said. “But with titles like ‘Take A Little Pill’ and ‘[The] Day She Got Divorced,’ artists wouldn’t cut those songs.” So Clark recorded them herself. The result: 12 Stories, Clark’s Best Country Album-nominated debut, released on Texas-based indie label Smith Music Group. Ironically, a collection of songs Clark had written for other artists served to launch her own career as a performer. And that Clark — a native of Morton, Wash., a small logging community full of interesting characters doing difficult, dangerous work, reminiscent of the coal miners and moonshiners of country music’s Appalachian heritage — would find a home in country music is not a surprise. That she’d do it while maintaining her unique perspective is a testament to her artistry. — Lisa Zhito

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Disney

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Haim

Haim’s live performances are known for being rowdy and risqué. With flying rock hair and giant stage presence, they lock into their own magnetic material and adventurously cover counterpoints ranging from Beyoncé to Fleetwood Mac. Their recorded material, on the other hand, is sleek and slinky, blurring the lines between retro and modern takes on rock, pop, R&B, and West Coast hip-hop. But no matter how they come at you, Haim own their sound. They have what makes a select few bands truly exceptional — they are not only musically fearless but unpredictable in how they twist and interpret their influences. The sisters Haim (pronounced High-im) grew up in California’s San Fernando Valley immersed in an antiPartridge Family musical family, actually playing in a cover band (Rockinhaim) as kids with their musician parents Donna and Moti. Each sister writes songs and plays multiple instruments, but mostly you’ll see Este on bass (master of “bassface” and artfully applied red lipstick), Danielle on guitar and lead vocals, and Alana on guitar and keyboards. The group’s brother-from-anothermister is Dash Hutton, son of Three Dog Night’s Danny Hutton, who often sits behind the drum kit for live gigs. Indie darlings in Europe long before they began to conquer America, Haim may be nominated for Best New Artist, but they’ve been gradually creeping their way into our consciousness. Most visible was Danielle, who played guitar in the touring bands for Jenny Lewis and Strokes

Laura Coulson

Best New Artist

frontman Julian Casablancas. Haim crystallized with their 2012 EP, Forever, which whetted fans’ appetites; in 2013 they served up the full-length Days Are Gone, which was voraciously consumed, peaking at No. 6 on the Billboard 200. Between endless touring, they’ve added their touch to recordings by other artists, including Kid Cudi, Calvin Harris, A$AP Ferg, Major Lazer, and fellow Best New Artist nominees Bastille. And they found time to collaborate with their idol Stevie Nicks, back up Primal Scream and steal the spotlight at Glastonbury. “I think they’re the best of the best to come along in a long, long time,” said Nicks in a 2014 interview with Huffington Post. “I think they’re going to be a major force in rock and roll.” The bottom line is this: Haim are everywhere, in a good way. Just try to escape them. — Melissa Blazek

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Song Of The Year

“All About That Bass”

Courtesy of Epic Records

Based around a potent musical metaphor for body image, “All About That Bass” began entirely as a joke. “We wrote it laughing,” says Trainor. “We thought, ‘Nobody is ever gonna hear this.’” It all started in Nashville, Tenn., when Trainor and Kevin Kadish met for the first time and bonded instantly over something they shared in common: growing up on the chubbier side. “He brought the line ‘All bass, no treble,’ which I saw right away as thick and thin,” she says. “I’d never written about this subject ever, and didn’t want to be preachy, so we made it funny.” Kadish pushed the limits with provocative lines he was sure Trainor would reject, but she loved them. “He had, ‘Boys [they] like a little more booty to hold at night,’ and I was like, ‘Yeah! That’s it! That’s awesome!’” After 45 minutes, the song was complete. But neither felt the world would embrace it. “No one wanted to touch it until L.A. Reid heard it,” says Trainor. “It’s scary going out there with a song like this. But seeing the reaction really helps me being confident. It’s a song that has helped so many people, and me included. I am a different human than I was six months ago.”

Nathan Chapman

Kevin Kadish & Meghan Trainor, songwriters Meghan Trainor, artist

Kevin Kadish

Meghan Trainor

“Chandelier”

Lindsey Byrnes

Courtesy of Pretty Puke/ RCA Records

Sia Furler & Jesse Shatkin, songwriters Sia, artist

Sia

“I sat down with the intention to write for Rihanna,” says Sia about the origins of “Chandelier.” “But as the song took shape I realized it was personal, and that I was attached to it somehow. My intuition told me to sing it myself.” It started starkly, with Sia on piano, exploring ideas, and co-writer Jesse Shatkin on marimba. They found the feel and the chords, which Sia recorded on her phone and sent to Shatkin, who filled out the track. His melodic ideas, or “mad genius” as Sia describes it, led to the lyrics. The title came from her book of song ideas, an image that opened possibilities. “When I saw a chandelier, I thought I could write a song about swinging from the chandelier — a party anthem of some sort. But as I was writing it, it turned into a song about my battles with addiction, inadvertently.” What distinguishes “Chandelier” is its soaring and triumphant chorus, which Sia says “just fell out of me that way.” “She is an extraordinary singer and artist,” adds Shatkin. “I think we both realized nobody could sing the song like that. It was a song for Sia.”

Jesse Shatkin 48

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Fred Thustrup

Kia Naddermier

“Shake It Off”

Max Martin Courtesy of Taylor Swift

Shellback

Max Martin, Shellback & Taylor Swift, songwriters Taylor Swift, artist An infectious song of empowerment and transcending the impact of critics, “Shake It Off” was written by Taylor Swift with Swedish hit-makers Max Martin and Shellback. For Swift, it was an opportunity to “have more of a sense of humor about people who get under my skin,” as she told NPR. Given her intimate relationship with her fans, appropriately “Shake It Off” also emerged as a positive message for Swifties. “I want this song to go out into the world and not be about my critics,” Swift told Fusion. “I want it to be about the girl who’s criticizing someone in 11th grade because she thinks that her hair looks stupid. And that girl then goes and cries in the bathroom because of it. These are things that we go through in every phase of our life.” In an interview with Rolling Stone, Swift added, “I've had every part of my life dissected — my choices, my actions, my words, my body, my style, my music. When you live your life under that kind of scrutiny, you can either let it break you, or you can get really good at dodging punches. And when one lands, you know how to deal with it. And I guess the way that I deal with it is to shake it off.”

Taylor Swift

“Take Me To Church”

Alex Lake

Andrew Hozier-Byrne, songwriter Hozier, artist

Hozier

“Stay With Me (Darkchild Version)”

James Lyndsay

James Napier, William Phillips & Sam Smith, songwriters Sam Smith, artist

Courtesy of Capitol Music Group

Courtesy of Method Records

Startling in its stark simplicity and both reverent and anthemic, “Stay With Me” was created in one day. “That’s the way all my songs are written,” says Smith. “It came when we were in the studio; Will [Phillips] was on piano and Jimmy [Napier] on drums. Jimmy came up with the idea of ‘stay with me,’ which immediately got me thinking of a one-night stand, and my views on that. The lyric came from us just vibing, and all those lyrics came that first day. It happened so simply that it felt like it wasn’t even us writing it. It felt like something greater was happening.” The chorus came first, to which verses were briskly added. But Smith remained uncertain. “I wasn’t sure. I thought maybe it was too simple. And then we tracked my vocals, and I stood in different parts of the studio, and we built a gospel choir, though it’s actually all my voice. And when we put that on the track, it suddenly all came alive to me.” The results struck a universal chord. “Sam is such an amazing singer that his lead vocals and all those harmonies just gave us chills,” says Napier. “It all came together so fast, it was amazing, like the whole song was a gift.”

William Phillips

James Napier

Sam Smith

“Take Me To Church” was initially constructed with words. For more than a year, Hozier explored lyrical ideas with no thoughts of music. “Often I hold off with music till I have something that is right for it,” says Hozier. “So I worked for months on the words, not exactly of that form and shape, but all the thematic stuff was there. I didn’t have the title.” It was at the piano that the chorus — and the title — arrived. “I’m not a great piano player, but I love to play around,” says Hozier. “When you are unfamiliar with an instrument, you play it in a different way, and you come up with new ideas. And suddenly I just stumbled across the chorus. Those words and that music fell into place.” Toying with the dynamics of what is considered sacred, he felt the title was an ideal allegory for sex and sexuality, but “tongue in cheek.” The idea of ‘deathless death’ has to do with the promise of everlasting life, which is the core promise you are given in church,” says Hozier. “They promise you paradise after you die. But only when you devote your living hours, then you get something on the other end of it. And it’s quite a raw deal!” — Paul Zollo 57th Annual GRAMMY Awards

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Nominations 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. For recordings released during the Eligibility Year October 1,2013, through September 30, 2014. Note: More or less than 5 nominations in a category is the result of ties.

GENERAL FIELD

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.

FANCY

Iggy Azalea Featuring Charli XCX

The Arcade & The Invisible Men, producers; Anthony Kilhoffer & Eric Weaver, engineers/mixers; Miles Showell, mastering engineer Track from: The New Classic [Def Jam Recordings]

CHANDELIER Sia

Greg Kurstin & Jesse Shatkin, producers; Greg Kurstin, Manny Marroquin & Jesse Shatkin, engineers/mixers; Emily Lazar, mastering engineer Track from: 1000 Forms Of Fear [RCA Records / Monkey Puzzle Records]

STAY WITH ME (DARKCHILD VERSION) Sam Smith

Steve Fitzmaurice, Rodney Jerkins & Jimmy Napes, producers; Steve Fitzmaurice, Jimmy Napes & Steve Price, engineers/mixers; Tom Coyne, mastering engineer [Capitol Records]

SHAKE IT OFF Taylor Swift

Max Martin & Shellback, producers; Serban Ghenea, John Hanes, Sam Holland & Michael Ilbert, engineers/ mixers; Tom Coyne, mastering engineer [Big Machine Records]

ALL ABOUT THAT BASS Meghan Trainor

Kevin Kadish, producer; Kevin Kadish, engineer/mixer; Dave Kutch, mastering engineer [Epic Records]

MORNING PHASE Beck

Beck Hansen, producer; Tom Elmhirst, David Greenbaum, Florian Lagatta, Cole Marsden Greif-Neill, Robbie Nelson, Darrell Thorp, Cassidy Turbin & Joe Visciano, engineers/ mixers; Bob Ludwig, mastering engineer [Capitol Records]

BEYONCÉ Beyoncé

Chimamanda Ngozi Adichie, Drake, Jay Z & Frank Ocean, featured artists; Ammo, Boots, Noel "Detail" Fisher, Jerome Harmon, Hit-Boy, Beyoncé Knowles, Terius "The Dream" Nash, Caroline Polachek, Rey Reel, Noah "40" Shebib, Ryan Tedder, Timbaland, Justin Timberlake, Key Wane & Pharrell Williams, producers; Boots, Noel Cadastre, Noel "Gadget" Campbell, Rob Cohen, Andrew Coleman, Chris Godbey, Justin Hergett, James Krausse, Mike Larson, Jonathan Lee, Tony Maserati, Ann Mincieli, Caroline Polachek, Andrew Scheps, Bart Schoudel, Noah "40" Shebib, Ryan Tedder, Stuart White & Jordan "DJ Swivel" Young, engineers/mixers; Tom Coyne, James Krausse & Aya Merrill, mastering engineers [Columbia Records]

Ed Sheeran

Jeff Bhasker, Benny Blanco, Jake Gosling, Johnny McDaid, Rick Rubin & Pharrell Williams, producers; Andrew Coleman, Jake Gosling, Matty Green, William Hicks, Tyler Sam Johnson, Jason Lader, Johnny McDaid, Chris Sclafini, Mark Stent & Geoff Swan, engineers/ mixers; Stuart Hawkes, mastering engineer [Atlantic]

IN THE LONELY HOUR Sam Smith

Steve Fitzmaurice, Komi, Howard Lawrence, Zane Lowe, Mojam, Jimmy Napes, Naughty Boy, Fraser T. Smith, Two Inch Punch & Eg White, producers; Michael Angelo, Graham Archer, Steve Fitzmaurice, Simon Hale, Darren Heelis, James Murray, Jimmy Napes, Mustafa Omer, Dan Parry, Steve Price & Eg White, engineers/mixers; Tom Coyne & Stuart Hawkes, mastering engineers [Capitol Records]

GIRL

Pharrell Williams

Alicia Keys & Justin Timberlake, featured artists; Pharrell Williams, producer; Leslie Brathwaite, Adrian Breakspear, Andrew Coleman, Jimmy Douglas, Hart Gunther, Mick Guzauski, Florian Lagatta, Mike Larson, Stephanie McNally, Alan Meyerson, Ann Mincieli & Kenta Yonesaka, engineers/mixers; Bob Ludwig, mastering engineer [Columbia Records]

Song Of The Year

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.

ALL ABOUT THAT BASS

Kevin Kadish & Meghan Trainor, songwriters (Meghan Trainor) [Epic Records; Publishers: Year Of The Dog Music/ Over-Thought Under-Appreciated Songs]

CHANDELIER

Sia Furler & Jesse Shatkin, songwriters (Sia) Track from: 1000 Forms Of Fear [RCA Records/Monkey Puzzle Records; Publishers: EMI Music Publishing Inc./ EMI April Music Inc./Aidenjulius Music]

SHAKE IT OFF

Max Martin, Shellback & Taylor Swift, songwriters (Taylor Swift)

[Big Machine Records; Publishers: Sony/ATV Tree Publishing/Taylor Swift Music/MXM admin. by Kobalt Songs Music Publishing]

STAY WITH ME (DARKCHILD VERSION)

James Napier, William Phillips & Sam Smith, songwriters (Sam Smith)

[Capitol Records; Publishers: Sony/ATV Songs LLC o/b/o Naughty Words Ltd./Universal-Polygram Int. Tunes, Inc. o/b/o Salli Isaak Songs, Ltd./Universal-Polygram Int. Tunes, Inc. o/b/o Method Paperwork]

TAKE ME TO CHURCH

Andrew Hozier-Byrne, songwriter (Hozier) Track from: Take Me To Church [Columbia Records]

Best New Artist

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

IGGY AZALEA BASTILLE BRANDY CLARK HAIM SAM SMITH

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

Nominations POP

CHEEK TO CHEEK

Tony Bennett & Lady Gaga

[Streamline/Columbia/RPM/Interscope]

For new vocal or instrumental pop recordings. Singles or Tracks only.

[Blue Note Records]

Best Pop Solo Performance ALL OF ME (LIVE) John Legend

[Columbia Records]

CHANDELIER Sia

Track from: 1000 Forms Of Fear [RCA Records/Monkey Puzzle Records]

STAY WITH ME (DARKCHILD VERSION) Sam Smith

[Capitol Records]

SHAKE IT OFF

NOSTALGIA Annie Lennox

NIGHT SONGS Barry Manilow

[Stiletto Entertainment]

SENDING YOU A LITTLE CHRISTMAS Johnny Mathis [Columbia]

PARTNERS

Barbra Streisand With Various Artists [Columbia Records]

Best Pop Vocal Album

DANCE/ELECTRONIC MUSIC

Best Dance Recording

For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or Tracks only.

NEVER SAY NEVER

Basement Jaxx Featuring ETML

Basement Jaxx, producers; Basement Jaxx, Duncan F. Brown & Alex Evans, mixers [Atlantic Jaxx/[PIAS]]

RATHER BE

Clean Bandit Featuring Jess Glynne

Grace Chatto & Jack Patterson, producers; Wez Clarke & Jack Patterson, mixers Track from: New Eyes [Big Beat/Atlantic]

F FOR YOU

Disclosure Featuring Mary J. Blige Disclosure, producer; Disclosure, mixer Track from: Settle (Deluxe) [Cherrytree/Interscope Records]

I GOT U

Duke Dumont Featuring Jax Jones

Taylor Swift

[Big Machine Records]

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

Duke Dumont & Jax Jones, producers; Tommy Forrest, mixer [Astralwerks]

HAPPY (LIVE)

GHOST STORIES

FADED

[Columbia Records]

[Atlantic/Parlophone]

Zhu, producer; Zhu, mixer [Mind Of A Genius /TH3RD BRAIN]

BANGERZ

Pharrell Williams

Best Pop Duo/Group Performance

For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.

FANCY

Iggy Azalea Featuring Charli XCX Track from: The New Classic [Def Jam Recordings]

A SKY FULL OF STARS Coldplay

Track from: Ghost Stories [Atlantic/Parlophone]

SAY SOMETHING

A Great Big World With Christina Aguilera

Coldplay

Miley Cyrus [RCA]

MY EVERYTHING Ariana Grande

[Republic Records]

Zhu

Best Dance/Electronic Album For vocal or instrumental albums. Albums only.

SYRO

Aphex Twin

PRISM

[Warp Records]

[Capitol Records]

WHILE(1<2)

[Astralwerks]

[Atlantic Records]

NABUMA RUBBERBAND

IN THE LONELY HOUR

[Loma Vista Recordings/Republic]

Katy Perry

Ed Sheeran

Sam Smith

[Capitol Records]

Deadmau5

Little Dragon

DO IT AGAIN

Rรถyksopp & Robyn

Track from: Is There Anybody Out There? [Epic Records]

[Cherrytree/Interscope Records]

BANG BANG

DAMAGE CONTROL

[Republic Records]

[Astralwerks]

Jessie J, Ariana Grande & Nicki Minaj

Mat Zo

DARK HORSE

Katy Perry Featuring Juicy J [Capitol Records]

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NEW FROM

AVAILABLE AT TARGET 速

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Best Metal Performance

Nominations CONTEMPORARY INSTRUMENTAL MUSIC

Best Contemporary Instrumental Album

For albums containing approximately 75% or more playing time of instrumental material. For albums containing at least 51% playing time of new recordings.

WILD HEART

For albums containing at least 51% playing time of new Rock, Hard Rock or Metal recordings.

NEON KNIGHTS

RYAN ADAMS

Track from: Ronnie James Dio — This Is Your Life [Rhino]

[Blue Note Records]

Anthrax

HIGH ROAD Mastodon

Track from: Once More 'Round The Sun [Reprise]

HEARTBREAKER Motörhead

Track from: Aftershock [Udr]

THE NEGATIVE ONE

SLAM DUNK

[Roadrunner Records]

Ryan Adams

MORNING PHASE Beck

[Capitol Records]

TURN BLUE

The Black Keys [Nonesuch]

HYPNOTIC EYE

Tom Petty & The Heartbreakers [Reprise]

Slipknot

SONGS OF INNOCENCE

Gerald Albright

[Heads Up International]

THE LAST IN LINE

[Interscope]

NATHAN EAST

Track from: Ronnie James Dio — This Is Your Life [Rhino]

[Yamaha Entertainment Group]

Nathan East

JAZZ FUNK SOUL

Jeff Lorber, Chuck Loeb, Everette Harp [Shanachie]

BASS & MANDOLIN

Chris Thile & Edgar Meyer [Nonesuch]

ROCK

Best Rock Performance

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

GIMME SOMETHING GOOD Ryan Adams

[Blue Note Records]

DO I WANNA KNOW? Arctic Monkeys

Track from: AM [Domino Recording Co.]

BLUE MOON Beck

[Capitol Records]

FEVER

The Black Keys

Track from: Turn Blue [Nonesuch]

LAZARETTO Jack White

Track from: Lazaretto [Third Man Records/Columbia Records]

Best Rock Album

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

Mindi Abair

[Heads Up International]

Tenacious D

Best Rock Song

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.

AIN'T IT FUN

Hayley Williams & Taylor York, songwriters (Paramore)

ALTERNATIVE

Best Alternative Music Album Vocal or Instrumental.

THIS IS ALL YOURS Alt-J

[Canvasback/Atlantic]

REFLEKTOR Arcade Fire

[Capitol Records]

Track from: Paramore [Fueled By Ramen; Publishers: WB Music Corp./But Father, I Just Want To Sing/FBR Music And Hunterboro Music/WB Music Corp/Justin's Polite Music]

Cage The Elephant

BLUE MOON

ST. VINCENT

[Capitol Records; Publisher: Youthless admin. by Kobalt Music Publishing, Inc.]

[Loma Vista Recordings/Republic]

Beck Hansen, songwriter (Beck)

FEVER

D. Auerbach, B. Burton & P. Carney, songwriters (The Black Keys) Track from: Turn Blue [Nonesuch Records; Publishers: MCMOORE MCLESST Publishing admin. by Wixen Music/Sweet Science]

GIMME SOMETHING GOOD

MELOPHOBIA [RCA Records]

St. Vincent

LAZARETTO Jack White

[Third Man Records/Columbia Records]

R&B

Best R&B Performance

Ryan Adams, songwriter (Ryan Adams)

For new vocal or instrumental R&B recordings.

LAZARETTO

Beyoncé Featuring Jay Z

[Blue Note Records; Publisher: Barland Music admin. by BMG Rights Management (US) LLC.]

Jack White III, songwriter (Jack White) Track from: Lazaretto [Third Man Records/Columbia Records; Publisher: Third String Tunes]

DRUNK IN LOVE Track from: Beyoncé [Columbia Records]

NEW FLAME

Chris Brown Featuring Usher & Rick Ross Track from: X [RCA Records]

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GOOD KISSER

Ronald "Flip" Colson, Warren "Oak" Felder, Usher Raymond IV, Jameel Roberts, Terry "Tru" Sneed & Andrew "Pop" Wansel, songwriters (Usher) [RCA Records]

Nominations IT'S YOUR WORLD Jennifer Hudson Featuring R. Kelly Track from: JHUD [RCA Records]

LIKE THIS Ledisi

Track from: The Truth [Verve]

GOOD KISSER Usher

[RCA Records]

Best Traditional R&B Performance

For new vocal or instrumental traditional R&B recordings.

Marsha Ambrosius & Anthony Hamilton Track from: The Best Man Holiday (Original Motion Picture Soundtrack) [RCA Records]

I.R.S.

Angie Fisher

[Hidden Beach Recordings]

JESUS CHILDREN

Robert Glasper Experiment Featuring Lalah Hathaway & Malcolm-Jamal Warner Track from: Black Radio 2 [Blue Note Records]

NOBODY Kem

[Motown Records]

HOLD UP WAIT A MINUTE (WOO WOO) Antonique Smith

[9:23 Music & Media]

Best R&B Song

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

DRUNK IN LOVE

Shawn Carter, Rasool Diaz, Noel Fisher, Jerome Harmon, Beyoncé Knowles, Timothy Mosely, Andre Eric Proctor & Brian Soko, songwriters (Beyoncé Featuring Jay Z)

Track from: Beyoncé [Columbia Records; Publishers: EMI Blackwood Music, Inc. o/b/o Itself and If You Need Me Don’t Leave Me/ WB Music Corp./Oakland 13 Music/Carter Boys Music/ Warner-Tamerlane Publishing Corp./The Order Music/VB Rising Music Publishing/ole/Jerome Harmon Publishing]

NEW FLAME

Eric Bellinger, Chris Brown, James Chambers, Malissa Hunter, Justin Booth Johnson, Mark Pitts, Usher Raymond IV, William Roberts, Maurice "Verse" Simmonds & Keith Thomas, songwriters (Chris Brown Featuring Usher & Rick Ross)

Track from: X [RCA Records; Publishers: Songs Of Universal, Inc./Culture Beyond Ur Experience Publishing/Justin Booth Johnson, Keef Tha Beef, Maurice Nathan Simmonds Publishing/ Bu Thiam Publishing/Universal Music Publishing, Eric B/ Writing Camp Music/Sony/ATV Tunes LLC, 4 Blunts Lit At Once Publishing/First And Gold Publishing adm. by WarnerTamerlane Publishing Corp./Sony/ATV Sons LLC, 6 Kolbert Drive/Sony/ATV Tunes LLC, Prescriptions Songs/Kobalt Songs Music Publishing, UR-IV Music/EMI April Music, Inc.]

OPTIONS (WOLFJAMES VERSION)

Dominic Gordon, Brandon Hesson & Jamaica "Kahn-Cept" Smith, songwriters (Luke James) [Island Records]

THE WORST

Jhené Aiko Chilombo, Mac Robinson & Brian Warfield, songwriters (Jhené Aiko)

LIFT YOUR SPIRIT Aloe Blacc

[XIX/Interscope Records]

LOVE, MARRIAGE & DIVORCE Toni Braxton & Babyface [Def Jam Recordings]

BLACK RADIO 2

Robert Glasper Experiment [Blue Note Records]

GIVE THE PEOPLE WHAT THEY WANT Sharon Jones & The Dap-Kings [Daptone Records]

RAP

Best Rap Performance

For a rap performance. Singles or Tracks only.

3005

Childish Gambino

Track from: Because The Internet [Glassnote]

0 TO 100/THE CATCH UP Drake

[Cash Money/Young Money]

Track from: The Marshall Mathers LP2 [Aftermath]

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

Kendrick Lamar

[Top Dawg Entertainment/Interscope Records]

SAIL OUT

ALL I NEED IS YOU

[Def Jam Recordings]

[Reach Records]

BEYONCÉ

Best Urban Contemporary Album

Jhené Aiko

Beyoncé

[Columbia Records]

RAP GOD Eminem

Lecrae

Best Rap/Sung Collaboration

Chris Brown

For a newly recorded rap/sung collaborative performance by artists who do not normally perform together.

MALI IS...

Common Featuring Jhené Aiko

[RCA Records]

Mali Music

[RCA Records/Bystorm Entertainment]

GIRL

Pharrell Williams [Columbia Records]

BLAK MAJIK

Track from: Nobody's Smiling [Def Jam Recordings]

THE MONSTER

Eminem Featuring Rihanna

Track from: The Marshall Mathers LP2 [Aftermath]

TUESDAY

Best R&B Album

I Love Makonnen Featuring Drake

ISLANDER

Schoolboy Q Featuring BJ The Chicago Kid

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

Bernhoft

[Big Picnic Records]

[OVO/Warner Bros.]

STUDIO

Track from: Oxymoron [Top Dawg Entertainment/Interscope Records]

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BOUND 2

THE MARSHALL MATHERS LP2

Track from: Yeezus [Def Jam Recordings]

[Aftermath]

Kanye West & Charlie Wilson

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. (Artist names appear in parentheses.)

ANACONDA

Ernest Clark, Jamal Jones, Onika Maraj, Marcos Palacios & J. Solone-Myvett, songwriters (Nicki Minaj) [Cash Money/Young Money]

BOUND 2

Mike Dean, Noah Goldstein, Malik Jones, Che Pope, Elon Rutberg, Sakiya Sandifer, John Stephens, Kanye West, Charlie Wilson, Ernest Wilson & Cydel Young, songwriters (Kanye West & Charlie Wilson)

Track from: Yeezus [Def Jam Recordings; Publishers: Please Gimme My Publishing/EMI Blackwood Music, Inc./John Legend Publishing admin. by BMG Chrysalis/Monarchy Music/Abou Thiam Publishing/Universal Publishing/Jabriel Iz Myne/ Let The Story Begin Music Publishing/Chrysalis Songs/ EMI Blackwood Music o/b/o Papa George Publishing/Noah Goldstein Music/Reach Music Publishing/Dust Index/Gambi Music Inc./Songs Of Universal, Inc.]

K. Duckworth & C. Smith, songwriters (Kendrick Lamar)

[Top Dawg Entertainment/Interscope Records]

WE DEM BOYZ

Maurice Brown, Kemion Cooks, N. Fisher & C. Thomaz, songwriters (Wiz Khalifa)

Track from: Blacc Hollywood [Rostrum/Atlantic; Publishers; Wiz Khalifa Publishing admin. by Warner-Tamerlane Publishing Corp./ IFYOUNEEDMEDONTLEAVEME]

0 TO 100/THE CATCH UP

Feeney, Aubrey Graham, A. Hernandez, P. Jefferies, M. Samuels & Noah Shebib, songwriters (Drake) [Cash Money/Young Money]

Best Rap Album

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

THE NEW CLASSIC Iggy Azalea

Eminem

OXYMORON Schoolboy Q

[Top Dawg Entertainment/Interscope Records]

BLACC HOLLYWOOD Wiz Khalifa

[Rostrum/Atlantic]

COUNTRY

Best Country Solo Performance

For new vocal or instrumental solo country recordings.

GIVE ME BACK MY HOMETOWN Eric Church

Track from: The Outsiders [EMI Nashville]

INVISIBLE

Hunter Hayes

Track from: Storyline [Atlantic Records]

AUTOMATIC

Miranda Lambert Track from: Platinum [RCA Nashville]

SOMETHING IN THE WATER Carrie Underwood [Sony Nashville]

COP CAR

Keith Urban

Track from: Fuse [Capitol Nashville]

Best Country Duo/ Group Performance

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

Best Country Song

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

AMERICAN KIDS

Rodney Clawson, Luke Laird & Shane McAnally, songwriters (Kenny Chesney) [Blue Chair Records, LLC/Columbia Nashville]

AUTOMATIC

Nicolle Galyon, Natalie Hemby & Miranda Lambert, songwriters (Miranda Lambert)

Track from: Platinum [RCA Nashville; Publishers: Sony/ATV Tree Publishing/ Pink Dog Publishing admin. by Sony/ATV Music Publishing, LLC/Warner-Tamerlane Publishing Corp./EMI Blackwood Music Inc./Wruckestrike]

GIVE ME BACK MY HOMETOWN

Eric Church & Luke Laird, songwriters (Eric Church) Track from: The Outsiders [EMI Nashville; Publishers: Sony/ATV Tree Publishing/ Longer And Louder Music, admin. by Sony/ATV Music Publishing LLC/Songs Of Universal, Inc./Creative Nation Music/Twangin And Slangin, admin. by Songs Of Universal, Inc.]

I'M NOT GONNA MISS YOU

Glen Campbell & Julian Raymond, songwriters (Glen Campbell) Track from: Glen Campbell, I'll Be Me Soundtrack [Big Machine Records]

MEANWHILE BACK AT MAMA'S

Tom Douglas, Jaren Johnston & Jeffrey Steele, songwriters (Tim McGraw Featuring Faith Hill) [Big Machine Records]

Best Country Album

GENTLE ON MY MIND

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

Track from: Glen Campbell, I'll Be Me Soundtrack [Big Machine Records]

Dierks Bentley

The Band Perry

SOMETHIN' BAD

Miranda Lambert With Carrie Underwood Track from: Platinum [RCA Nashville]

RISER

[Capitol Records]

THE OUTSIDERS Eric Church

[EMI Nashville]

[Def Jam Recordings]

DAY DRINKING

12 STORIES

BECAUSE THE INTERNET

[Capitol Nashville]

[Slate Creek Records]

[Glassnote]

MEANWHILE BACK AT MAMA'S

Childish Gambino

NOBODY'S SMILING Common

[Def Jam Recordings]

Little Big Town

Tim McGraw Featuring Faith Hill Track from: Sundown Heaven Town [Big Machine Records]

RAISE 'EM UP

Keith Urban Featuring Eric Church Track from: Fuse [Capitol Nashville]

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Brandy Clark

PLATINUM

Miranda Lambert [RCA Nashville]

THE WAY I'M LIVIN' Lee Ann Womack [Sugar Hill Records]

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Best Jazz Vocal Album

Nominations

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

NEW AGE

Best New Age Album

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

BHAKTI

Paul Avgerinos

[Round Sky Music]

RITUAL

Peter Kater & R. Carlos Nakai [Mysterium Music]

WINDS OF SAMSARA

Ricky Kej & Wouter Kellerman [Listen 2 Africa]

SYMPHONY LIVE IN ISTANBUL Kitaro

[Domo Records, Inc]

IN LOVE AND LONGING

Silvia Nakkach & David Darling [Sounds True]

JAZZ

Best Improvised Jazz Solo

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.

THE EYE OF THE HURRICANE Kenny Barron, soloist

Track from: Gerry Gibbs Thrasher Dream Trio (Gerry Gibbs Thrasher Dream Trio) [Whaling City Sound]

FINGERPRINTS

Chick Corea, soloist

Track from: Trilogy (Chick Corea Trio) [Concord Jazz]

YOU & THE NIGHT & THE MUSIC Fred Hersch, soloist

Track from: Floating (Fred Hersch Trio) [Palmetto Records]

RECORDA ME

Joe Lovano, soloist

Track from: The Latin Side Of Joe Henderson (Conrad Herwig Featuring Joe Lovano) [Half Note]

SLEEPING GIANT

Brad Mehldau, soloist

Track from: Mehliana: Taming The Dragon (Brad Mehldau & Mark Guiliana) [Nonesuch]

MAP TO THE TREASURE: REIMAGINING LAURA NYRO (Billy Childs &) Various Artists [Masterworks]

I WANNA BE EVIL: WITH LOVE TO EARTHA KITT RenĂŠ Marie

[Motema Music]

LIVE IN NYC

Gretchen Parlato [Obliqsound]

BEAUTIFUL LIFE Dianne Reeves

[Concord Records]

PARIS SESSIONS

QUIET PRIDE: THE ELIZABETH CATLETT PROJECT Rufus Reid

[Motema Music]

LIVE: I HEAR THE SOUND

Archie Shepp Attica Blues Orchestra [ArchieBall]

OVERTIME: MUSIC OF BOB BROOKMEYER The Vanguard Jazz Orchestra [Planet Arts Recordings]

Best Latin Jazz Album

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, Iberian-American, Brazilian, and Argentinian tango music.

THE LATIN SIDE OF JOE HENDERSON

Tierney Sutton

Conrad Herwig Featuring Joe Lovano

[BFM Jazz]

[Half Note]

THE PEDRITO MARTINEZ GROUP

Best Jazz Instrumental Album

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

LANDMARKS

Brian Blade & The Fellowship Band [Mid City/Blue Note Records]

TRILOGY

Chick Corea Trio [Concord Jazz]

FLOATING

Fred Hersch Trio

[Palmetto Records]

ENJOY THE VIEW

Bobby Hutcherson, David Sanborn, Joey DeFrancesco Featuring Billy Hart [Blue Note Records]

ALL RISE: A JOYFUL ELEGY FOR FATS WALLER Jason Moran

[Blue Note Records]

Best Large Jazz Ensemble Album For albums containing at least 51% playing time of new ensemble jazz recordings.

THE L.A. TREASURES PROJECT The Clayton-Hamilton Jazz Orchestra [Capri Records, Ltd.]

LIFE IN THE BUBBLE

Gordon Goodwin's Big Phat Band

The Pedrito Martinez Group [Motema Music]

THE OFFENSE OF THE DRUM

Arturo O'Farrill & The Afro Latin Jazz Orchestra [Motema]

SECOND HALF

Emilio Solla Y La Inestable De Brooklyn [Emilio Solla Music]

NEW THRONED KING Yosvany Terry [5Passion]

GOSPEL/CONTEMPORARY CHRISTIAN MUSIC

Best Gospel Performance/Song

This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.

HELP

Erica Campbell Featuring Lecrae

Erica Campbell, Warryn Campbell, Hasben Jones, Harold Lilly, Lecrae Moore & Aaron Sledge, songwriters Track from: Help [EOne/My Block; Publishers: Campbell Kids/Fellowship Of The Unashamed, Uncle Bobby Music/EMI-Sony ATV, Food 4 Yo Soul, I Wrote It You Sing It, That's Plum Song]

SUNDAY A.M. [LIVE] Karen Clark Sheard

Karen Clark Sheard; Rudy Currence & Donald Lawrence, songwriters [EOne/Karew Records; Publishers: Sony/ATV Charles & Edward Publishing/QW Publishing admin. by BMG Rights Management (US) LLC]

[Telarc International]

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I BELIEVE

MULTIPLIED

Kortney J. Pollard, songwriter Track from: Mali Is... [RCA Records/ByStorm Entertainment; Publisher: Mali Music Note Productions]

Bear Rinehart & Bo Rinehart, songwriters Track from: Rivers In The Wasteland [Atlantic; Publishers: Needtobreathe Music/Bear Lee Breathing Music]

NO GREATER LOVE

Mali Music

Smokie Norful

Aaron W. Lindsey & Smokie Norful, songwriters [Tre'Myles/Motown Gospel; Publishers: Capitol CMG Paragon, Aaron Lindsey Pub. admin. by CapitolCMGPublishing.com/Meadowgreen Music Company, Norful Music Publishing]

LOVE ON THE RADIO The Walls Group

Kirk Franklin, songwriter Track from: Fast Forward [Fo Yo Soul Recordings/RCA Records; Publisher: Aunt Gertrude Music Publishing, Lilly Mack Music admin. at CapitolCMGPublishing.com]

Best Contemporary Christian Music Performance/Song

This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian pop, Christian rap/hip-hop, or Christian rock single or track.

WRITE YOUR STORY Francesca Battistelli

Francesca Battistelli, David Arthur Garcia & Ben Glover, songwriters Track from: If We're Honest [Fervent/Word/Curb; Publishers: Work Music, LLC/ Francesca Music/Universal Music - Brentwood Benson Songs, D Soul Music/9T One Songs, Ariose Music admin. by CapitolCMGPublishing.com]

COME AS YOU ARE Crowder

David Crowder, Ben Glover & Matt Maher, songwriters [Sixstepsrecords/Sparrow Records; Publishers: Sixsteps Music/Worshiptogether.com Songs/9T One Songs/Ariose Music/Valley Of Songs Music admin. by CapitolCMGPublishing.com/Thankyou Music admin. by CapitolCMGPublishing.com]

MESSENGERS

Lecrae Featuring For King & Country

Torrance Esmond, Ran Jackson, Ricky Jackson, Kenneth Chris Mackey, Lecrae Moore, Joseph Prielozny, Joel Smallbone & Luke Smallbone, songwriters [Reach Records; Publishers: Fellowship Of The Unashamed Music, WB Music Corp./Method To The Madness/Shankel Songs/Warner Tamerlane/Kilns Music/ Aly Plane Music/Evident Music/Before I Die Publishing/ Joseph Prielozny Music/Track Or Die Music LLC]

SHAKE

MercyMe

Nathan Cochran, David Arthur Garcia, Ben Glover, Barry Graul, Bart Millard, Soli Olds, Mike Scheuchzer & Robby Shaffer, songwriters Track from: Welcome To The New [Fair Trade; Publishers: MercyMe Music/Wet As A Fish Music/Soul Glow Activator Music/D Soul Music/Universal Music Brentwood Benson Publishing/9T One Songs/ Ariose Music]

Needtobreathe

Best Gospel Album

Best Roots Gospel Album

This award is given to the artist(s) and any producer(s) or engineer(s) responsible for at least 51% playing time of an album containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.

HELP

FOREVER CHANGED

[EOne/My Block]

[MCM World Media]

Erica Campbell

T. Graham Brown

AMAZING (LIVE)

SHINE FOR ALL THE PEOPLE

[Light Records/EOne]

[Compass Records]

Ricky Dillard & New G

WITHHOLDING NOTHING (LIVE)

Mike Farris

HYMNS

William McDowell

Gaither Vocal Band

FOREVER YOURS

A CAPPELLA

[Tre'Myles/Motown Gospel]

[Gaither Music Group]

VINTAGE WORSHIP

HIS WAY OF LOVING ME

[Motown Gospel]

[By Grace Records]

LATIN

This award is given to the artist(s) and any producer(s) or engineer(s) responsible for at least 51% playing time of an album containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip-hop, or rock recordings. (Subject to eligibility criteria)

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

[EOne/Delivery Room Music]

Smokie Norful

Anita Wilson

Best Contemporary Christian Music Album

IF WE'RE HONEST Francesca Battistelli [Fervent/Word/Curb]

RUN WILD. LIVE FREE. LOVE STRONG. For King & Country [Fervent/Word/Curb]

HURRICANE Natalie Grant [Curb Records]

WELCOME TO THE NEW MercyMe

[Fair Trade]

[Gaither Music Group]

The Martins

Tim Menzies

Best Latin Pop Album TANGOS

Rubén Blades

[Sunnyside Records]

ELYPSE Camila

[Sony Music Latin]

RAÍZ

Lila Downs, Niña Pastori And Soledad [Sony Music Latin]

LOCO DE AMOR Juanes

[Universal Music Latino]

GRACIAS POR ESTAR AQUÍ Marco Antonio Solís

[Universal Music Latino]

ROYAL TAILOR Royal Tailor

[Essential Records]

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Featuring the #1 Single

EARNED IT by LOVE ME LIKE YOU DO by Ellie Goulding Also Featuring Music From

BEYONCÉ • SIA • SKYLAR GREY ANNIE LENNOX • THE ROLLING STONES …and many more

S O U N DT R AC K AVA I L A B L E 2 . 1 0 . 1 5 M OV I E I N T H E AT E R S VA L E N T I N E ’ S DAY π2015 Universal Studios and Republic Records, a division of UMG Recordings, Inc. Motion Picture Artwork, Title and Photos © 2015 Universal

π2015 Universal Studios and Republic Records, division of UMG Recordings, Motion Picture Artwork, Title Inc., and1755 Photos © 2015 Universal under exclusive Studiosaunder exclusive license to Republic Inc. Records, a division of UMG Recordings, Broadway, New York, NewStudios York 10019. Distributed by license to Republic Records, a division of UMG Recordings, Inc., 1755 Broadway, New York, New York Music 10019. Distributed Universal Music Distribution. AllUnauthorized rights reserved. FBI Warning: Unauthorized copying is punishable under federal law. Universal Distribution. Allby rights reserved. FBI Anti-Piracy Warning: copying is Anti-Piracy punishable under federal law.

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Best Tropical Latin Album

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

Nominations

50 ANIVERSARIO

El Gran Combo De Puerto Rico

Best Latin Rock, Urban Or Alternative Album

[EGC Records]

FIRST CLASS TO HAVANA Aymee Nuviola

[Worldwide Entertainment]

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

LIVE

MULTIVIRAL

[Rolling Pin Music]

Calle 13

[Sony Music Latin]

Palo!

EL ASUNTO

Totó La Momposina [Sony Music Latin]

BEHIND THE MACHINE (DETRÁS DE LA MÁQUINA)

MÁS + CORAZÓN PROFUNDO

[Sony Music Latin]

Chocquibtown

BAILAR EN LA CUEVA Jorge Drexler

[Warner Music Latina]

AGUA MALDITA Molotov

[Universal Latino]

VENGO

Ana Tijoux

[Nacional Records]

Carlos Vives

AMERICAN ROOTS MUSIC

Best American Roots Performance

For new vocal or instrumental American Roots recordings. This is for performances in the style of any of the subgenres encompassed in the American Roots Music Field including Americana, bluegrass, blues, folk or regional roots. Award to the artist(s).

Best American Roots Song

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.

A FEATHER'S NOT A BIRD

Rosanne Cash & John Leventhal, songwriters (Rosanne Cash)

Track from: The River & The Thread [Blue Note Records; Publishers: Chelcait Music admin. by Measurable Music LLC, a Notable Music Co./Lev-A-Tunes]

JUST SO MUCH

Jesse Winchester, songwriter (Jesse Winchester)

Track from: A Reasonable Amount Of Trouble [Appleseed; Publisher: Bug Music]

THE NEW YORK TRAINS

Woody Guthrie & Del McCoury, songwriters (The Del McCoury Band)

Track from: My Name Is New York: Deluxe Audio Book [Woody Guthrie Publications, Inc.]

PRETTY LITTLE ONE

Steve Martin, songwriter (Steve Martin And The Steep Canyon Rangers Featuring Edie Brickell) Track from: Live [Rounder; Publishers: LA Films Music]

TERMS OF MY SURRENDER John Hiatt, songwriter (John Hiatt)

Track from: Terms Of My Surrender [New West Records; Publisher: So Not That Music]

STATESBORO BLUES

Track from: All My Friends: Celebrating The Songs & Voice Of Gregg Allman [Rounder]

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

A FEATHER'S NOT A BIRD

THE RIVER & THE THREAD

LASTIMA QUE SEAN AJENAS

Track from: The River & The Thread [Blue Note Records]

[Blue Note Records]

[Sony Music Latin]

AND WHEN I DIE

Best Regional Mexican Music Album (Including Tejano)

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

Pepe Aguilar

MANO A MANO — TANGOS A LA MANERA DE VICENTE FERNÁNDEZ

Gregg Allman & Taj Mahal

Rosanne Cash

Billy Childs Featuring Alison Krauss & Jerry Douglas

Vicente Fernández

Track from: Map To The Treasure: Reimagining Laura Nyro [Masterworks]

VOZ Y GUITARRA

Keb' Mo' Featuring The California Feetwarmers

[Sony Music Latin]

THE OLD ME BETTER

Ixya Herrera Featuring Elias Torres [Rampart Latino Records]

Track from: Bluesamericana [Kind Of Blue Music]

15 ANIVERSARIO

DESTINATION

[East Side Records/Shea Records]

Track from: A Dotted Line [Nonesuch]

Mariachi Divas De Cindy Shea

ALEGRÍA DEL MARIACHI

Nickel Creek

Best Americana Album

Rosanne Cash

TERMS OF MY SURRENDER John Hiatt

[New West Records]

BLUESAMERICANA Keb' Mo'

[Kind Of Blue Music]

A DOTTED LINE Nickel Creek [Nonesuch]

METAMODERN SOUNDS IN COUNTRY MUSIC Sturgill Simpson

[High Top Mountain Records]

Mariachi Los Arrieros Del Valle [Mariachi Los Arrieros Del Valle]

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BACK ON THE CONTROLS

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

OUT OF MANY, ONE MUSIC

Best Folk Album

Nominations

THREE BELLS

Mike Auldridge, Jerry Douglas & Rob Ickes [Rounder]

Best Bluegrass Album

FOLLOW THE MUSIC Alice Gerrard

[Tompkins Square]

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

THE NOCTURNE DIARIES

THE EARLS OF LEICESTER

[Red House Records]

The Earls Of Leicester [Rounder]

NOAM PIKELNY PLAYS KENNY BAKER PLAYS BILL MONROE Noam Pikelny

[Compass Records]

COLD SPELL

Frank Solivan & Dirty Kitchen [Compass Records]

INTO MY OWN Bryan Sutton

[Sugar Hill Records]

ONLY ME

Rhonda Vincent

[Upper Management Music]

Best Blues Album

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

COMMON GROUND — DAVE ALVIN & PHIL ALVIN PLAY AND SING THE SONGS OF BIG BILL BROONZY Dave Alvin & Phil Alvin [Yep Roc Records]

PROMISE OF A BRAND NEW DAY

Eliza Gilkyson

REMEDY

Old Crow Medicine Show [ATO Records]

A REASONABLE AMOUNT OF TROUBLE Jesse Winchester [Appleseed]

Best Regional Roots Music Album For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.

LIGHT THE STARS Bonsoir, Catin

[Valcour Records]

HANU 'A'ALA Kamaka Kukona

[Hanu Arts & Entertainment]

Bobby Rush With Blinddog Smokin' [Silver Talon Records]

STEP BACK Johnny Winter

[Megaforce Records]

[Universal Music Japan, VP Records, Taxi Records]

AMID THE NOISE AND HASTE Soja

[Ato Records]

WORLD MUSIC

Best World Music Album

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

TOUMANI & SIDIKI

Toumani Diabaté & Sidiki Diabaté [World Circuit]

EVE

Angelique Kidjo [429 Records]

OUR WORLD IN SONG

Wu Man, Luis Conte & Daniel Ho [Daniel Ho Creations & Wind Music]

MAGIC

Sergio Mendes [OKeh]

TRACES OF YOU Anoushka Shankar

CHILDREN'S

THE LEGACY Jo-El Sonnier

[Takau Records]

CEREMONY

Joe Tohonnie Jr.

REGGAE

DECISIONS

THE REGGAE POWER

Sly & Robbie & Spicy Chocolate

[Arhoolie Records]

Magnolia Sisters

JUKE JOINT CHAPEL [Henrietta Records]

Shaggy

[Ranch Entertainment, Inc.]

[Deutsche Grammophon]

[Cool Runnings Music]

Charlie Musselwhite

[Upsetter]

LOVE'S LIES

Ruthie Foster

[Blue Corn Music]

Lee "Scratch" Perry

Best Reggae Album

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

FLY RASTA Ziggy Marley

[Tuff Gong Worldwide]

FULL FREQUENCY Sean Paul

[VP/Atlantic]

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.

APPETITE FOR CONSTRUCTION The Pop Ups [Kugelsongs]

I AM MALALA: HOW ONE GIRL STOOD UP FOR EDUCATION AND CHANGED THE WORLD (MALALA YOUSAFZAI) Neela Vaswani [Hachette Audio]

JUST SAY HI!

Brady Rymer And The Little Band That Could [Bumblin' Bee Records]

THE PERFECT QUIRK Secret Agent 23 Skidoo

[Underground Playground Records]

THROUGH THE WOODS 66

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The Okee Dokee Brothers [Okee Dokee Music]

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THE BIGGEST HITS FROM ® MUSIC’S BIGGEST NIGHT !

2015 GRAMMY NOMINEES ®

AVAILABLE NOW GRAMMY.COM

GRAMMY.COM/2015GRAMMYALBUM

RCARECORDS.COM

PC 2015 THE RECORDING ACADEMY.

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TRAGEDY PLUS COMEDY EQUALS TIME

MUSIC FOR VISUAL MEDIA

[Comedy Central]

Best Compilation Soundtrack For Visual Media

Patton Oswalt

Nominations

WE ARE MIRACLES Sarah Silverman [Sub Pop]

SPOKEN WORD

MUSICAL THEATER

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling)

Best Musical Theater Album

ACTORS ANONYMOUS James Franco

[Brilliance Audio]

A CALL TO ACTION Jimmy Carter

[Simon & Schuster Audio]

CARSICK: JOHN WATERS HITCHHIKES ACROSS AMERICA John Waters

[Macmillan Audio]

DIARY OF A MAD DIVA Joan Rivers

[Penguin Audio]

A FIGHTING CHANCE Elizabeth Warren [Macmillan Audio]

WE WILL SURVIVE: TRUE STORIES OF ENCOURAGEMENT, INSPIRATION, AND THE POWER OF SONG

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.

ALADDIN

James Monroe Iglehart, Adam Jacobs & Courtney Reed, principal soloists; Frank Filipetti, Michael Kosarin, Alan Menken & Chris Montan, producers (Alan Menken, composer; Howard Ashman, Chad Beguelin & Tim Rice, lyricists) (Original Broadway Cast)

MANDATORY FUN "Weird Al" Yankovic [RCA Records]

OBSESSED Jim Gaffigan

[Comedy Central]

OH MY GOD Louis C.K.

[Vagrant Records]

FROZEN

(Various Artists)

Kristen Anderson-Lopez, Robert Lopez, Tom MacDougall & Chris Montan, compilation producers [Walt Disney Records]

GET ON UP: THE JAMES BROWN STORY (James Brown)

GUARDIANS OF THE GALAXY: AWESOME MIX VOL. 1

Jessie Mueller, principal soloist; Jason Howland, Steve Sidwell & Billy Jay Stein, producers (Carole King, composer & lyricist) (Original Broadway Cast) [Ghostlight/Razor & Tie]

A GENTLEMAN'S GUIDE TO LOVE & MURDER

HEDWIG AND THE ANGRY INCH

Best Comedy Album

(Various Artists)

Susan Jacobs & David O. Russell, compilation producers [Madison Gate/Legacy Recordings]

BEAUTIFUL: THE CAROLE KING MUSICAL

COMEDY

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

AMERICAN HUSTLE

[Walt Disney Records]

Gloria Gaynor

Award to the artist(s) and/or "in studio" producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).

Peter Afterman & Harry Weinger, compilation producers [Universal Music Enterprises]

Jefferson Mays & Bryce Pinkham, principal soloists; Kurt Deutsch & Joel Moss, producers; Robert L. Freedman, lyricist; Steven Lutvak, composer & lyricist (Original Broadway Cast)

[Brilliance Audio]

[Ghostlight/Razor & Tie]

Lena Hall & Neil Patrick Harris, principal soloists; Justin Craig, Tim O'Heir & Stephen Trask, producers (Stephen Trask, composer & lyricist) (Original Broadway Cast) [Atlantic]

WEST SIDE STORY

Cheyenne Jackson & Alexandra Silber, principal soloists; Michael Tilson Thomas & Jack Vad, producers (Leonard Bernstein, composer; Stephen Sondheim, lyricist) (Cheyenne Jackson & Alexandra Silber With The San Francisco Symphony) [SFS Media]

(Various Artists)

James Gunn, compilation producer [Hollywood Records/Marvel Music]

THE WOLF OF WALL STREET (Various Artists)

Robbie Robertson, compilation producer [Virgin Records]

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.

FROZEN

Christophe Beck, composer [Walt Disney Records]

GONE GIRL

Trent Reznor & Atticus Ross, composers [Columbia Records]

THE GRAND BUDAPEST HOTEL Alexandre Desplat, composer [Abkco Music & Records]

GRAVITY

Steven Price, composer [WaterTower Music]

SAVING MR. BANKS

Thomas Newman, composer [Walt Disney Records]

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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.

EVERYTHING IS AWESOME!!!

Joshua Bartholomew, Lisa Harriton, Shawn Patterson, Andy Samberg, Akiva Schaffer & Jorma Taccone, songwriters (Tegan And Sara Featuring The Lonely Island)

Track from: The Lego Movie [WaterTower Music; Publishers: Waner-Olive Music, LLC, Drohnend Publishing, Shebar Music, Boner Tek, Snuglar Entertainment]

I SEE FIRE

Ed Sheeran, songwriter (Ed Sheeran)

Track from: The Hobbit: The Desolation Of Smaug [WaterTower Music; Publishers: New Line Music Co., United Lion Music Inc.]

I'M NOT GONNA MISS YOU

Glen Campbell & Julian Raymond, songwriters (Glen Campbell) Track from: Glen Campbell, I'll Be Me [Big Machine Records]

LET IT GO

Kristen Anderson-Lopez & Robert Lopez, songwriters (Idina Menzel)

Track from: Frozen [Walt Disney Records; Publisher: Wonderland Music Company, Inc.]

THE MOON SONG

Spike Jonze & Karen O, songwriters (Scarlett Johansson & Joaquin Phoenix) Track from: Her [WaterTower Music]

COMPOSING/ARRANGING

Best Instrumental Composition

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

THE BOOK THIEF

John Williams, composer (John Williams) Track from: The Book Thief Original Motion Picture Soundtrack [Sony Classical, Fox Music; Publisher: Fox Film Music Corp.]

LIFE IN THE BUBBLE

Gordon Goodwin, composer (Gordon Goodwin's Big Phat Band)

Track from: Life In The Bubble [Telarc International; Publisher: Wingood Music Productions, Inc.]

RECOGNITION

Rufus Reid, composer (Rufus Reid)

GOODNIGHT AMERICA

TARNATION

Track from: Songs From The Movie [Rounder]

Track from: Bass & Mandolin [Nonesuch]

Billy Childs, arranger (Billy Childs Featuring Renée Fleming & Yo-Yo Ma)

Track from: Quiet Pride: The Elizabeth Catlett Project [Motema Music; Publisher: Myriad Ltd.]

Edgar Meyer & Chris Thile, composers (Chris Thile & Edgar Meyer)

Best Arrangement, Instrumental Or A Cappella An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.

BEAUTIFUL DREAMER

Pete McGuinness, arranger (The Pete McGuinness Jazz Orchestra) Track from: Strength In Numbers [Summit Records]

DAFT PUNK

Ben Bram, Mitch Grassi, Scott Hoying, Avi Kaplan, Kirstin Maldonado & Kevin Olusola, arrangers (Pentatonix) Track from: PTX, Vol. 2 [RCA Records]

GET SMART

Gordon Goodwin, arranger (Gordon Goodwin's Big Phat Band) Track from: Life In The Bubble [Telarc International]

GUANTANAMERA

Alfredo Rodríguez, arranger (Alfredo Rodríguez) Track from: The Invasion Parade [Mack Avenue Records]

MOON RIVER

Chris Walden, arranger (Amy Dickson) Track from: A Summer Place [Sony Classical]

Best Arrangement, Instruments And Vocals

LAST TRAIN TO SANITY

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

Track from: Up [Mack Avenue Records; Publisher: Roxboro Music Publishing]

Jeremy Fox, arranger (Jeremy Fox Featuring Kate McGarry)

Stanley Clarke, composer (The Stanley Clarke Band)

Vince Mendoza, arranger (Mary Chapin Carpenter)

NEW YORK TENDABERRY

Track from: Map To The Treasure: Reimagining Laura Nyro [Masterworks]

PARTY ROCKERS

Gordon Goodwin & Judith Hill, arrangers (Gordon Goodwin's Big Phat Band) Track from: Life In The Bubble [Telarc International]

WHAT ARE YOU DOING THE REST OF YOUR LIFE? Pete McGuinness, arranger (The Pete McGuinness Jazz Orchestra) Track from: Strength In Numbers [Summit Records]

PACKAGE

Best Recording Package FORMOSA MEDICINE SHOW

David Chen & Andrew Wong, art directors (The Muddy Basin Ramblers) [Hove]

INDIE CINDY

Vaughan Oliver, art director (Pixies) [Pixies Music/[PIAS] Recordings]

LIGHTNING BOLT

Jeff Ament, Don Pendleton, Joe Spix & Jerome Turner, art directors (Pearl Jam) [Republic Records]

LP1

FKA Twigs, Jesse Kanda & Phil Lee, art directors (FKA Twigs) [Young Turks/XL Recordings]

WHISPERS

Sarah Larnach, art director (Passenger) [Nettwerk]

ALL MY TOMORROWS

Track from: With Love: Arrangements For Some Of My Favorite Singers [Jazzbill Records]

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PURPLE SNOW: FORECASTING THE MINNEAPOLIS SOUND

Jon Kirby, album notes writer (Various Artists) [The Numero Group]

Nominations

Best Boxed Or Special Limited Edition Package CITIES OF DARKSCORCH

Scott Blackwood, album notes writer (Various Artists) [Third Man Records/Revenant Records]

HISTORICAL

Leland Meiners & Ken Shipley, art directors (Various Artists)

Best Historical Album

A LETTER HOME (VINYL BOX SET)

BLACK EUROPE: THE SOUNDS AND IMAGES OF BLACK PEOPLE IN EUROPE PRE-1927

[The Numero Group]

Gary Burden & Jenice Heo, art directors (Neil Young) [Third Man Records]

THE RISE & FALL OF PARAMOUNT RECORDS, VOLUME ONE (1917–27)

Susan Archie, Dean Blackwood & Jack White, art directors (Various Artists) [Third Man Records/Revenant Records]

SPARKS (DELUXE ALBUM BOX SET)

Andy Carne & Imogen Heap, art directors (Imogen Heap) [RCA Records/Megaphonic Records]

SPRING 1990 (THE OTHER ONE)

Jessica Dessner, Lisa Glines, Doran Tyson & Steve Vance, art directors (Grateful Dead) [Rhino]

NOTES

Best Album Notes HAPPY: THE 1920 RAINBO ORCHESTRA SIDES David Sager, album notes writer (Isham Jones Rainbo Orchestra) [Archeophone Records]

I'M JUST LIKE YOU: SLY'S STONE FLOWER 1969–70

Alec Palao, album notes writer (Various Artists)

Jeffrey Green, Rainer E. Lotz & Howard Rye, compilation producers; Christian Zwarg, mastering engineer (Various Artists) [Bear Family]

THE GARDEN SPOT PROGRAMS, 1950

Colin Escott & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Hank Williams) [Omnivore Recordings]

HAPPY: THE 1920 RAINBO ORCHESTRA SIDES

Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (Isham Jones Rainbo Orchestra) [Archeophone Records]

LONGING FOR THE PAST: THE 78 RPM ERA IN SOUTHEAST ASIA Steven Lance Ledbetter & David Murray, compilation producers; Michael Graves, mastering engineer (Various Artists) [Dust-To-Digital]

THERE'S A DREAM I'VE BEEN SAVING: LEE HAZLEWOOD INDUSTRIES 1966–1971 (DELUXE EDITION)

Hunter Lea, Patrick McCarthy & Matt Sullivan, compilation producers; John Baldwin, mastering engineer (Various Artists)

[Light In The Attic Records]

OFFERING: LIVE AT TEMPLE UNIVERSITY

PRODUCTION, NON-CLASSICAL

[Resonance/Impulse]

Best Engineered Album, Non-Classical

Ashley Kahn, album notes writer (John Coltrane)

THE OTHER SIDE OF BAKERSFIELD: 1950S & 60S BOPPERS AND ROCKERS FROM 'NASHVILLE WEST,' VOL. 1 Scott B. Bomar, album notes writer (Various Artists) [Bear Family]

THE RISE & FALL OF PARAMOUNT RECORDS, VOLUME ONE (1917–27)

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

BASS & MANDOLIN

Richard King & Dave Sinko, engineers; Robert C. Ludwig, mastering engineer (Chris Thile & Edgar Meyer) [Nonesuch]

BLUESAMERICANA

Ross Hogarth & Casey Wasner, engineers; Richard Dodd, mastering engineer (Keb' Mo') [Kind Of Blue Music]

MORNING PHASE

Tom Elmhirst, David Greenbaum, Florian Lagatta, Cole Marsden Greif-Neill, Robbie Nelson, Darrell Thorp, Cassidy Turbin & Joe Visciano, engineers; Bob Ludwig, mastering engineer (Beck) [Capitol Records]

THE WAY I'M LIVIN'

Chuck Ainlay, engineer; Gavin Lurssen, mastering engineer (Lee Ann Womack) [Sugar Hill Records]

WHAT'S LEFT IS FOREVER

Tchad Blake, Thomas Dybdahl, Oyvind Jakobsen, Jo Ranheim, Itai Shapira & David Way, engineers; Bernie Grundman, mastering engineer (Thomas Dybdahl) [CMG]

Producer Of The Year, Non-Classical

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

PAUL EPWORTH

• Pendulum (FKA Twigs) (T) • Queenie Eye (Paul McCartney) (T) • Road (Paul McCartney) (T) • Save Us (Paul McCartney) (T) • Supermodel (Foster The People) (A)

JOHN HILL

• All You Never Say (Birdy) (T) • Burning Gold (Christina Perri) (T) • Can't Remember To Forget You (Shakira Featuring Rihanna) (T) • Goldmine (Kimbra) (T) • Guts Over Fear (Eminem Featuring Sia) (S) • Strange Desire (Bleachers) (A) • Voices (Phantogram) (A) • Water Fountain (Tune-Yards) (T)

JAY JOYCE

• About Last Night (Sleeper Agent) (A) • It Goes Like This (Thomas Rhett) (A) • Melophobia (Cage The Elephant) (A) • Montibello Memories (Matrimony) (A) • Mountains Of Sorrow, Rivers Of Song (Amos Lee) (A) • The Outsiders (Eric Church) (A)

GREG KURSTIN

• Beating Heart (Ellie Goulding) (T) • Chandelier (Sia) (S) • Double Rainbow (Katy Perry) (T) • Gunshot (Lykke Li) (T) • Money Power Glory (Lana Del Rey) (T) • 1000 Forms Of Fear (Sia) (A) • Sheezus (Lily Allen) (A) • Wrapped In Red (Kelly Clarkson) (A)

MAX MARTIN

• Bang Bang (Jessie J, Ariana Grande & Nicki Minaj) (S) • Break Free (Ariana Grande Featuring Zedd) (S) • Dark Horse (Katy Perry Featuring Juicy J) (S) • Problem (Ariana Grande Featuring Iggy Azalea) (S) • Shake It Off (Taylor Swift) (S) • Unconditionally (Katy Perry) (S)

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• Best New Artist • Record Of The Year – FANCY • Best Rap Album – THE NEW CLASSIC • Best Pop Duo/Group Performance – FANCY

• Best Urban Contemporary Album – SAIL OUT • Best R&B Song – THE WORST • Best Rap / Sung Collaboration – BLAK MAJIK

• Best Rap Album – NOBODY’S SMILING • Best Rap / Sung Collaboration – BLAK MAJIK

• Best Rap / Sung Collaboration –BOUND 2 • Best Rap Song – BOUND 2

• Best R&B Album – LOVE, MARRIAGE & DIVORCE

• Best R&B Performance – NEW FLAME • Best R&B Song – NEW FLAME

www.defjam.com

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CHAMBERLAND: THE BERLIN REMIXES

David Miles Huber, surround mix engineer; David Miles Huber, surround mastering engineer; David Miles Huber, surround producer (David Miles Huber)

Nominations

[51Bpm.Com LLC]

Best Remixed Recording, Non-Classical

A Remixer's Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.

ALL OF ME (TIESTO'S BIRTHDAY TREATMENT REMIX)

Tijs Michiel Verwest, remixer (John Legend) [Columbia Records]

FALLING OUT (MING REMIX)

MING, remixer (Crossfingers Featuring Danny Losito) [Big Alliance Records]

POMPEII (AUDIEN REMIX) Audien, remixer (Bastille) [Virgin Records]

THE RISING (EDDIE AMADOR REMIX) Eddie Amador, remixer (Five Knives) [Red Bull Records]

SMILE (KASKADE EDIT)

Ryan Raddon, remixer (Galantis) Track from: Galantis EP [Big Beat Records]

WAVES (ROBIN SCHULZ REMIX) Robin Schulz, remixer (Mr. Probz)

[RCA Records/Ultra Records/Sony Music]

SURROUND SOUND

Best Surround Sound Album

Classical or non-classical. For vocal or instrumental albums in any genre. Must be commercially released on DVD-Audio, DVD-Video, SACD, 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).

BEPPE: REMOTE GALAXY

Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Vladimir Ashkenazy & Philharmonia Orchestra) [2L (Lindberg Lyd)]

BEYONCÉ

Elliot Scheiner, surround mix engineer; Bob Ludwig, surround mastering engineer; Beyoncé Knowles, surround producer (Beyoncé) [Columbia Records]

THE DIVISION BELL (20TH ANNIVERSARY DELUXE BOX SET)

Damon Iddins & Andy Jackson, surround mix engineers; Damon Iddins & Andy Jackson, surround mastering engineers (Pink Floyd) [Parlophone]

EPICS OF LOVE

Hans-Jörg Maucksch, surround mix engineer; Hans-Jörg Maucksch, surround mastering engineer; Günter Pauler, surround producer (Song Zuying, Yu Long & China Philharmonic Orchestra) [Stockfisch-Records]

MAHLER: SYMPHONY NO. 2 'RESURRECTION'

Michael Bishop & Robert Friedrich, surround mix engineers; Michael Bishop, surround mastering engineer; Elaine Martone, surround producer (Benjamin Zander & Philharmonia Orchestra) [Linn]

PRODUCTION, CLASSICAL

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

ADAMS, JOHN: CITY NOIR

Richard King, engineer; Wolfgang Schiefermair, mastering engineer (David Robertson & St. Louis Symphony) [Nonesuch]

ADAMS, JOHN LUTHER: BECOME OCEAN

Dmitriy Lipay & Nathaniel Reichman, engineers; Nathaniel Reichman, mastering engineer (Ludovic Morlot & Seattle Symphony) [Cantaloupe Music]

DUTILLEUX: SYMPHONY NO. 1; TOUT UN MONDE LOINTAIN; THE SHADOWS OF TIME Dmitriy Lipay, engineer; Dmitriy Lipay, mastering engineer (Ludovic Morlot & Seattle Symphony) [Seattle Symphony Media]

VAUGHAN WILLIAMS: DONA NOBIS PACEM; SYMPHONY NO. 4; THE LARK ASCENDING Michael Bishop, engineer; Michael Bishop, mastering engineer (Robert Spano, Norman Mackenzie, Atlanta Symphony Orchestra & Chorus) [ASO Media]

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

MORTEN LINDBERG

• Beppe: Remote Galaxy (Vladimir Ashkenazy & Philharmonia Orchestra) • Dyrud: Out Of Darkness (Vivianne Sydnes & Nidaros Cathedral Choir) • Ja, Vi Elsker (Tone Bianca Sparre Dahl, Ingar Bergby, Staff Band Of The Norwegian Armed Forces & Schola Cantorum) • Symphonies Of Wind Instruments (Ingar Bergby & Royal Norwegian Navy Band)

DMITRIY LIPAY

• Adams, John Luther: Become Ocean (Ludovic Morlot & Seattle Symphony) • Dutilleux: Symphony No. 1; Tout Un Monde Lointain; The Shadows Of Time (Ludovic Morlot & Seattle Symphony) • Fauré: Masques Et Bergamasques; Pelléas Et Mélisande; Dolly (Ludovic Morlot, Seattle Symphony Chorale & Seattle Symphony) • Hindemith: Nobilissima Visione; Five Pieces For String Orchestra (Gerard Schwarz & Seattle Symphony) • Ives: Symphony No. 2; Carter: Instances; Gershwin: An American In Paris (Ludovic Morlot & Seattle Symphony) • Ravel: Orchestral Works; Saint-Saëns: Organ Symphony (Ludovic Morlot & Seattle Symphony)

ELAINE MARTONE

• Hallowed Ground (Louis Langrée, Maya Angelou, Nathan Wyatt & Cincinnati Symphony Orchestra) • Mahler: Symphony No. 2 'Resurrection' (Benjamin Zander, Stefan Bevier, Philharmonia Chorus & Orchestra) • Sibelius: Symphonies Nos. 6 & 7; Tapiola (Robert Spano & Atlanta Symphony Orchestra) • Vaughan Williams: Dona Nobis Pacem; Symphony No. 4; The Lark Ascending (Robert Spano, Norman Mackenzie, Atlanta Symphony Orchestra & Chorus)

JUDITH SHERMAN

• Beethoven: Cello & Piano Complete (Fischer Duo) • Brahms By Heart (Chiara String Quartet) • Composing America (Lark Quartet) • Divergence (Plattform K + K Vienna) • The Good Song (Thomas Meglioranza) • Mozart & Brahms: Clarinet Quintets (Anthony McGill & Pacifica Quartet) • Snapshot (American Brass Quintet) • Two X Four (Jaime Laredo, Jennifer Koh, Vinay Parameswaran & Curtis 20/21 Ensemble) • Wagner Without Words (Llŷr Williams)

RICCARDO MUTI CONDUCTS MASON BATES & ANNA CLYNE

David Frost & Christopher Willis, engineers; Tim Martyn, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra) [CSO Resound]

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DAVID STAROBIN

• All The Things You Are (Leon Fleisher) • Complete Crumb Edition, Vol. 16 (Ann Crumb, Patrick Mason, James Freeman & Orchestra 2001) • Game Of Attrition — Arlene Sierra, Vol. 2 (Jac Van Steen & BBC National Orchestra Of Wales) • Haydn, Beethoven & Schubert (Gilbert Kalish) • Mozart: Piano Concertos, No. 12, K. 414 & No. 23, K. 488 (Marianna Shirinyan, Scott Yoo & Odense Symphony Orchestra) • Music Of Peter Lieberson, Vol. 3 (Scott Yoo, Roberto Diaz, Steven Beck & Odense Symphony Orchestra) • Rochberg, Chihara & Rorem (Jerome Lowenthal) • Tchaikovsky: The Tempest, Op. 18 & Piano Concerto No. 1, Op. 23 (Joyce Yang, Alexander Lazarev & Odense Symphony Orchestra)

CLASSICAL

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

ADAMS, JOHN: CITY NOIR David Robertson, conductor (St. Louis Symphony) [Nonesuch]

DUTILLEUX: SYMPHONY NO. 1; TOUT UN MONDE LOINTAIN; THE SHADOWS OF TIME

Ludovic Morlot, conductor (Seattle Symphony) [Seattle Symphony Media]

DVOŘÁK: SYMPHONY NO. 8; JANÁČEK: SYMPHONIC SUITE FROM JENŮFA

MILHAUD: L'ORESTIE D'ESCHYLE

Kenneth Kiesler, conductor; Dan Kempson, Jennifer Lane, Tamara Mumford, Sidney Outlaw, Lori Phillips & Brenda Rae; Tim Handley, producer (University Of Michigan Percussion Ensemble & University Of Michigan Symphony Orchestra; University Of Michigan Chamber Choir, University Of Michigan Orpheus Singers, University Of Michigan University Choir & UMS Choral Union) [Naxos]

RAMEAU: HIPPOLYTE ET ARICIE

William Christie, conductor; Sarah Connolly, Stéphane Degout, Christiane Karg, Ed Lyon & Katherine Watson; Sébastien Chonion, producer (Orchestra Of The Age Of Enlightenment; The Glyndebourne Chorus) [Opus Arte]

SCHÖNBERG: MOSES UND ARON

[Deutsche Grammophon]

Best Choral Performance

BACH: MATTHÄUS-PASSION

[ASO Media]

Best Opera Recording

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

CHARPENTIER: LA DESCENTE D'ORPHÉE AUX ENFERS

Paul O'Dette & Stephen Stubbs, conductors; Aaron Sheehan; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble) [CPO]

[Crier Records]

MARTINŮ: CELLO SONATAS NOS. 1–3

Christian Thielemann, conductor; Evelyn Herlitzius, Waltraud Meier, René Pape & Anne Schwanewilms; Arend Prohmann, producer (Staatskapelle Dresden; Sächsischer Staatsopernchor Dresden)

SCHUMANN: SYMPHONIEN 1–4

Robert Spano, conductor (Atlanta Symphony Orchestra)

DREAMS & PRAYERS

David Krakauer & A Far Cry

STRAUSS: ELEKTRA

[Hänssler Classic]

[Reference Recordings]

SIBELIUS: SYMPHONIES NOS. 6 & 7; TAPIOLA

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.

IN 27 PIECES — THE HILARY HAHN ENCORES

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.

[Berliner Philharmoniker Recordings]

Best Chamber Music/Small Ensemble Performance

Sylvain Cambreling, conductor; Andreas Conrad & Franz Grundheber; Reinhard Oechsler, producer (SWR Sinfonieorchester Baden-Baden Und Freiburg; EuropaChorAkademie)

Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)

Simon Rattle, conductor (Berliner Philharmoniker)

René Jacobs, conductor (Werner Güra & Johannes Weisser; Akademie Für Alte Musik Berlin; Rias Kammerchor & Staats-Und Domchor Berlin)

Hilary Hahn & Cory Smythe [Deutsche Grammophon]

Steven Isserlis & Olli Mustonen [BIS]

PARTCH: CASTOR & POLLUX Partch

Track from: Partch: Plectra & Percussion Dances [Bridge Records, Inc.]

SING THEE NOWELL New York Polyphony [BIS]

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

[Harmonia Mundi]

ALL THE THINGS YOU ARE

DYRUD: OUT OF DARKNESS

[Bridge Records, Inc.]

Leon Fleisher

Vivianne Sydnes, conductor (Erlend Aagaard Nilsen & Geir Morten Øien; Sarah Head & Lars Sitter; Nidaros Cathedral Choir)

THE CARNEGIE RECITAL

[2L (Lindberg Lyd)]

[Deutsche Grammophon]

HOLST: FIRST CHORAL SYMPHONY; THE MYSTIC TRUMPETER

DUTILLEUX: TOUT UN MONDE LOINTAIN

Andrew Davis, conductor; Stephen Jackson, chorus master (Susan Gritton; BBC Symphony Orchestra; BBC Symphony Chorus) [Chandos Records]

MOZART: REQUIEM

John Butt, conductor (Matthew Brook, Rowan Hellier, Thomas Hobbs & Joanne Lunn; Dunedin Consort) [Linn Records]

THE SACRED SPIRIT OF RUSSIA

Craig Hella Johnson, conductor (Conspirare)

Daniil Trifonov

Xavier Phillips; Ludovic Morlot, conductor (Seattle Symphony)

Track from: Dutilleux: Symphony No. 1; Tout Un Monde Lointain; The Shadows Of Time [Seattle Symphony Media]

PLAY

Jason Vieaux

[Azica Records]

TOCCATAS Jory Vinikour [Sono Luminus]

[Harmonia Mundi]

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PARTCH: PLECTRA & PERCUSSION DANCES

Partch; John Schneider, producer [Bridge Records, Inc.]

Nominations

THE SOLENT — FIFTY YEARS OF MUSIC BY RALPH VAUGHAN WILLIAMS

Best Classical Solo Vocal Album Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

DOUCE FRANCE

Anne Sofie Von Otter; Bengt Forsberg, accompanist (Carl Bagge, Margareta Bengston, Mats Bergström, Per Ekdahl, Bengan Janson, Olle Linder & Antoine Tamestit) [Naïve]

PORPORA: ARIAS

Philippe Jaroussky; Andrea Marcon, conductor (Cecilia Bartoli; Venice Baroque Orchestra) [Erato]

SCHUBERT: DIE SCHÖNE MÜLLERIN

Florian Boesch; Malcolm Martineau, accompanist [Onyx]

STELLA DI NAPOLI

Joyce DiDonato; Riccardo Minasi, conductor (Chœur De L'Opéra National De Lyon; Orchestre De L'Opéra National De Lyon) [Erato/Warner Classics]

VIRTUOSO ROSSINI ARIAS

Lawrence Brownlee; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra) [Delos]

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.

BRITTEN TO AMERICA

Jeffrey Skidmore, conductor; Colin Matthews, producer [NMC Recordings]

MIECZYSŁAW WEINBERG

Giedrė Dirvanauskaitė, Daniil Grishin, Gidon Kremer, Daniil Trifonov & Kremerata Baltica; Manfred Eicher, producer [ECM New Series]

MIKE MARSHALL & THE TURTLE ISLAND QUARTET Mike Marshall & Turtle Island Quartet; Mike Marshall, producer [Adventure Music]

Paul Daniel, conductor; Andrew Walton, producer [Albion Records]

Best Contemporary Classical Composition

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.

ADAMS, JOHN LUTHER: BECOME OCEAN

John Luther Adams, composer (Ludovic Morlot & Seattle Symphony) [Cantaloupe Music]

CLYNE, ANNA: PRINCE OF CLOUDS Anna Clyne, composer (Jaime Laredo, Jennifer Koh, Vinay Parameswaran & Curtis 20/21 Ensemble) Track from: Two X Four [Cedille Records]

CRUMB, GEORGE: VOICES FROM THE HEARTLAND

George Crumb, composer (Ann Crumb, Patrick Mason, James Freeman & Orchestra 2001)

TURN DOWN FOR WHAT DJ Snake & Lil Jon

Daniels, video directors; Judy Craig, Candice Ouaknine, Jonathan Wang & Bryan Younce, video producers [Columbia Records]

CHANDELIER Sia

Daniel Askill & Sia, video directors; Jennifer Heath & Jack Hogan, video producers [RCA Records/Monkey Puzzle Records]

HAPPY

Pharrell Williams

We Are From LA, video director; Kathleen Heffernan, Solal Micenmacher & Jett Steiger, video producers [Columbia Records]

THE GOLDEN AGE

Woodkid Featuring Max Richter

Yoann Lemoine, video director; Kathleen Heffernan, Roman Pichon Herrera, Christine Miller, & Annabel Rosier, video producers [Interscope]

Best Music Film

For concert/performance films or music documentaries. Award to the artist, video director, and video producer.

BEYONCÉ & JAY Z: ON THE RUN TOUR Beyoncé & Jay Z

Jonas Åkerlund, video director; Ed Burke, Svana Gisla & Dan Parise, video producers [Columbia Records]

GHOST STORIES Coldplay

Track from: Complete Crumb Edition, Vol. 16 [Bridge Records, Inc.]

Paul Dugdale, video director; Jim Parsons, video producer [Parlophone/Atlantic/Ja Digital]

PAULUS, STEPHEN: CONCERTO FOR TWO TRUMPETS & BAND

20 FEET FROM STARDOM

Stephen Paulus, composer (Eric Berlin, Richard Kelley, James Patrick Miller & UMASS Wind Ensemble) Track from: Fantastique — Premieres For Trumpet & Wind Ensemble [MSR Classics]

SIERRA, ROBERTO: SINFONÍA NO. 4 Roberto Sierra, composer (Giancarlo Guerrero & Nashville Symphony)

Track from: Sierra: Sinfonía No. 4; Fandangos; Carnaval [Naxos]

Darlene Love, Merry Clayton, Lisa Fischer & Judith Hill

Morgan Neville, video director; Gil Friesen & Caitrin Rogers, video producers [Anchor Bay]

METALLICA THROUGH THE NEVER Metallica

Nimród Antal, video director; Adam Ellison & Charlotte Huggins, video producers [Blackened Recordings]

MUSIC VIDEO/FILM

THE TRUTH ABOUT LOVE TOUR: LIVE FROM MELBOURNE

Best Music Video

Larn Poland, video director; Roger Davies, video producer [RCA Records]

For an individual track or single promotional clip. Award to the artist, video director, and video producer.

Pink

WE EXIST Arcade Fire

David Wilson, video director; Sue Yeon Ahn & Jason Baum, video producers [Capitol Records]

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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, GRAMMY Hall Of Fame Award, and Music Educator Award. The following pages recognize this year’s Special Merit Award recipients. A complete list of past recipients is available in The Recording Academy Awards section of GRAMMY.org.

Lifetime Achievement Award

GRAMMY Hall Of Fame®

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.

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.

Music Educator Award™ 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.

Launched by The Recording Academy and the GRAMMY Foundation in 2013, the Music Educator Award recognizes current educators who have made a significant and lasting contribution to the field of music education and who demonstrate a commitment to the broader cause of maintaining music education in their schools. The recipient is approved by The Academy's Board of Trustees.

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.

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Congratulations to the Bee Gees on their amazing career, and thanks for all the wonderful songs they have given us. Wishing all the honourees and everyone attending a great evening.

Michael Eaton and Jaqui Lang and all at Musiclore

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Bee Gees By Russ Titelman

When I think about the Bee Gees just as songwriters, it makes me think of Irving Berlin. Like him, Barry, Robin and Maurice Gibb cranked out beautifully crafted, unusual, complicated, melodic popular songs one after another, hit after hit. They wrote story songs such as “I've Gotta Get A Message The Bee Gees’ (left to right) Barry, Robin and Maurice Gibb To You” and “New York Mining One incident comes to mind. We were working on “Alone,” Disaster 1941”; dark, brooding ballads such as “Holiday,” which became the first single off the album, and I thought “How Can You Mend A Broken Heart” and “How Deep Is Your we needed something different at the end so I suggested a Love”; and such pop masterpieces as “To Love Somebody” and vocal counterpoint section like the end of the Beach Boys’ “Run To Me.” Then, after a decade of writing and performing “God Only Knows.” They liked the idea so the three of them these miraculous three-minute movies, they came up with “Jive went upstairs to work on it and in five or 10 minutes came Talkin’” and “Stayin’ Alive,” which ushered in the disco era and back with a fully formed ending. They immediately went changed music forever. They also wrote hits for other artists, into the studio and laid down the parts. The whole thing including “Islands In The Stream” for Kenny Rogers and Dolly took about a half hour. I was completely blown away. Parton and “Guilty” and “Woman In Love” for Barbra Streisand. While they were singing I looked over at John Merchant, I always thought that what constituted a great record was their engineer, and with a big smile on my face said, this: You had never heard anything like it before or after. So “It’s the Bee Gees!” it was not only the songs but the unique sound they created. Barry, Robin and Maurice, your work has been an inspiration With their tight harmonies, Robin’s sweet, soulful lead vocals, to us all. Thank you. Barry’s signature falsetto, and rockin’ instrumental tracks, you knew it was the Bee Gees from the first notes you heard. In 1997 I was welcomed into the Bee Gees family when Barry called and asked me to produce three tracks on their upcoming Still Waters album. I had the time of my life and we made great music. They were professional, creative, generous, and so very funny! 78

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LIFETIME ACHIEVEMENT AWARD

A three-time GRAMMY-winning producer, Russ Titelman has worked with artists such as Eric Clapton, George Harrison, Chaka Khan, Cyndi Lauper, Randy Newman, James Taylor, and Steve Winwood, among others. He served as the co-producer for the Bee Gees’ 1997 album Still Waters, which featured the hit “Alone.”

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Warner/Chappell Congratulates

On Your Lifetime Achievement Award

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Pierre Boulez By Esa-Pekka Salonen

I met Pierre Boulez in the early '80s when I conducted my first concert with his Ensemble intercontemporain. This specialist, elite new music ensemble was part of his grand vision for the future along with IRCAM (Institut de Recherche et Coordination Acoustique/Musique), the research center where the latest computer technology would be harnessed for the creation of previously unheard sounds. I was unbelievably nervous about facing this man whom I had been admiring from afar since my early teens. I had heard and read stories of his fierce intellect, totally uncompromising nature and of course that legendary X-ray ear that missed nothing. The smallish, delicately built man with a shy smile who came to greet me after the concert was not the scary, icy intellectual I was expecting. The maître turned out to be unassuming and warm with a great sense of humor. He was very precise in his conversation and certainly not wasting words, but somehow one always understood that he had set his sights on something truly important and visionary, and therefore didn’t have time or interest for empty words or self-aggrandizing. It is this sense of responsibility, ethos, that sets him apart from most other artists today. He is equally interested in the infrastructure of art as in the substance itself. He feels that his duty is to lead and to create. I know that often he has been struggling for a satisfying balance between conducting, teaching, writing, cultural leadership, and what constitutes the deep core of Boulez the musician: his composing. Despite the clashes between different roles he has managed to create a magnificent body of music. He has never been one to compromise on quality. Quantity has a much lower position on the ladder of his priorities. The music of Pierre Boulez is always brilliantly conceived and perfectly executed. It can be complex without ever losing its clarity; it can be aggressive or delicate, hypnotic or kaleidoscopically flickering, ritualistic or virtuosic. But most importantly, it is often hauntingly beautiful. I remember having listened to his masterful Sur Incises for pianos, harps and percussion conducted by him at a concert in the Walt Disney Concert Hall a few years ago and being deeply 80

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LIFETIME ACHIEVEMENT AWARD

moved by the mysterious glow of its harmonies, and the crystalline, egoless quality of its expression. Maître Boulez has found the spring from which he serves the purest and clearest water imaginable. One of my most recent memories of Pierre was backstage in the Royal Festival Hall after he had conducted Pli Selon Pli. There were several people before me greeting him, most of them talking about the historic nature of the event. I thought that must be the last thing he wants to hear, and decided to say something practical and professional about the performance. Pierre seemed quite happy to talk about balances and articulation until I said that the last movement, Tombeau, really seemed to fly by and complimented him for achieving that in this performance. He looked at me with a mischievous expression and said: “Well, I made a cut of more than 150 bars in it. That must have helped in creating that impression.” Then we both laughed aloud, me slightly embarrassed, he very amused.

GRAMMY winner Esa-Pekka Salonen is the principal conductor and artistic advisor for the Philharmonia Orchestra in London, the artistic director of the Baltic Sea Festival in Stockholm and the conductor laureate for the Los Angeles Philharmonic, where he was music director from 1992–2009. His many milestones with the Los Angeles Philharmonic include a Stravinsky Festival collaboration with Pierre Boulez in Paris in 1996. Salonen was recently named the Marie-Josée Kravis composer-inresidence of the New York Philharmonic.

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We proudly congratulate

THE BEE GEES The Recording Academy Lifetime Achievement Award Recipients 速

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Buddy Guy By Jeff Beck

Buddy Guy, actually born George Guy on July 30, 1936, is a true product of the Bayou. Music is in his blood. Now, at the age of 78, his playing still blows me away as much as it did the first time I heard him. He transcended blues and started becoming theater. It was high art, kind of like drama-theater, when he played. He was playing his guitar behind his head long before Hendrix. I once saw him throw the guitar up in the air and catch it, didn’t miss a beat. Buddy’s impact on the blues and rock and roll cannot be denied. As a musician, his influence has been evident in the careers of not only myself, but Hendrix and Stevie Ray Vaughan, among many, many others. I remember seeing him play in the early ’60s and saying to myself, "I didn't know a Strat could sound like that,” until I heard Buddy's tracks on the Blues From Big Bill's Copacabana album — it was the total manic abandon in Buddy's solos. They broke all boundaries. I just thought, “This is more like it!” His solos weren't restricted to a threeminute pop format; they were long and really developed. I truly cannot think of another instrumental artist who has done so much after coming from such humble beginnings. 82

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LIFETIME ACHIEVEMENT AWARD

Buddy’s early experiences in the Chicago blues circles to his time at Chess Records sitting in with Muddy Waters all led him to the pinnacle of the blues ‘n’ rock genre. For over a half century now, Buddy has blended the genres of blues and rock and roll like no other performer, before or since. His live concerts are legendary and the music world would be a very boring place without his influence. I know that my guitar wouldn’t sound half as good if I hadn’t heard his first.

An eight-time GRAMMY winner, Jeff Beck’s most recent release is Live In Tokyo, a DVD of new and legacy material filmed during his 2014 Japanese tour. In 2012 Beck performed in tribute to Buddy Guy at the 35th Annual Kennedy Center Honors.

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BuddyWe couldn’t be more proud to be a part of your legendary career. Congratulations on the reCording aCademy® lifetime aChievement award your rCa reCords family

C 2015 RCA RECORDS, A DIVISION OF SONY MUSIC ENTERTAINMENT.

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LIFETIME ACHIEVEMENT AWARD

George Harrison By Tom Petty

All Things Must Pass — a landmark LP that is still stunning by the quality of the songs and its complete originality. Like it or not, he was now the frontman of the band and more and more great music would flow from him the rest of his life. It would take volumes to even list his musical achievements and I’m not going to try. His love of Indian music also produced volumes of lovely music, as well as creating a lasting influence on popular music. George truly was the peace and love guy. It wasn’t a fad for him. He walked the walk. He dropped some beautiful wisdom on us without preaching, and always keeping a sense of humor, he was forever mindful that we are all so, so human. 84

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He never wanted to be the star of anything. But, that’s the place fate left him. He thought he was best as a team player. But we all know there was just too much great music in him to be contained by modesty. When the Beatles ended all he had held inside came flowing out, manifesting itself in the 1970 album It’s my guess that he’s the only artist on tonight’s program who actually changed the world. Hare Krishna.

A three-time GRAMMY winner, Tom Petty and George Harrison won the 1989 GRAMMY for Best Rock Performance By A Duo Or Group With Vocal for Traveling Wilburys Volume One by the Traveling Wilburys — a supergroup that also featured Bob Dylan, Jeff Lynne and Roy Orbison. Petty earned a 57th GRAMMY Awards nomination — his 18th — for Best Rock Album for Hypnotic Eye with the Heartbreakers.

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CONGRATULATIONS ON YOUR RECORDING ACADEMY 速 LIFETIME ACHIEVEMENT AWARD FROM THE WARNER MUSIC GROUP FAMILY

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Flaco Jiménez Pharrell Williams By Raul Malo

His influence is undeniable. Even if you don’t know the name, you know the sound. Whether accompanying seasoned veterans, young upstarts, or on his own iconic recordings, Flaco Jiménez has the talent and musical wisdom to turn great songs into masterpieces. Whether it’s a country song or a traditional “ranchera,” his accordion is always the perfect accompaniment. His music has combined worlds I never thought could be combined. Perhaps they would have never collided had it not been for Flaco orchestrating and manipulating this beautiful cosmic orchestra. He would never admit to such things of course, for he is a humble man. He lives to serve the music. Through the years his music has made us dance, cry, love, drink, party, mourn, and fight. He’s created a song and a sound for just about every piece of the human condition. As part of any of the acclaimed bands he has played with (Texas Tornados, Los Super Seven) or as a solo artist, Flaco’s music has stood the test of time. His collaborations with Doug Sahm, Ry Cooder, Linda Ronstadt, and Dwight Yoakam (just to name a few) are some of the most important and undeniably influential recordings of all time. His path has been his and his alone. 86

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LIFETIME ACHIEVEMENT AWARD

As a young Latin musician I was always looking for that place where cultures would and could blend naturally. I was looking for a link between two separate and distinct musical worlds. Whether out of necessity or just because, it does not matter. Flaco is that place. He is that connection. He is that link. He is the one who blurred the lines. And all the while staying true to the one thing that matters most of all: his music. Thank you Flaco for being an inspiration and a mentor to many.

A GRAMMY winner as a member of the Mavericks, Raul Malo appeared on Flaco Jiménez’s 1994 self-titled album as a guest vocalist on “Seguro Que Hell Yes.” Malo’s most recent GRAMMY nomination came in 2001 for Best Tropical Latin Album for Canto with Los Super Seven.

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The Louvin Brothers By Jerry Douglas

The sound of the Louvin Brothers’ harmony is so captivating that it has reached and influenced a cache of performers — from the Everly Brothers, the Beatles and the Byrds to Dolly Parton, Gram Parsons, the Rolling Stones, and Emmylou Harris. I first heard the Louvins at age 6 and, even then, I knew they were good. That physical and psychological expression going into the mix when siblings sing together is something that cannot be surpassed. Listening to others attempt to emulate the Louvins’ style, it is the brother and/or sister acts who come closest to capturing that magic. Just consider: the Jackson 5, the Staple Singers and the Everly Brothers. Ira and Charlie Louvin (originally Loudermilk) were born and raised in Depression-era Alabama near the southernmost slope of the Appalachian Mountains. The boys grew up poor, chopping cotton and working their family’s plot of dusty land. Discovering a love of singing together in church, it was soon evident the brothers had something special in their vocal harmonies, and they began making appearances on local radio programs. Following Charlie’s active military service in World War II and the Korean War, the gospel-singing brothers, yearning to be famous, shifted from the sacred sector to the world of country music. The duo shared stages and record bins with Chet Atkins, Bill Monroe and Patsy Cline. While they could astound audiences with harmonic chemistry, the Louvin Brothers were also known for their rowdy ways, with alcohol and personal demons fueling Ira’s deep rage. 88

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Still, the pair created some of country music’s best religious anthems: “I Steal Away And Pray,” “There’s A Higher Power” and “The Christian Life.” The brothers joined the Grand Ole Opry in 1955, opened for Elvis Presley in 1956, and made records with producer Ken Nelson throughout the golden age of country music. That recording partnership yielded “When I Stop Dreaming,” “I Don’t Believe You’ve Met My Baby,” “Cash On The Barrelhead,” “You’re Learning,” and “Knoxville Girl,” songs that continue to inform country and alt-country rock repertoires. By 1963, Charlie found himself no longer able to abide Ira’s frequent fury, and the duo ceased to be. The Louvin Brothers were inducted into the Country Music Hall of Fame in 2001. No one ever deserved it more, in my estimation. If only there was an Album Cover Hall of Fame that would recognize their incomparable cover art on the LP Satan Is Real.

A 13-time GRAMMY winner, Dobro master Jerry Douglas has two 57th GRAMMY nominations, including Best Folk Album for Three Bells with Mike Auldridge and Rob Ickes. Douglas was a featured artist on the 1997 tribute album, Songs Of The Louvin Brothers. In 2010 he performed at an all-star benefit concert for Charlie Louvin, who succumbed to pancreatic cancer in 2011.

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Wayne Shorter By Esperanza Spalding

Wayne Shorter is widely considered to be the greatest living jazz composer, and one of the greatest jazz saxophonists of all time. But the mind and art of Wayne Shorter orbit far and wide beyond the gravitational center of any one category or title. From painting, to composition, to philosophy, to writing and storytelling, to the singular approach of improvisation developed within his current quartet, Wayne is always reaching beyond the known parameters of expression. Throughout the course of nearly six decades in music, Wayne has masterfully realized his philosophy of taking the best of the past, and using it as a “flashlight into the unknown.” From collaborations with Horace Silver, Art Blakey and Miles Davis, to co-founding Weather Report, he has provided infectious originality to some of the most loved jazz institutions of the 20th century. Wayne has been featured on more than 130 albums, received the honor of NEA Jazz Master, won 10 GRAMMYs, and released more than 25 albums as a leader. From JuJu, The All Seeing Eye, Atlantis, Phantom Navigator, 1+1 in duo with the great Herbie Hancock, and most recently, Without A Net, each Wayne Shorter album is a marvel. They are milestones on his journey through the unchartered territories of sound expression. His operatic work has been performed by the likes of the great Renée Fleming. The greatest orchestras in the world commission and perform his symphonic compositions. With these recent orchestral works, Wayne continues to break new ground into a realm where improvisation and orchestral writing meld. In everything Wayne does, his voice rings out with boundless creative fervor. When you listen to one of Wayne’s compositions, hear him speak or play, or simply read one of his song titles, you get a distinct sense of seeing the ideas in your mind’s eye. The poet Paul Éluard called this donner à voir: the capacity to not just offer insight, but provoke it. Wayne has the unique and rare ability to invoke in his listeners a fresh engagement with their own creative genius. This joyous shockwave first reached me through the title track of Miles Davis’ Nefertiti. Jazz was a relatively new presence in my life, and I couldn’t yet appreciate the mastery of Wayne’s playing, but the total effect of the song moved me deeply. A few years later, and with a somewhat expanded ear, I heard 90

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Wayne’s playing and compositions on his album called Native Dancer. This time, Wayne’s playing jumped out at me like a character in a play: recapitulating the story and characters, emphasizing and interacting with the dramatic arcs within each song. I would rewind each phrase and “Mmm!” and “Yeah!” out loud in wholehearted agreement with whatever he was saying on that saxophone. It’s as if there is a consciousness in Wayne’s music that looks into you as you listen. In addition to all of his musical accomplishments, anyone who has worked with Wayne or knows him personally will tell you they revere him not only as a great musician, but as a profoundly wise and caring man. Over the years Wayne’s music and character have become a centerpiece in my life. He remains a constant source of inspiration and guidance — a glowing reminder that to be an artist, and more importantly to be fully human, means being limitless. As future generations develop and clarify their own fresh vision of the arts, Wayne’s vast body of work will serve as a brilliant signal flare. Shining, you might say, like a flashlight into the next unknown. Wayne once posed this question to an audience: “How do you give a gift to life, which is the greatest gift of all?” Through his life, he’s shown us at least one version of the answer.

A three-time GRAMMY winner, Esperanza Spalding won Best New Artist for 2010. Her most recent studio album is 2012’s Best Jazz Vocal Albumwinning Radio Music Society, which includes a cover of Wayne Shorter’s “Endangered Species.”

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TRUSTEES AWARD

Richard Perry

Just 400 words? Which ones? Richard Perry is worth hundreds of thousands. I first met him in New York at my apartment on 35th Street. “You’re really a rock and roll singer, you know. I want to show everybody.” I was not convinced but I loved his enthusiasm. “My voice just doesn’t do that. When I try, I last only two songs at most.” “Let’s just ignore that now, shall we?” he said. “Show me anything new you’ve been working on.” Reluctantly, I played him “Bless You Ben,” a song about a man who had rescued me while I was hiding up in some loft. The song made little sense lyrically. When I went into the chorus, playing on my aunt’s upright “tonk” piano, I went into a low register in my voice in the key of C. “You’re so vain, you probably think this song is about you.” I finished the chorus and then stopped: “That’s really all I have for now, and the verse and the chorus have nothing to do with each other,” I explained. “It’s a hit,” said the tall, dashing, luscious and fascinating, tense and daring madman who made statements like “it’s a hit” just to encourage me into believing that I was a rock and roll singer. Was this a joke? I didn’t know him yet. Weeks passed and I wrote an entirely different verse, but kept the chorus. We went to London and set up at Trident Studios. Richard kept me at work on this song for weeks. There were, of course, songs in between, but he kept going back to “Ballad Of A Vain Man.” Richard toyed with the tempo, the percussion, my vocal performance, background parts, and the drum fills. We made a bet. I relented and vouched: “OK, if this is a ‘hit,’ I’ll fly you (and I hate, and hated then, to fly) first class with me to Hawaii!” I don’t know how many artists Richard Perry has sat with during writing or recording sessions and made those positive predictions, but it’s probably an inordinate number. Richard has brought it out of so many singers. First in 1968 with Tiny Tim’s debut album God Bless Tiny Tim and Fats Domino’s Fats Is Back. About the latter, Rolling Stone’s Jann Wenner said something that I think is true of Richard Perry all through his years of making records: “The past and present have been precisely, masterfully and tastefully combined. ...” 92

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By Carly Simon

He brought a new light to Barbra Streisand on Stoney End as well as Barbra Joan Streisand. In 1976 Leo Sayer’s “When I Need You” and “You Make Me Feel Like Dancing” played endlessly on the radio without ever getting cloying. And Artie Garfunkel, whose 1975 hit “I Only Have Eyes For You” from his brilliantly novel Breakaway, arrived at No. 1 on the Adult Contemporary chart. (I wonder if Artie promised Richard a trip to Hawaii?) And Harry Nilsson’s breathtaking “Without You,” “Coconut” and “Jump Into The Fire” were all hits. (Surely they went vacationing.) We also heard a whole new side of Rod Stewart on his American songbook albums. And that is only the beginning. I recommend adding to your collection, if they are not already there, all the albums Richard made for his own label, Planet Records. Primarily the ones that come to mind first are Break Out or any of the Pointer Sisters' other amazingly hot albums that were riddled with hits. (I think I like “Slow Hand” best, but maybe it’s “Fire” or “I’m So Excited.”) All that and a Beatle too. Richard’s work on 1973’s Ringo led to the No. 1 singles “Photograph” and “You’re Sixteen.” I never fulfilled my promise to take you to Hawaii, but thank you Richard for so many of my own albums, singles, specials, and movie songs (including my James Bond theme), long conversations into the night sharing stories, laughter, advice, and the enormous appreciation we have for each other. You know you are adored.

Carly Simon is a two-time GRAMMY winner, including Best New Artist for 1971. Many of her biggest hits, including “You’re So Vain,” were produced by Richard Perry.

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TRUSTEES AWARD

Barry Mann & Cynthia Weil

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By Lionel Richie

Oh my God — I am a fan. No, no, let me rephrase that: I am a huge fan. The Brill Building: birthplace of the sound and songs that shaped a generation of music and influenced countless more. This wonderful place where composer Barry Mann and lyricist Cynthia Weil first met and tried their hand at crafting songs together — a decision, I might add, sparked by destiny — is where they fell in love, married and wrote more than 50 hit songs together over the next four decades. Now, one hit song — from my point of view — one hit song is great! But 50 hit songs? Now that is amazing! My favorite song of theirs, “You’ve Lost That Lovin’ Feelin’” (written with Phil Spector and performed by the Righteous Brothers), was the most played song of the 20th century, with more than 8 million plays. I can remember the first time I met Barry and Cynthia. I showed up at their house knowing I had a good melody and a 94

good idea for a title, but I needed help. My title was “Strangers In The Night.” Cynthia said to me, “Would you be upset if I change the title to ‘Running With The Night’?” And after a few blows to my ego, I said, “Sure.” The rest … is history. Barry and Cynthia are the masters of their craft and to be recognized with this prestigious honor, well, no one can be more deserving of this award than the two of them. I have admired them for years and I am happy to call them my friends.

GRAMMY-, Oscar- and Golden Globe Award-winning singer/songwriter Lionel Richie co-wrote his 1983 Top 10 hit “Running With The Night” with Cynthia Weil. Richie has won four GRAMMY Awards, including Song Of The Year for 1985’s “We Are The World,” which he co-wrote with Michael Jackson.

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TRUSTEES AWARD

George Wein

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By Mavis Staples

I’ve known George Wein a long time, and I have to say that he’s one of my favorite people in the world. He George Wein and Count Basie at the Newport Jazz Festival in 1957 brought my family, the Staple Singers, to the Newport Folk Festival back in 1965, and from our first meeting he was just a jewel. That was Overcome,” because that’s the way Pete Seeger had always the very first folk festival that we had ever seen, and I was so closed it. All the artists got together onstage, locked arms, and we green I didn’t know why we were there — as far as I knew, we sang together just like back in the day. And George was sitting sang gospel music, not folk music. But George knew we belonged, right there looking at us with the biggest smile on his face. and I’m so grateful he heard our music and made us a part of I always look forward to seeing my friend George Wein. I’m his family. He used to call me “the little girl with the big voice.” so grateful that I’ve had the opportunity to know him, to work George is the co-founder and promoter of the Newport for him, and to smile, laugh and sing with him. It’s an honor for Jazz and Folk Festivals, but if you didn’t know he was running me. He’s just a beautiful spirit. Every time I see him I can’t help things you’d never guess it. He’s such a good, humble man, but hug him. And I can’t wait to see him at the next festival. I and a gentleman. A real sweetheart. He truly loves the music, told him, “George, I’ll be there even if you don’t ask me to be and he has always wanted to keep his artists happy. He’s there there. After all these years, I know how to get to Newport.” in the dressing room to say hello and to make sure you’re OK, and he’s out there by the stage listening to all the music. It’s really his show, but he acts like he’s just one of the crowd. As a member of the Staple Singers, in 2005 Mavis Staples was honored I’ve celebrated three birthdays at the Newport Folk Festival, with a Recording Academy Lifetime Achievement Award. The group have and last year it was for my 75th. George sang “Happy Birthday” three recordings inducted into the GRAMMY Hall Of Fame, including to me and that was a real treat. I really got choked up. George “Respect Yourself.” Staples won her first career GRAMMY for Best also asked me to close out last year’s festival singing “We Shall Americana Album for 2010’s You Are Not Alone. 96

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Congratulations to my friends Wayne – Congratulations on receiving The Recording Academy® Lifetime Achievement Award!! Thank you for your profound friendship, your courage, and for touching our lives with the creative expression of your infinite potential with your whole being. George – Congratulations on your Trustees Award!! Thank you for tirelessly founding and designing avenues for creative expression in jazz throughout your life. Ray – Congratulations on your Technical GRAMMY®!! Thank you for continually sharing your foresight of tomorrow and developing technology based on your understanding of the important role the arts play in shaping a bright future.

With deep admiration and Love,

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Ray Kurzweil

F. Scott Fitzgerald once said that “genius is the ability to put into effect what is on your mind.” By the author’s standard, Ray Kurzweil was already a genius at age 5. Remarkably, at that tender age — when most children begin to write letters of the alphabet — Kurzweil’s mind was fixated on becoming an inventor. At age 15 he wrote his first major computer program, which composed music in the style of the great masters. By age 25, Kurzweil launched his first company, Kurzweil Computer Products, which created the first synthesized voice, a technology foreshadowing today’s virtual smartphone assistants. The son of an acclaimed musician and conductor, it’s no coincidence that Kurzweil would apply his vision to the music world. Through his invention of the first print-to-speech reading device for the blind in 1976, the MIT graduate befriended GRAMMY winner Stevie Wonder, with whom he would come to enjoy dissecting the topics of technology and music. In 1982, in the midst of taking him on a tour of his personal studio, Wonder asked Kurzweil if it would be feasible to create an instrument that fused the flexible control of a computer with the rich sounds of acoustic-based instruments. With Wonder serving as a special advisor to his company, Kurzweil Music Systems, Kurzweil met the challenge head on with the introduction of the K250 in 1983. Incorporating signal processing and pattern recognition, a machine-based discipline that teaches computers to recognize patterns — for example, teaching a computer to recognize the sounds and nuances of a grand piano — the landmark synthesizer revolutionized the music world with its shockingly realistic recreations of the sounds of not only grand pianos, but brass, percussion, string, and woodwind instruments. Over the subsequent decades, the company has issued a series of digital instruments that have continued to push the envelope of music technology and unlock creative possibilities, including the K2000, PC88, K2600, PC3, and the Forte. Today, Kurzweil’s musical creations can be heard at events such as the GRAMMY Awards and the Super Bowl, on Spotify and YouTube, and onstage with some of the biggest artists in music, including Billy Joel, Roger Waters and Paul McCartney, among others. 98

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In recognition of his groundbreaking discoveries — which also include the creation of the CCD flatbed scanner and the first omni-font optical character recognition software, among others — Kurzweil’s accolades include 20 honorary doctorates, a lifetime achievement award from NAMM, selection by PBS as one of 16 revolutionaries “who made America,” and the National Medal of Technology, the United States’ highest honor for technological achievement. He was also the subject of the 2009 documentary Transcendent Man. Today, Kurzweil serves as a director of engineering for Google, while acting as a strategic consultant for KMS. Lauded as the “rightful heir to Thomas Edison” by Inc. magazine, the transcendent genius will no doubt continue to imagine and create into the future. “[Ray] has used the gift that he was given … for the betterment of humankind,” said Wonder. “He has allowed his heart to connect with his mind and use what he has been given to move humankind to a greater and better place.”

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Jared Cassedy By Tim Raymond

Jared Cassedy goes above and beyond to make a difference, not only in the performance of his ensemble, but in the lives of each individual student. No matter what it takes, he is willing to give everything he has to help his students achieve their wildest dreams. I personally was interested in applying to the Honors Performance Series at Carnegie Hall during my junior year at Windham High School. Performing at Carnegie Hall is quite a challenge for any performer, let alone a student. I was hesitant to apply, but Mr. Cassedy persuaded me to reach for this prestigious venue. The process for applying was grueling, especially for a percussionist like myself, as we had to submit various recordings of our playing on multiple instruments. I wanted to focus on my main interest, snare drum, but Mr. Cassedy got me out of my comfort zone and encouraged me to show my versatility. He and I stayed after school for hours practicing music on so many instruments I was uncomfortable with. Regardless of how nervous or intimidated I was, Mr. Cassedy kept me going. He did not take no for an answer. The practice sessions continued for countless days, even weeks, until I recorded my audition and submitted it to Carnegie Hall. Thousands apply from all over the country and very few percussionists are accepted into the program. Months later I learned that not only did I get accepted into the program at Carnegie Hall, but I was accepted into the honors orchestra. I had never even played some of the instruments I submitted on my audition recording before Mr. Cassedy urged me to, and 100

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MUSIC EDUCATOR AWARD

his guidance and unmatched motivation and determination helped me reach my goal of playing at Carnegie Hall. This was not unusual for Mr. Cassedy. He has an unstoppable passion to help each one of his students to not only become a far better musician, but also to be the best person they can be. He will do anything for his students: yes, including driving from New Hampshire to New York City through a blizzard just to see a 30-minute performance by one of his students at Carnegie Hall. That is the type of man Jared Cassedy is. That is why he is the most incredible educator and music instructor I have ever met, and one of the most wonderful people I know.

Tim Raymond is currently a freshman at the University of Maryland. He studied music under Jared Cassedy at both Windham Middle School and Windham High School.

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BY PAUL GREIN

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ABBA

“I Fought The Law” has been one of pop music’s greatest rebel songs since Bobby Fuller Four’s rootsy rendition was released in late 1965. The song, which has since been covered by such notable artists as the Clash, perfectly conveys rock’s outlaw attitude. Fuller’s garage-rock classic was inducted into the GRAMMY Hall Of Fame this year, along with recordings by several rebels and iconoclasts who exhibited that same outlaw spirit in their work. Here are six prime examples of artists who “fought the law” … and won. Sex Pistols’ one and only studio album, 1977’s Never Mind The Bollocks, Here's The Sex Pistols, was the antithesis of the highly polished rock purveyed by such leading acts of the era as Fleetwood Mac, Eagles and Boston. The album, which included “Anarchy In The U.K.” and “God Save The Queen,” gave birth to punk rock and set the stage for the likes of Nirvana and Green Day. Lou Reed’s ultra-cool “Walk On The Wild Side” combines risqué subject matter (especially for its time, 1972) with a catchy hook that all but compels you to sing along: “doo-do-doo-do-doo-do-do-doo.” Reed, who wrote the song, died in October 2013 at age 71. Sly & The Family Stone’s 1969 album Stand! fused elements of pop, rock and soul in a groundbreaking way. The album spawned hits such as “Everyday People” and “I Want To Take You Higher.” This is the group’s third Hall Of Fame entry, following 1968’s “Dance To The Music” and 1971’s There's A Riot Goin’ On. Ornette Coleman’s 1959 album The Shape Of Jazz To Come was a watershed release in the history of avant-garde jazz. The album dispensed with formal notions of harmony and chord structures and allowed for greater freedom in playing. In that, the album lived up to its brash title. Sonny Rollins’ 1962 album The Bridge was his first release following an extended hiatus. Though Rollins was at the top of his game, he decided he needed a time-out to burnish his skills. So he spent two years playing tenor sax on the Williamsburg Bridge in New York. As a result, The Bridge is a monument not only to timeless jazz, but also to an artist’s freedom to chart his own course. It’s Rollins’ second album to make the Hall, following 1956’s Saxophone Colossus. Willie Nelson’s album of standards, Stardust, was released in 1978, when he was at the peak of his career. Nelson’s record company was concerned that the album would confuse his audience and slow his momentum. Nelson figured the quality of the material would carry the day. He was right, of course.

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The album became one of his biggest hits. One of its key tracks, “Georgia On My Mind,” brought him a GRAMMY for Best Country Vocal Performance, Male. This is Nelson’s fifth Hall Of Fame entry. Never Mind The Bollocks, Here’s The Sex Pistols isn’t the only debut album to be honored this year. Leonard Cohen’s Songs Of Leonard Cohen (1967) and John Prine’s John Prine (1971) were also inducted. Cohen’s album includes his classic “Suzanne” and three songs that were featured in Robert Altman’s 1971 film McCabe & Mrs. Miller. Prine’s album includes such prized songs as “Angel From Montgomery” and “Hello In There.” It helped Prine land a 1972 GRAMMY nomination for Best New Artist. Two versions of the gospel classic “Swing Low, Sweet Chariot” were inducted — a 1909 version by Fisk Jubilee Singers (the oldest recording to be saluted this year) and a more polished 1926 version by Paul Robeson. Fisk Jubilee Singers are an African-American a cappella ensemble consisting of students from Fisk University in Nashville, Tenn. Their rendition is the first known recording of this beloved spiritual. This is Robeson’s third entry in the Hall, following “Ballad For Americans” and “Ol’ Man River” from “Show Boat.” Bonnie Raitt’s 1989 album Nick Of Time is the most recent release to make the Hall Of Fame. The album, which

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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. The Hall is now open to any recording that has been in release for at least 25 years. New submissions are voted on annually by a special member committee of experts and historians drawn from all branches of the recording arts. Their choices are subject to final approval by the Trustees of The Recording Academy. The GRAMMY Hall Of Fame is unique in that it is open to all genres of music — popular as well as specialized forms.

BLOOD ON THE TRACKS Bob Dylan Columbia (1975) Album

THE BRIDGE Sonny Rollins Bluebird/RCA Victor (1962) Album

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won a GRAMMY for Album Of The Year, took Raitt from well-liked artist to bonafide star. Two other singer/songwriter classics were saluted this year: Neil Young’s 1972 album Harvest and Bob Dylan’s 1975 classic Blood On The Tracks. This is Young’s second solo recording to enter the Hall (following 1970’s After The Gold Rush, which was inducted last year). Blood On The Tracks is Dylan’s eighth Hall selection (but his first that was released after 1966). Four R&B classics were inducted: the Dominoes’ 1951 classic “Sixty Minute Man,” Fontella Bass’ 1965 hit “Rescue Me,” Aaron Neville’s 1966 hit

CALYPSO Harry Belafonte RCA Victor (1956) Album

DANCING QUEEN ABBA Atlantic (1976) Single

HARVEST Neil Young Reprise (1972) Album

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“Tell It Like It Is,” and Otis Redding’s 1966 cover of “Try A Little Tenderness.” The lusty “Sixty Minute Man,” one of the most sexually provocative songs of its time, was a building block for doowop, R&B and rock and roll. “Rescue Me” has the catchy beat of a Motown hit, though the song was released on Chess Records’ Checker affiliate. “Tell It Like It Is” is an elegant soul ballad. Its influence can be heard in such contemporary works as Sam Smith’s “Stay With Me.” The Ray Noble Orchestra popularized “Try A Little Tenderness” in 1933. Redding’s deeply soulful rendition utterly transformed the song. “Otis” by Jay Z and Kanye West samples Redding’s recording. It won a 2011 GRAMMY for Best Rap Performance. This is Redding’s third recording to make the Hall Of Fame, following “I’ve Been Loving You Too Long” and “(Sittin’ On) The Dock Of The Bay.” Two groups who were instrumental in dance/electronic music were acknowledged this year. Kraftwerk were cited for their 1974 album Autobahn. The album’s sidelong title track provided the template for synth pop, industrial and EDM. Chic were recognized for their 1978 smash “Le Freak,” which blended elements of disco, pop and R&B. The song, written by group leaders Bernard Edwards and

Nile Rodgers, includes a nod to Studio 54, the New York hotspot that was then at the center of the dance world. Two recordings honored this year have found new life in long-running jukebox musicals. ABBA’s 1976 smash “Dancing Queen” is featured in “Mamma Mia!” which opened in London’s West End in 1999. The 4 Seasons’ 1962 hit “Big Girls Don’t Cry” is featured in “Jersey Boys,” which opened on Broadway in 2005. Alice Cooper’s 1972 hit “School’s Out” is a perennial that gains new fans each June, when school lets out for the summer. Cooper, who co-wrote the song, once said he was seeking to capture “the last three minutes of the last day of school when you’re sitting there and it’s like a slow fuse burning.” He added, “If we can catch that three minutes in a song, it’s going to be so big.” He did and it was. An instrumental version of Bob Wills And His Texas Playboys’ “San Antonio Rose” (1939) was inducted into the Hall, 17 years after the 1940 vocal version, titled “New San Antonio Rose,” was honored. The song, which Wills composed, is perhaps the quintessential Western swing tune. Wills and his band are also represented in the Hall by “Steel Guitar Rag,” which features Leon McAuliffe. Harry Belafonte’s 1956 album Calypso

HONKY TONKIN’ Hank Williams And His Drifting Cowboys Sterling (1947) Single

I FOUGHT THE LAW Bobby Fuller Four Mustang (1965) Single

JITTERBUG WALTZ “Fats” Waller, His Rhythm And His Orchestra Bluebird/RCA Victor (1942) Single

JOHN PRINE John Prine Atlantic (1971) Album

LE FREAK Chic Atlantic (1978) Single

NEVER MIND THE BOLLOCKS, HERE'S THE SEX PISTOLS Sex Pistols Warner Bros. (1977) Album

NICK OF TIME Bonnie Raitt Capitol (1989) Album

RESCUE ME Fontella Bass Checker (1965) Single

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Bob Wills And His Texas Playboys Vocalion (1939) Single

SCHOOL’S OUT Alice Cooper Warner Bros. (1972) Single

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THE SHAPE OF JAZZ TO COME Ornette Coleman Atlantic (1959) Album

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The Dominoes Federal (1951) Single

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SONGS OF LEONARD COHEN Leonard Cohen Columbia (1967) Album

STAND! Sly & The Family Stone Epic (1969) Album

STARDUST Willie Nelson Columbia (1978) Album

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was saluted, six years after the album’s smash single, “Banana Boat (Day-O),” was inducted. The legendary entertainer has a third recording in the Hall: 1959’s Belafonte At Carnegie Hall. Two artists with previous Hall Of Fame entries, Hank Williams and Thomas “Fats” Waller, scored again. Williams was honored for the sixth time for his 1947 song “Honky Tonkin’,” which he recorded with His Drifting Cowboys. The song, which he composed, helped pave the way for the honky-tonk era in country music. Waller’s 1942 recording 106

of “Jitterbug Waltz,” which he composed, marks his third Hall entry. Waller’s instrumental was among the first jazz recordings to feature a Hammond electric organ. One sobering note on this year’s selections: Four of these artists (Fuller, Redding, Waller, and Sid Vicious of Sex Pistols) died within 18 months of releasing these Hall Of Fame classics. Fortunately, for them and for us, the recordings live on.

Paul Robeson Victor (1926) Single

TELL IT LIKE IT IS Aaron Neville Par Lo (1966) Single

TRY A LITTLE TENDERNESS Otis Redding Volt (1966) Single

WALK ON THE WILD SIDE Lou Reed RCA Victor (1972) Single

Paul Grein, a veteran music journalist and historian, is a regular contributor to Yahoo.com.

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BETTER STARTS NOW

Kelly Clarkson

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U.S. festivals, and artists, are reaping important revenues while fans get the ultimate music experience BY BRUCE BRITT 57th Annual GRAMMY Awards

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he seeds were sown in California in the summer of 1967. In June of that year the Fantasy Fair and Magic Mountain Music Festival in Marin County, Calif., debuted, followed a week later by the Monterey International Pop Festival. Both festivals featured lineups that introduced hip and influential audiences to future legends the Jimi Hendrix Experience, the Doors, the Mamas & The Papas, Otis Redding, the Who, and Janis Joplin, among others. The festivals marked a cultural coming of age for baby boomers, heralding the arrival of postBeatles concert rock and drafting the blueprint for the modern music festival. Today, these pioneering festivals cast a long shadow over the concert industry. That’s because nowadays, festivals loom as the annual rite of summer for many music lovers. And just as Fantasy Fair, Monterey and 1969’s Woodstock festival codified baby boomer music and values, modern-day-branded festivals including the Coachella Valley Music and Arts Festival, Bonnaroo, Lollapalooza, and the Austin City Limits Music Festival are fan-friendly extravaganzas that evince the millennial generation’s faith in music, art, technology, environmentalism, and Aquarianage multiculturalism.

founder of Insomniac, which produces several electronic music festivals, including the Electric Daisy Carnival. “The marketing, the venue, the lineup, the production — everything matters. Then you’ve got to have that fairy dust, that natural energy that you just can’t buy.” While artists and promoters reap big rewards, cash-starved cities are also getting in on the festival action. The 2012 Electric Daisy Carnival pumped $207 million into the local Las Vegas-area economy, only to inject another $278 million the following year. Austin City Limits added more than $182 million to the Austin, Texas, economy in 2013, while Chicago’s Lollapalooza generated more than $139 million in economic activity the same year. These figures are not small change, so it’s not surprising that some municipalities are wooing promoters with tremendous incentives. In 2013 Indio, Calif., and Goldenvoice reached an agreement to keep the Coachella and Stagecoach festivals in the city through 2030. As part of the deal, Goldenvoice agreed to raise per-ticket revenues it shares with Indio from $2.33 per ticket in 2013 to $5.01 per ticket beginning in 2014. “If you’re a city that gets a lot of tourism each year, a festival helps fill up hotel rooms, restaurants and everything else,” says

“The marketing, the venue, the lineup, the production — everything matters. Then you’ve got to have that fairy dust, that natural energy that you just

“There’s a whole strata of festivals that have become so well known, they don’t need talent lineups in order to sell tickets,” says Gary Bongiovanni, CEO of Pollstar magazine. “When you buy a ticket to Coachella, you know you’re [going to] get music, but it’s also the social environment, like a spring-break weekend. Bonnaroo is like a [camping] weekend in the country. People are buying the experience.” It's an experience where classic rock headliners such as Paul McCartney, Elton John and Bruce Springsteen fetch millions of dollars per performance while sharing stages with new lions such as Jack White, Lana Del Rey, Vampire Weekend, and Haim, among others. It’s a world where classic cult bands such as the Replacements, Violent Femmes and Neutral Milk Hotel can reunite to great fanfare, and even greater sums of cash. Last year’s festival reunion victors were GRAMMY winners OutKast. The hip-hop duo headlined more than 40 festivals in 2014, raking in a reported $60 million. Because festivalgoers are so discerning today, elite promoters such as Live Nation, AEG Live, Goldenvoice, and C3 Presents are under constant pressure to up the ante with regard to location, customer amenities, service, and musical acts. “You have to care about everything,” says Pasquale Rotella, 116

Jordan Wolowitz, a partner with Founders Entertainment, which produces New York’s Governors Ball Music Festival. “But if you look at a festival like Bonnaroo, which is in the middle of nowhere in Tennessee, it pretty much provides that economy with a weekend where they get an influx of tens of thousands of people. The data’s different for each festival, but the major festivals bring eight-figure revenues into local economies.” Since festivals are a bonanza for artists, fans and local governments alike, it’s not surprising that U.S. promoters are exporting their branded festivals to other territories such as South America, in the process creating a talent-feeding frenzy. “If you look at the summer calendar in Europe, on any given weekend there’s at least a half-dozen gigantic festivals,” says Bongiovanni. “Those acts are the same ones in demand in the U.S. So [if ] you try to book a weekend in July in America, you’re competing with the rest of the world. Everybody wants Ed Sheeran. Everybody wants Foster The People, Young The Giant, or whoever.” As festivals continue to go global (in recent years Lollapalooza has stretched beyond Chicago and into Chile, Argentina and Brazil), fans are discovering that the thrills don’t come cheap.

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can’t buy.”

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Festivalgoers attend the Coachella Valley Music and Arts Festival in Indio, Calif., in 2014

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The price for a general admission Coachella three-day pass was $375 in 2014, while the cost for a four-day general admission pass for Bonnaroo reached nearly $300. Lollapalooza regular three-day passes were $250 in 2014. Often factored into these prices are consecutive weekends filled with music, amusement park rides, side stages, largescale art installations, camplike activities, on-site shops, sports lounges, gourmet food, and performance artists, among other amenities. San Francisco’s Outside Lands Music and Arts Festival even boasts a wine-tasting area, along with a booth where environmentalists instruct fans how to transform trash into fashion and décor accessories. Then there’s perhaps the biggest expense of all: talent. A premiere festival can pack upward of 150 acts on a bill, including costly headliners such as McCartney, who reportedly fetched $4 million per festival performance in 2014. (GRAMMYwinning indie rockers Arcade Fire also reportedly made $2–3 million per performance.) “As recording sales have gone down, agents have been tasked with trying to get more money for artists,” says Wolowitz. “Touring is where artists are making the lion’s share of their income nowadays. The acts that really win out are the headliners because there are fewer headliners for major music festivals than [undercard] bands.” According to concert promoter Charles Attal, a partner at C3 Presents, U.S. festival tickets would cost considerably more if not for the price-stabilizing hand of corporate benefactors.

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Bonnaroo in Manchester, Tenn.

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“Without sponsors, our ticket prices would be $450,” says Attal, whose company produces the Lollapalooza and Austin City Limits festivals. “Maybe 15 years ago, sponsorship was an evil word because bands didn’t like being associated with [corporations]. ... Kids today don’t care. They understand that it’s content-driven advertising.” Maybe U.S. audiences aren’t as concerned with corporate sponsorship because it helps underwrite a delectable multiplicity of festivals. Austin City Limits and Lollapalooza take an all-genres-considered approach to their talent lineups — 2014 headliners included everyone from Eminem and Beck to Skrillex, Kings Of Leon and Jimmy Cliff — while Stagecoach boasts a country music hoedown in the California desert with the 2014 lineup featuring Luke Bryan, Florida Georgia Line and Wanda Jackson, among others. Las Vegas’ Electric Daisy Carnival offers a pulsating electronic/dance music pageant credited with greatly increasing awareness of the global electronic/dance music scene. Even artists are getting in on the festival game, with GRAMMY winner Jay Z hosting his second annual Made In America festival in Los Angeles and Philadelphia in 2014. Today’s experiential festivals are a far cry from the ’90s, when festivals devolved into ordeals, with fans complaining about inadequate facilities, price gouging and more. Things began to change when Jane’s Addiction frontman Perry Farrell and entrepreneur Marc Geiger brought European festival style to the United States with Lollapalooza. Around the same time, promoters such as

Rotella challenged the traditional festival paradigm, producing dance-oriented “rave” festivals that treated concertgoers like pampered guests at a space-age playground. “In North America, festivals were not really something that were a part of the culture, but there were 30–40,000 [attendee] dance music events that were going on at unique locations when no one was watching,” says Rotella. While Rotella and his peers were reinventing the festival experience, online outlets and social media emerged, allowing promoters to communicate directly with fans and stoke anticipation year-round. Promoters were also learning the golden rule of festival planning — location is everything. “Twenty-five years ago you could just throw up a stage, a few fences and call it a festival,” says Attal. “Today, you have to have location, the green space.” Now, for many music lovers, the music festival is all but shorthand for summer, and the festival industry is minting fresh, new millionaires. In 2013 Rotella made headlines when he sold half of Insomniac to Live Nation for a reported $50 million. The deal boosted Rotella’s personal worth to a reported $10 million. “I’ve been very, very poor for most of my life,” Rotella says. “It wasn’t until recently that I made some money. … Now, I feel like I’m just starting out.” Perhaps the same could be said for the new festival culture and the boom it currently represents for the industry, artists and fans.

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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GRAMMY GRAMMY-

CLINCHING

MOMENTS Official GRAMMY portrait photographer Danny Clinch handpicks 11 unforgettable backstage portraits PHOTOS & COMMENTARY BY DANNY CLINCH

ust as GRAMMY-winning producers such as Rick Rubin and Pharrell Williams aim to bottle the true essence of an artist in the recording studio, Danny Clinch seeks to capture a singular side of an artist’s personality with a backstage GRAMMY portrait. As the official backstage GRAMMY portrait photographer since 2003, Clinch is one of the first people an elated GRAMMY recipient encounters fresh off the stage. Whether photographing comedy royalty or hip-hop legends, first-time GRAMMY winners or veterans adding to their trophy case, Clinch has mastered the art of preserving one-of-akind moments in the midst of GRAMMY euphoria. And his artist portraits are not only revealing, they are as eclectic as the genres making up the GRAMMYs’ 83 categories. “When you’re backstage at the GRAMMYs sometimes you only have a minute to take a portrait and I feel I have a knack to get people to relax a little bit and to find their good side,” Clinch told GRAMMY.com in 2012. Here is a collection of some of Clinch’s favorite GRAMMY portraits over the years, curated by the man behind the lens.

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ady Gaga

52nd GRAMMY Awards, 2010 I was pretty excited when Lady Gaga came back for her GRAMMY portrait because, as usual, she had a really super interesting outfit on. I honestly couldn’t have asked for a more interesting outfit, specifically that hat. I think it’s really cool when you get to document someone who’s super creative like that. Their creativity shows not only in their music but in the way they dress and the way they carry themselves.

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B.B.

King

45th GRAMMY Awards, 2003

What I love about this photograph is B.B. Kingâ&#x20AC;&#x2122;s huge smile. He always seems to be in a great mood. I also love the reflection of his face in the bell of the GRAMMY. Shortly after this moment, or maybe it was another GRAMMY year, I canâ&#x20AC;&#x2122;t recall, Paul McCartney walked up to be photographed and I turned around and saw Paul standing there. I said hello and knew that he had admired B.B. King over the years. Then Paul told me he had never met him. I was able to basically introduce Paul to B.B. King.

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eyonce

52nd GRAMMY Awards, 2010 As you can imagine, BeyoncĂŠ has been back a few times after accepting GRAMMYs. This particular time she won six. We decided to try and pile them on her arms at the same time and see if she could hold them. She had them all pretty much perfect in her arms but one of them slipped out and started to fall. I was right on point to capture the moment when she was about to drop them all.Â

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aylor Swift

55th GRAMMY Awards, 2013 Oh, Taylor Swift. Let’s see … you try very hard to do something different with the GRAMMY and every once in a while someone will come up with something that’s a little bit unique to take you out of the zone of doing the same thing all the time. Taylor came over, but before she grabbed the GRAMMY we had a little discussion about trying to do something a little different and this was something she came up with. I thought it was really sweet and clever, that’s why I like this photo. Not to mention, she’s my daughter Nina’s favorite artist.

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obin obin Willi Williams ams

45th GRAMMY Awards, 2003

This is one of my favorites for obvious reasons. You know Robin Williams was such a great improviser. He grabbed the GRAMMY and right away started doing all sorts of things with it. He started to lean on an imaginary table or shelf. I particularly love the fact that he was dressed in a suit but he was wearing sneakers.

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ony Bennett

45th GRAMMY Awards, 2003 Tony Bennett is a classic gentleman. Heâ&#x20AC;&#x2122;s always very gracious and humble and he just has this amazing face thatâ&#x20AC;&#x2122;s great to photograph. I decided to move in really close and capture this beautiful profile of him that looks like a sculpture to me.

dele

51st GRAMMY Awards, 2009

Adele came back and she was really excited about having won two GRAMMYs that year. She picked them up and she was sharing her excitement with someone who was off to the side of the set. I always try to be ready for these moments instead of standing there and watching them have a good time enjoying themselves; I like to photograph it.

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en Harper

47th GRAMMY Awards, 2005

Ben Harper and I are friends. It was a great joy for me to see him win these two GRAMMYs and get a chance to photograph him in a moment of celebration. When he came back I knew he had a really cool Nudie suit on, but when I saw the back of it I thought this would be a great way to shoot his portrait.

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tephen Colbert

52nd GRAMMY Awards, 2010

Whatâ&#x20AC;&#x2122;s great about photographing backstage at the GRAMMYs is that you get such a variety of people that come back there. You get people like Jay Z and then you get Lady Gaga and then you get the Best World Music Album winner and you get the Best Comedy Album winner as well. It was really cool to be able to photograph Stephen Colbert. He was very spontaneous and just went right to the spot that I asked him to stand and started to improvise.Â

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ames Brown

47th GRAMMY Awards, 2005

I love this photograph because, of course, it’s James Brown. I’ve been shooting the GRAMMY portraits since 2003 and whenever someone comes to be photographed, there’s a card with their name on it, what they won or what they’re doing at the GRAMMYs. Usually my assistant will hold the sign in front of the artist. When James came back, my assistant was holding it in front of him and James grabbed it out of his hand and said, “I’ll take that.” The irony of that is of course it was James Brown and we knew that he was a performer. So the fact that the sign says “James Brown Performer” is very ironic and quite funny.

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anye West

48th GRAMMY Awards, 2006

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Sartorial Evolution At The GRAMMYs Though fashion trends evolve as fast as music trends, these stars have mastered the art of arriving in style to Music’s Biggest Night

INTRODUCTION BY KELLY OSBOURNE

’ll never forget my first trip to the GRAMMYs in 2000. I arrived on the red carpet with my father, Ozzy Osbourne, my sister Aimee and my mother Sharon. I had blond Farrah Fawcett hair, a Richard Tyler suit and nerdy glasses. We were halfway down the carpet when I saw Jennifer Lopez in her unforgettable Versace dress. Everyone turned around and gasped. It was so quiet you could have heard a pin drop. She looked so beautiful and I just remember thinking, “My God, it is incredible how a dress can completely change someone’s life, their career — everything.” What I love about the GRAMMY red carpet is it brings together artists from all over the world and gives them the opportunity to take crazy fashion risks. Think about when Gwen Stefani walked the red carpet in 2005 backed by the Harajuku Girls. Fast-forward to 2011 and Lady Gaga showed up in an egg. And artists like Taylor Swift, Katy Perry and Rihanna have continued to evolve their red-carpet style, keeping fans constantly interested in what’s next. There is nothing more important than finding your unique look, because through your fashion and the way you dress, you’re telling people the story of who you are. The Badgley Mischka gown I wore to the 56th GRAMMY Awards in 2014 was extra special because of the story behind it. Stitched into the back of the dress was my father’s purple crucifix, which I wanted to wear in honor of him and Black Sabbath, who ultimately won a GRAMMY that night. My style is forever evolving and changing. Just look at my purple hair. Only grandmas have hair this color! But after I dyed it, I looked in the mirror and, for the first time in my life, I felt like me. I said to myself, “I love this. This isn’t going anywhere. I feel great.” But it took me a really long time to find myself. It didn’t happen until I took my own life into my own hands. I can’t pretend to be anyone else but me. For artists, it’s important they find who they are and stick with it, no matter what anyone else says. That’s what truly builds longevity and confidence. As for my purple hair, I think it’s become my Vivienne Westwood. I don’t plan on changing it.

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The daughter of GRAMMY winner Ozzy Osbourne, Kelly Osbourne has served as co-host on E!’s “Fashion Police” since the show debuted in 2010. In 2014 Osbourne launched her firstever fashion line, Stories…By Kelly Osbourne, which was inspired by her belief that fashion should be fair for every woman.

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Beyoncé Beyoncé arrived at the GRAMMYs for the first time as a solo artist in 2004 and quickly proved gold was the winning color of the night as she took home five awards. Despite not having her “Bootylicious” Destiny’s Child sisters by her side on the carpet, she wore a sweetheart dress designed by her mother Tina Knowles, who crafted the group’s signature look in years past.

Beyoncé continued the sweetheart theme in 2008, opting for an asymmetrical light blue Elie Saab gown that dripped with metallic detail, before hitting the GRAMMY stage with Tina Turner, who likely inspired Bey’s shoulder-length locks.

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On the biggest GRAMMY night of her career — she won a record-breaking six awards at the 52nd GRAMMYs in 2010 — Beyoncé was truly Sasha Fierce in a textured Stephane Rolland hip-hugging dress. She paired the dress with gold accessories, including a large ring alluding to her GRAMMYwinning hit “Single Ladies (Put A Ring On It).”

More than a year after giving birth to her daughter, Blue Ivy, Beyoncé was a different woman and it showed on the red carpet in 2013. She ditched the long gowns for a stunning blackand-white Osman Yousefzada pantsuit. But even with her hair pulled back in an understated ponytail, Beyoncé still proved to be Queen B, topping several of the night's best-dressed lists. LEFT TO RIGHT: GREGG DEGUIRE/WIREIMAGE.COM; FRAZER HARRISON/GETTY IMAGES; JON KOPALOFF/FILMMAGIC; JON KOPALOFF/FILMMAGIC

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Common

Given that he garnered his first GRAMMY nomination for “The Light,” it was only appropriate Common appeared on the red carpet in 2001 in bright form. The rapper sported an orange turtleneck with leather accents, while covering his head in a crocheted beanie as if he were back home in the Windy City.

If Common appeared confident on the red carpet in 2006 it was likely because he had four GRAMMY nominations, including Best Rap Album for his critically acclaimed Be. Once again the rapper opted to cover his head, but he stepped his ensemble up a notch with a two-piece cream suit and complementary tan loafers.

For Common, 2010 was about mixing patterns. The rapper arrived to the 52nd GRAMMYs looking dapper in a plaid suit paired with a polka-dot scarf and a patterned handkerchief, topped off with a sophisticated pair of black dress shoes.

If there’s anyone who can make casual look bold, it’s Common. At the 54th GRAMMYs in 2012 he ditched the suit and tie for stripes and sneakers. His sharp look was dressed up with a sleek pair of gray pants and a natty black blazer.

LEFT TO RIGHT: KEVIN WINTER/GETTY IMAGES; STEPHEN SHUGERMAN/GETTY IMAGES; JOHN SHEARER/WIREIMAGE.COM; DAN MACMEDAN/WIREIMAGE.COM

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Juanes

It’s fitting that he’s married to model/actress Karen Martínez, because Juanes has put his fashion foot forward for his multiple redcarpet appearances at the GRAMMYs and Latin GRAMMYs. Just six months shy of his 30th birthday, a sweet-and-innocent-looking Juanes arrived at the GRAMMYs in 2002 in all-black attire save for a crisp white shirt he wore underneath his blazer. Seemingly in the middle of growing it out or trimming it short, Juanes rocked the best of both worlds with a cut that just reached his neckline and perfectly side-swiped bangs.

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At the GRAMMYs in 2010 Juanes arrived with stubble, a shorter cut and sharper all-black look.

Just when we thought we’d seen the last of Juanes’ long-haired days, he arrived at the GRAMMYs in 2013 with a classy grey suit and slightly fuller, longer head of hair. What will the future bring for Juanes’ locks?

Aside from his style, the musician’s hairdo saw an evolution of its own. Just three years later at the 6th Annual Latin GRAMMY Awards in 2005, Juanes — still sporting an all-black look (perhaps that was because this was the year his “La Camisa Negra” became a hit) — arrived with hair long enough to enter ponytail terrain, a look only a true rock star can pull off. LEFT TO RIGHT: STEVE GRANITZ/WIREIMAGE.COM; GREGG DEGUIRE/WIREIMAGE.COM; GREGG DEGUIRE/WIREIMAGE.COM; JASON MERRITT/GETTY IMAGES

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Alison Krauss

With 27 GRAMMYs, the most by any female artist, Alison Krauss has had plenty of opportunities to perfect her red-carpet look. The angel-voiced Krauss received her first GRAMMY nomination for 1989 at age 18 and still looked barely legal when she was spotted in a red dress at a GRAMMY after-party in 1995. LEFT TO RIGHT: RON GALELLA, LTD./WIREIMAGE.COM; KEVIN WINTER/GETTY IMAGES; GREGG DEGUIRE/FILMMAGIC; DAN MACMEDAN/WIREIMAGE.COM

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Nearly a decade later, in 2004 she transformed from a bubbly brunette to a blond bombshell, standing out on the carpet in a V-neck bedazzled dress with thigh-high slits.

By the 51st GRAMMYs in 2009 Krauss already had 21 GRAMMYs under her belt and looked confidently chic on the red carpet in an intricate purple gown. She arrived alongside Robert Plant, with whom she would win five additional GRAMMYs that night for their Album Of The Year-winning collaboration, Raising Sand.

In 2012 Krauss rose to the level of GRAMMY royalty, picking up her 27th GRAMMY for Paper Airplane, which received Best Bluegrass Album honors. She hit the 54th GRAMMY red carpet with rosy cheeks and an immaculate white dress befitting a bluegrass queen.

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If there’s one thing you can say about Katy Perry’s red-carpet style, it’s that the pop songstress has never been afraid to experiment with color and texture. Her adventurous spirit has made her an artist to watch every year on the GRAMMY red carpet, and she’s never failed to impress. Perry arrived at the GRAMMYs in 2009 looking like a blond bombshell (minus the blond hair). She wore a baby pink, strapless Basil Soda gown that exuded old Hollywood with a classic fanlike detail cinched at the waist.

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In subsequent years, she traded classic for courageous as she experimented with bolder colors like the bright blue voluminous pompadour that perfectly suited her in 2012. She matched her updo with an equally stunning baby blue formfitting gown by Elie Saab, which was surprisingly conservative given Perry performed her breakup anthem “Part Of Me” that night on the telecast.

In 2013 Perry turned heads when she arrived in a mint green Gucci dress that pushed the boundaries of cut-out necklines.

The dress Perry wore at the 56th GRAMMYS in 2014 was literally inspired by music. Taken from Valentino’s Haute Couture runway, the sheer fabric, musical note print and fanciful sleeves were classically quirky — a style only Katy Perry could master.

LEFT TO RIGHT: JEFF VESPA/WIREIMAGE.COM; DAN MACMEDAN/WIREIMAGE.COM; JEFF VESPA/ WIREIMAGE.COM; JON KOPALOFF/FILMMAGIC

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Rihanna A frequent head turner, Rihanna’s red-carpet looks are guaranteed to spark water-cooler conversation. The Barbadian beauty and her sun-kissed skin hit the GRAMMY red carpet for the first time in 2007, when she wore a backless green Roberto Cavalli gown.

Rihanna made the big chop in 2008, crafting her signature pixie cut, which she has frequently rocked in subsequent years. Jet-black hair made her blue kneelength dress pop on the carpet and a smile remained plastered on her face as she picked up her first GRAMMY later that evening for “Umbrella.”

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In 2011 she traded the “Rihanna pixie” for shoulder-length red locks, wowing on the carpet in a sheer Jean Paul Gaultier gown, which likely led to Esquire crowning her the Sexiest Woman Alive later that year.

By 2013 the self-proclaimed “Good Girl Gone Bad” had shown she wasn’t afraid to take fashion risks, but it was an understated dress at the 55th GRAMMYs that may have solidified her standing as a fashion icon. Her red-hot Azzedine Alaïa gown featuring a long, sheer train proved even a toned-down Rih Rih had the sizzle factor.

LEFT TO RIGHT: DAN MACMEDAN/WIREIMAGE.COM; JEFF KRAVITZ/FILMMAGIC; STEVE GRANITZ/WIREIMAGE.COM; STEVE GRANITZ/WIREIMAGE.COM

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Taylor Swift Just two months following her 18th birthday in 2008, Swift made her debut on the GRAMMY red carpet looking sweet and feminine in a silk lavender custom-made Sandi Spika gown. Paired with pink lipstick, sparkly eyeshadow and her tight blond curls, Swift nailed the girl-next-door look.

She went from sweet to stunning when she appeared on the red carpet in 2010 in a midnight blue, backplunging KaufmanFranco gown with a sexy off-the-shoulder neckline, this time pulling her blond ringlets back into a flirty updo.

Still stunning but a bit more sophisticated, Swift arrived on the red carpet in 2012 in a high-collared, gold-accented nude silk mermaid gown by Zuhair Murad. Donning a perfectly placed high bun and neutral makeup, Swift’s more mature look took her well beyond her 22 years.

At the 56th GRAMMYs in 2014, Swift proved that simple can still be striking, arriving in a short-sleeved gold lamé Gucci gown with crystal mesh overlay that perfectly fit her figure. Trading curls and high buns for a simple, voluminous ponytail, Swift’s look says she may not be 22 anymore, but she’s still your girl next door. LEFT TO RIGHT: JEFF KRAVITZ/FILMMUSIC, INC; DAN MACMEDAN/WIREIMAGE.COM; JON KOPALOFF/FILMMAGIC; JASON MERRITT/GETTY IMAGES

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Justin Timberlake He brought “SexyBack” to the red carpet in 2007 with a single-breasted Prada suit, verifying the look and the song were winners when he picked up a Best Dance Recording GRAMMY for the No. 1 hit.

Long before Justin Timberlake crafted a song about his “Suit & Tie,” the GRAMMY winner donned a variety of suits on the GRAMMY red carpet, first with his ’N Sync bandmates and later as a solo star. In 2001 the baby-faced singer stood out on the carpet with a long green velvet suit and multicolored tie.

By 2004 he was hitting the carpet solo, yet his swag was still intact as he rocked a scruffy beard and a pair of sneakers to match a deep burgundy suit. And JT had to feel Justified about his pink shirt while accepting his first career GRAMMYs for his debut solo album.

Timberlake perfected the classic suit and bow tie look at the 55th GRAMMYs in 2013. His slicked-back hair, dapper Tom Ford suit and black-and-white shoes helped him pull off a retro performance on the GRAMMY stage, where he and Jay Z performed “Suit & Tie,” of course.

LEFT TO RIGHT: GREGG DEGUIRE/WIREIMAGE.COM; STEVE GRANITZ/WIREIMAGE.COM ALL OTHERS

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Mastering

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With the aid of today’s technology, remastered recordings restore the music to its original glory and beyond BY NICK KREWEN With additional reporting by Bryan Reesman

n the early days of the digital music era in the ’80s, remastering recordings for release on CD became common and a new sticker adorning the jewel case proclaiming “remastered” was often considered a selling point. But despite a promise to deliver improved sonics, digital technology was still in its relative infancy, and many audio experts with “golden ears” found the resulting sounds of the remastered CD recordings harsh, cold and generally not as good as the original analog recordings. 152

Today’s remastering process is something entirely different. Now, with a variety of formats available to the listener, dedicated record company historians and production engineers, along with talented mastering engineers, listen attentively to original masters and incorporate the latest advancements in digital technology with the intention of duplicating — or in some cases, improving upon — the sound that artists intended for their works. The mountain of recent remastered vintage titles includes Elton John’s Goodbye Yellow Brick Road, Soundgarden’s

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r Bernie Grundman and Don Was at Bernie Grundman Mastering studios in Hollywood, Calif., in 2014 MR. BONZAI

Superunknown, Stan Getz and João Gilberto’s Getz/Gilberto, Bachman-Turner Overdrive’s Not Fragile, Eric Clapton’s 461 Ocean Boulevard, the Who’s Tommy, Prince’s Purple Rain, Bryan Adams’ Reckless, Nas’ Illmatic, and Bon Jovi’s New Jersey, among others. The retooling process can also extend to an artist’s catalog as well. In 2014 Jimmy Page ushered in the first batch of the newly remastered Led Zeppelin catalog, with the remaining titles to come this year. In celebration of the label’s 75th anniversary in 2014, Blue Note Records President Don Was commenced an extensive reissue campaign, featuring remastered classics such as Art Blakey & The Jazz Messengers’ Free For All, Wayne Shorter’s Speak No Evil, John Coltrane’s Blue Train, Eric Dolphy’s Out To Lunch, and Larry Young’s Unity. September 2014 saw the release of a limited-edition 14-LP Beatles box set, The Beatles In Mono, containing each of their nine UK albums remastered monaurally from the original analog master tapes. And in April 2014, guitar virtuoso Joe Satriani released a 16-disc compilation, The Complete Studio Recordings, featuring freshly remastered versions of his entire studio catalog. Some of these titles not only arguably sound better and more authentic, they are also enhanced by bonus fare such as previously unreleased material, alternate takes, live performances, and other extras designed to entice fans.

But first and foremost, the primary consideration is better sound from today’s better technology. With advances in studio equipment and the evolution of formats that began with vinyl and analog tape but have shifted to a variety of digital options, as well as bit rates that have jumped from 16 to 24 and beyond, it’s no wonder Page felt compelled to revisit Led Zeppelin’s legendary discography. “[Mastering] was done for vinyl, back in the ’60s and ’70s, and then 20 years ago it was redone and remastered for CD,” says Page. “Now we’ve got so many different formats out there that it made sense to revisit the studio albums and do those.” Page, who oversaw the remastering of each of his band’s nine studio albums by mastering engineer John Davis, including conversion into 24-bit high-definition files, says he wasn’t thrilled with previous Led Zeppelin remasters. “CDs were put out of that material from copy tapes, and they weren’t very good, to be honest with you, so that’s why the original master tapes were brought back out again and remastered,” says Page. “That was 20 years ago, so [now] you’ve got all the new digital formats.” Different formats aside, some may argue that multiple remasterings of the same title can border on the point of overkill, begging the question: Why undergo the remastering process again? 57th Annual GRAMMY Awards

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As Page points out, many audio experts claim the sound quality of early CD remasterings is questionable, with the discs simply being digital versions of recordings mastered for vinyl. Seven-time GRAMMY-winning mastering engineer Bob Ludwig says today’s improved technology has made remastering more appealing. “I’ve remastered most of the early Bruce Springsteen catalog for iTunes, and the first two titles, Greetings From Asbury Park [N.J.] and The Wild, The Innocent & The E Street Shuffle, fans had been asking for those for quite a while,” says Ludwig, who owns Portland, Maine-based Gateway Mastering. “Those were originally done when CDs first came out — I did the original U.S. masters of those CDs in ’84, but they were made in Japan and done from the analog cassette copy masters. “[Also,] the quality of [analog-to-digital] converters that we use now is so much better than the early digital converters,” adds Ludwig, who counts such multimillion sellers as Led Zeppelin’s Houses Of The Holy, Dire Straits’ Money For Nothing and AC/DC’s Back In Black as some of the thousands of titles he’s mastered since 1968. Today’s better equipment, both at the source end and in the listening environment, promotes a greater accuracy in the mix. “When you create the final master, the idea is to make it sound as good as it can possibly be sounding over an excellent system,” says Ludwig. “The more accurate you make it, and the more accurate it sounds on an excellent system, the better it sounds on a wider range of things out there in the world.” Another reason for revisiting a catalog may be artist preference, says John Cuniberti, who spent two years remastering Satriani’s career-spanning set, including 1987’s GRAMMY-nominated Surfing With The Alien. Cuniberti thinks the benefit of hindsight can serve as a remastering catalyst. “A lot of times the artist might wish the mastering might have been done differently,” says Cuniberti, who has also mastered albums for Dave Matthews Band, Aerosmith, Tracy Chapman, and the Grateful Dead. “Sometimes when you lead a mixing project and it goes right to master because you have a deadline to meet, it’s really hard to [always] be objective about the mastering process. You’re 154

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Bob Ludwig

pretty burned out on it. You don’t even want to hear it, generally. “In fact, that’s one of the reasons why you turn it over to a mastering engineer after you’ve spent weeks or months mixing, so they can provide that service. It’s so they will have an objective ear.” In Satriani’s case, since different mastering engineers handled his albums over the years, Cuniberti says the timing to offer one cohesive sonic overview was never better. “When we first started having the conversation about remastering, I said, ‘We have an opportunity here that we’re not ever going to have again: to present the entire catalog and remaster it as one whole piece rather than just giving people the already mastered discs in a box,’” says Cuniberti. “‘We can create a consistency in level and quality right from the first record.’” GRAMMY winner Gavin Lurssen of Hollywood, Calif.-based Lurssen Mastering notes that delivering the right sense of nostalgia as a remastering engineer is something that should also be taken into account, as it takes great skill. “When you’re living in 2015, we have mobile devices and electronic billboards and all kinds of crazy information entering our brains at light speed,” says Lurssen, who mastered the 2001 Album Of The Year-winning O Brother, Where Art Thou? soundtrack and 2008’s similarly rewarded Raising Sand by Alison Krauss and Robert Plant. “But there’s always, as is the case in human nature, an ability and a desire to reminisce. “So when you present something to somebody that was once a part of their lives, in some kind of cleaned-up fashion, you have to present it to them in a way that makes it feel like it felt back at that time, and combine it also to some degree — dependent on the vintage of the project — with the standards of today in order to create that feeling. “Generally there is a lot more dynamic range on older recordings so it is important to respect that and thus the level wars are less of an issue in this line of work,” adds Lurssen. “I’ve even seen cases in which this approach has helped pull current artists out of the overall level push when they see what can come of it. It’s all about being exposed to it, which is among the good reasons the labels are doing it.”

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Gavin Lurssen GREG ALLEN

Barak Moffitt, Universal Music Group’s head of strategic operations, says the respect that Lurssen mentions was paramount in Blue Note’s 75th anniversary remastering project. “We’re trying to get a balance between what’s directly on the tape and what happened in that room, and the emotional connection that people found in that original vinyl release, where the public sentiment and the original sentiment around the music was attached,” says Moffitt. “And again, now that studio technology has high-definition capabilities, we’re taking care to maintain as much information that’s in the original material as possible, while maintaining as much of the emotional connection to the original release as possible.” Of course, before an album can be remastered, it has to be mastered, a process that three-time GRAMMY winner Was describes as the “frosting on the cake.” “Musicians and engineers spend a whole lot of time getting the cake right, but most people don’t want to be served cake without the frosting on it,” he laughs. “But it’s a question of degrees of the frosting. You’ve got to have a light hand, basically. “If you have something that’s badly recorded and mixed, a mastering engineer can come in and give it shape and dimension and depth by adding EQ and compression and other mojo to it, making sure the levels work and the spacing between songs is right — and then getting it into the medium from which it can be manufactured.” Like the musicians and producers who work on an album, Was maintains that the mastering engineer leaves a unique fingerprint on the recording as well. “Every mastering engineer has got their own gear and setup, and that setup has a sound to it,” says Was. 156

And that introduces another challenge in the remastering process: maintaining the integrity of the original mastering engineer’s work. “Let’s take the Blue Note remasters for example: Rudy Van Gelder, the legendary engineer who recorded most of the classic Blue Note records, mixed directly to stereo on quarterinch tape,” Was explains. “There was no multitrack tape, so he mixed live. So the music went down and it came out mono or stereo and that was it — there was no going back to remix it. “He also mastered, and the way he mastered that day has a certain quality to it and it’s definitely different from when you hear what’s on the master tape.” When it came to the initial listens to Blue Note remastered works that had been converted to high-definition and transferred to digital at the 96 kHz/24-bit and 192 kHz/24-bit rates, Was noticed that the music felt different than how he remembered it. Was says Van Gelder preemptively mastered the works for vinyl to ensure there would be no technical glitches when consumers played them on their home audio equipment. “Rudy mastered for vinyl: he added some EQ, just so the phonograph needle wouldn’t skip and certain sonic peaks wouldn’t mess with the needle,” says Was. “In doing that, he altered the sound and that’s the sound everybody knows and loves.” When it came to updating Van Gelder’s work for today’s formats, Was says Blue Note was placed in “a moral and ethical quandary.” “Who are we to editorialize on this stuff, 50 years after the fact?” he says. “What is the standard by which you remaster to?

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We decided that the original vinyl was the standard: that’s what people bought and that’s what people loved. So we tried as closely as we could to master with the goal of returning to the original sound of the first pressings.” Two-time GRAMMY winner Bernie Grundman, who was tasked with remastering the majority of Blue Note’s reissues, confirms that vinyl presents its own challenges. “Vinyl doesn’t sound like the lacquer that goes to the factory,” he notes. “The medium itself changes it, and the processes it goes through when you’re making the vinyl actually changes the sound. It’s not the same as making a tape copy because that’s a rerecording process. With the vinyl, it’s not rerecorded, but it is transferred to metal through electroplating, and that actually affects the sound. So a vinyl disc does not sound like the tape or the lacquer. Once it comes back from the factory, you can tell the difference: it is warmer and it tends to take on a ‘bassier’ sound.” Generally, the remastering gurus interviewed agreed that when it comes to adjusting their approach for today’s formats, most don’t. However, Ludwig contends that digital remastering for iTunes is a slightly different beast. “It’s not an equalization or compression thing,” Ludwig explains. “It’s a process of lowering the level into the encoder for the AAC file, and by lowering the level into the encoder, Apple has [shown] us that it creates much less distortion and can make a much more accurate encode to the point where a well-made Mastered for iTunes file sounds closer to the 24-bit master than the 16-bit compact disc does.” Mastering engineers spend a lot of time sifting through source material, sometimes contending with lost masters and studying copious notes made at the time of the recording. But in the end, if the job is done right, it’s worth it. Page says that when a recording is remastered correctly it unlocks a door to the past and provides historical perspective. “When you’ve got a chance to really listen to all of it, it gives a window — it’s like a portal — into that time capsule of when each album was recorded,” says Page. “And that gives you a really good taste. It works all the way right through the catalog.” Was says his exercise is one of passing it forward, to hopefully introduce the music to new fans. “At age 62, I find the music still means a lot to me,” says Was. “This is what I listen to, to recharge myself, to feel good. I read this interview with Bob Dylan where he said that the job of the artist is not to tell you how they feel, but to put you in touch with your own feelings. And that line really stuck with me, because that’s what the Blue Note music does to me. “I hope that in doing the reissues in this way, that there are some new fans of the music who will be able to enjoy the same experience and carry this music with them for another 50 years.”

Jimmy Page

ROSS HALFIN

Nick Krewen is a Toronto-based journalist and co-author of Music From Far And Wide: Celebrating 40 Years Of The Juno Awards, as well as a contributor to The Routledge Film Music Sourcebook. He has written for The Toronto Star, TV Guide, Billboard, Country Music, and was a consultant for the National Film Board’s music industry documentary Dream Machine. Bryan Reesman is a New York-based freelance writer.

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Studio at the Palms in Las Vegas

STATE-OF-THE-ART RECORDING STUDIOS INSIDE LUXURY HOTELS OFFER MUSICIANS THE ULTIMATE AMENITY

S R A T S E V IF PALMS CASINO RESORT

BY ALAN DI PERNA

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PALMS CASINO RESORT

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NightBird’s Recording Studio A at the Sunset Marquis in West Hollywood, Calif.

n a music industry that has weathered contraction and diminished expectations, the recent rise and proliferation of state-of-the-art recording studios inside luxury hotels might seem an anomaly. But GRAMMY winners ranging from Taylor Swift to Mick Jagger have recorded highprofile projects while enjoying the good life at these five-star hotel recording studios in locations ranging from Los Angeles and Miami to St. Barts and Berlin. “Our studio clientele is now averaging around 20 or 30 GRAMMY nominations a year,” says Jed Leiber, owner of NightBird Recording Studios at the Sunset Marquis in West Hollywood, Calif., which has hosted projects by Miley Cyrus, Drake, Katy Perry, Christina Aguilera, and “American Idol” contestants, among many others. “It seems like an obvious place to work,” Leiber says regarding NightBird. “Artists stay at the hotel anyway. The amenities are unparalleled. In a commercial recording studio, if you’re lucky, you usually end up with foosball and a billiards table. Whereas here we’ve got swimming pools, bars, an excellent restaurant, 24-hour room service, private villas … you name it. And we are kind of a hidden jewel tucked away but located in the heart of West Hollywood, within walking distance to Sunset Plaza.” No mere superstar extravagance, tracking or mixing at a deluxe hotel property can also make good economic sense. The symbiotic hotel/studio partnership means that the studio side of the equation can offer competitive rates, while artists who work at the studio typically get a preferred room rate. This 162

NightBird Recording Studios’ owner Jed Leiber

NIGHTBIRD RECORDING STUDIOS

is typical of the arrangement at Studio at the Palms, located inside the Palms Casino Resort in Las Vegas. The studio has played host to GRAMMY winners such as Celine Dion, Lady Gaga, Dr. Dre, and Mariah Carey, among other artists. The studio is also where Michael Jackson collaborated with Akon on “Hold My Hand,” the first single from the King of Pop’s posthumous 2010 album, Michael. “They’ll give us a good deal,” says producer Kevin Shirley (Aerosmith, Led Zeppelin, the Black Crowes), who has tracked several albums by GRAMMY-nominated blues guitar ace Joe Bonamassa at Studio at the Palms. “They know we’re gonna be around for a while, and they know we’re gonna spend money in the restaurants [and] bars. When we go there, we’ll book 20 or 30 rooms. So you can stretch your budget pretty far working in an environment like that.”

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NIGHTBIRD RECORDING STUDIOS

For the recording artist, there’s certainly no compromise. At this level, the studios are state-of-the-art with pristine acoustics, plum analog gear and the latest digital innovations, and fully staffed with some of the best engineering, IT, maintenance, and management talent in the industry. Zoe Thrall, director of Studio at the Palms, came to the facility from New York’s renowned Avatar Studios. She admits that she was skeptical about the hotel/studio idea at first. “When I first got the call from the Palms, I said, ‘Are they crazy? Everyone goes to Vegas to play. They don’t go to work,’” says Thrall. “But the model has been working beautifully. The studio is bringing the high-end music industry to Vegas, and specifically to the Palms. And it’s a profit center for the hotel, albeit a minor one within the overall casino operation. But we make our numbers. This is no vanity project.” The relationship between hotels and studios can be structured a number of ways. Some facilities, such as Studio at the Palms, are wholly owned by the hotel management. Others are partnerships between a hotel owner and a studio owner. Such is the case with the state-of-the-art studio within Villa Rockstar at Eden Rock hotel on the Caribbean island of St. Barts, which has played host to GRAMMY-nominated artists Kenny Chesney and Jimmy Buffett, among others. The luxury property’s management is partnered with recording industry icon Allen Sides of Hollywood’s Ocean Way Recording. “The legendary Neve 8088 console on which John Lennon recorded ‘Imagine’ and a great selection of outboard gear,

microphones and other equipment were provided and installed within the studio by the expert Ocean Way technical team,” says Villa Rockstar’s house engineer Laure-Anne Laureys. “Any specialist gear requested by artists is shipped from Ocean Way, and engineers or producers are available 24/7. And I’m permanently on-site and in direct touch with the Ocean Way team.” Hotel recording studios appeal to artists on many levels. Given the realities of touring, musicians and singers spend a lot of their lives in hotels. It’s a familiar environment for them, comfortable yet removed from the distractions of home life. “All you have to do is leave your room, get in the elevator and go to work,” says Bonamassa, who recorded his 2014 studio album, Different Shades Of Blue, at Studio at the Palms. “If you want lunch, you don’t have to deal with that. Just order room service. It’s a very creative environment for me. And it gets me out of town. When you’re away from your house and the place where you live, you don’t have to worry about everyday stuff that comes up.” Conversely, some artists prefer to bring their family along for a working vacation. “Family or music friends can have a great holiday while an album is produced from start to finish,” says Laureys. “Artists often comment how the setting of the turquoise blue Caribbean Sea boosts creativity and productivity.” Indeed, such a luxe environment can help keep the creative juices flowing on a studio project. “Generally on a session, [there are] a couple of people working and a lot of other people waiting around,” says Leiber. 57th Annual GRAMMY Awards

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The Villa Rockstar studio at Eden Rock hotel Eden Rock hotel in St. Barts EDEN ROCK

“What’s nice [at NightBird] is that they aren’t confined to the studio; they don’t have to sit in there and listen to the same song a thousand times. They can go to the swimming pool, restaurant or one of the bars. If a VIP client wants a suite, we get them a suite. So there’s a constant workflow where people stay fresh and rested.” A GRAMMY-nominated musician/composer/producer who has worked with GRAMMY winners such as Jeff Beck, Burt Bacharach and Aretha Franklin, Leiber brings an insider’s perspective to his position at NightBird. His take on creativity goes back to when he would accompany his dad, celebrated GRAMMY-winning songwriter Jerry Leiber, to work at the famed Brill Building in New York. Jed Leiber uncovered the idea for NightBird one evening when he and Beck were working on song ideas in Beck’s room at the Sunset Marquis and received a noise complaint from a neighboring guest. Leiber and the legendary guitarist were moved to a downstairs laundry space, which 20 years later — and with Leiber’s guidance and growing, expert staff — has evolved into one of the top recording facilities in L.A.’s highly competitive studio market. Joe Galdo, manager at the recording studio inside The Marlin Hotel in Miami Beach, Fla., is also a career musician. Situated alongside the ocean in Miami’s South Beach entertainment district, the studio has played host to Jagger, Pharrell Williams, U2, and Beyoncé, among others. As one of the facilities that pioneered the hotel studio concept, the idea for the studio was first suggested by Galdo to music mogul Chris Blackwell some 22 years ago, at a time when Blackwell was starting to develop South Beach into a premiere resort destination. The hotel and studio have since changed ownership several times, but the latter has continued to attract top projects. 164

“I’ve worked in studios around the world,” says Galdo, “and they’re always a little rigid, a bit cold. But artists are treated a little differently here. The vibe is more relaxed. Uptight doesn’t live here. “We’re fortunate in our location, too. We’re steps from the beach, in the epicenter of South Beach. If you’re an artist who enjoys nightlife and lots of restaurants, we have plenty. There’s a rich and diverse culture here — Haitians, Nicaraguans, Cubans, Puerto Ricans. It’s almost like being in the Caribbean, but with all the amenities of a first-world country.” If you’re an artist working at The Marlin, Galdo will turn you on to the best local restaurants and best Cuban coffee. He’ll even make you a compilation of Brazilian music, or pretty much anything else you want to hear. Personalized service is another big plus that comes with basing a project around a hotel studio. “When somebody books time [at Studio at the Palms], we handle everything about their stay,” says Thrall. “We take care of their hotel room, reservations for restaurants and shows. But, having said that, most of the time they’re coming here specifically just to work and make a record.” Hotel studios also go to great lengths to ensure artists’ privacy. Private entrances, elevators and other secure areas can get a guest from their room into the studio and back again without encountering other guests. “A-list artists have virtually lived on the property and recorded for months at a time with complete privacy,” says Leiber. “[The Sunset Marquis] is most discrete. The butlers, the staff … everybody knows what the deal is here.” Like any competitive professional recording facility, hotel studios thrive by their ability to handle a diversity of

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the studios at the sunset Marquis hotel and Villas

Jed leiber and the staff of nightBird Congratulate our Clients and GraMMy® nominees A GreAt BiG World • Aloe BlAcc • cArrie UnderWood • christinA AGUilerA deAdmAU5 • drAke • eminem • FAith hill • iGGy AzAleA • John leGend kAty Perry • lil Jon • mAry J. BliGe • mAx mArtin • miley cyrUs • PAUl ePWorth PhArrell WilliAms • rick ross • schoolBoy Q • seAn PAUl • shAGGy • soJA stAnley clArke • the BAnd Perry • Usher • Wiz khAliFA

1200 Alta Loma Road • West Hollywood, CA 90069 (310) 657-8405 ph • (310) 854-0506 fax • www.nightbirdrecordingstudios.com

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projects — from artists popping down to check a mix or bang out a quick demo, to full-scale tracking and mixing. Preview screenings, listening parties and other events also bring in revenue. For example, Studio at the Palms is rigged for full concert recording: “We’re directly connected to the [Palms’] Pearl Concert Theater,” says Thrall, “so we can record live shows up here. It’s very easy because there’s a direct split off the stage. It’s easier than plug and play. It’s literally just hit ‘record’ and we’re ready to go.” In many ways, today’s premiere hotel studio is a refinement of the residential studio concept pioneered in the ’70s and ’80s by facilities such as Rockfield Studios (Wales), Ridge Farm Studios (England) and Air Montserrat (Caribbean). “The problem with those destination studios,” says Leiber, “is that they had little or no experience in or preparation for daily headaches like maid service, sheets, room service, food … all the things that hotels do better than anyone. So it just makes more sense to turn that around and put the studio in the hotel, rather than the hotel in the studio.” At a time when the music industry is restructuring around new alliances, the hotel/studio/artist partnership seems like a win all around. “I think you have to be very smart about it,” says Thrall. “I don’t know if it’s necessarily ‘build it and they will come.’ But there’s a handful of us out there and we’re doing alright.”

Joe Galdo oversees the mixing console at the recording studio inside The Marlin Hotel in Miami Beach, Fla.

IAN BULL

Joe Bonamassa recording 2014’s Different Shades Of Blue at Studio at the Palms

ERIK KABIK

Veteran music journalist Alan di Perna is associate editor of Guitar World and contributing editor for Guitar Aficionado. His most recent books are Guitar Masters: Intimate Portraits and Green Day: The Ultimate Unauthorized History. He has also written liner notes for albums including Santana Live At The Fillmore East, the deluxe reissue of AC/DC’s The Razor’s Edge and Rhino Records’ Heavy Metal Hits Of The ’80s (vols. 1 and 3).

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Bob Dylan Tangled Up In Gold Revisiting the 2015 MusiCares Person of the Yearâ&#x20AC;&#x2122;s astounding influence and profound impact through his rich GRAMMY history

JE R R Y

S C H AT Z

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BY STEVE HOCHMAN

MATTHEW ROLSTON

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ow do you measure Bob Dylan’s place in modern music and culture? You can’t. Just to start you’d need to count the vast number of songs that have been dubbed “Dylanesque.” For more than 50 years, his work has been the standard against which all singer/ songwriters have been gauged. Yet, the term itself remains hard to define, as Dylan himself has constantly redefined what it means to be a singer/songwriter, and indeed what it means to be Bob Dylan. Since he arrived in New York’s Greenwich Village from his native Minnesota, Dylan’s presence has been marked by myth and mystique. But his music, and its impact, stands apart, through each stretch of growth and change along the way. His songs — at turns caustic, at turns tender, at turns both at once — have described and illuminated what many were experiencing, often before they were even aware of it. “The Times They Are A-Changin’,” “A Hard Rain’s A-Gonna Fall,” “Masters Of War,” “Like A Rolling Stone,” “Forever Young,” “Tangled Up In Blue,” “Every Grain Of Sand.” These and many more scribe the arcs of the last half century, the emotional connections to the events of the times, to each other, the quest

to find meaning in love, loss, renewal … it’s all there. In the latter part of his career, having reconciled, if not comfortably so, with the loss of youth, he declared defiantly that it’s “Not Dark Yet,” and then that “Things Have Changed.” They weren’t “a-changin’.” They had changed. This marked the return of Dylan, and a new Dylan recommitted to his art, his still ongoing Never Ending Tour given new purpose and fire, his performances astounding some and confounding others. That’s not Dylanesque. That’s Bob Dylan. On Feb. 6 Dylan was honored as the 2015 MusiCares Person of the Year for his musical and philanthropic accomplishments, a prestigious award that adds to his 10 GRAMMY Awards, including two for Album Of The Year, a Recording Academy Lifetime Achievement Award, and eight recordings inducted into the GRAMMY Hall Of Fame. In addition to his Academy honors, Dylan is in the Rock and Roll Hall of Fame, the Songwriters Hall of Fame, the Nashville Songwriters Hall of Fame, and in 2012 he was awarded the Presidential Medal of Freedom by President Barack Obama. He has also garnered an Academy Award and a Golden Globe. Dylan’s GRAMMY-related honors, chronicled here, bespeak an artist whose impact is ... well, immeasurable.

George Harrison and Dylan perform at the Concert For Bangladesh at Madison Square Garden in 1971

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1972

THE CONCERT FOR BANGLADESH ALBUM OF THE YEAR: 15TH GRAMMY AWARDS Dylan’s appearance at the 1971 Madison Square Garden concert, organized by George Harrison and Ravi Shankar to bring relief to the then-new country of Bangladesh following massive floods, was only a hopeful rumor until the moment he stepped onstage for the first of two shows. The performance marked a long-awaited return to live performance after his several-year seclusion following a motorcycle accident, and the largely acoustic set proved him just as powerful and poignant in the Watergate era as he was in the turbulent ’60s. For all the participating stars — Harrison (who hadn’t performed in concert since the Beatles quit touring in 1966), Shankar, Eric Clapton, Leon Russell, and Ringo Starr, among others — Dylan’s presence brought the concerts to a higher level, which was a key in the resulting three-disc LP’s win for Album Of The Year.

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1991

LIFETIME ACHIEVEMENT AWARD: 34TH GRAMMY AWARDS

Dylan performing on the rooftop of photographer John Cohen’s East Village loft in New York in 1961

JOHN COHEN

1979

“GOTTA SERVE SOMEBODY” BEST ROCK VOCAL PERFORMANCE, MALE: 22ND GRAMMY AWARDS Calling Dylan’s late ’70s embrace of Christianity controversial is an understatement — in Rolling Stone Jann Wenner described Slow Train Coming, the first of three albums to reflect those beliefs overtly, as “one of the finest Dylan has ever made,” while not long after, in the same magazine, Kurt Loder dismissed Dylan as a “perfect caricature of a Bible-thumping convert.” While Biblical references (mostly Old Testament) had been common in his songs, there was a different tone now. No song said it more plainly and emphatically than “Gotta Serve Somebody,” in which he not only professed his allegiance to “the Lord,” but dismissed the hero worship that had been directed toward him for so many years. The album’s sound, as well, made it clear that this was a new statement, with the legendary Jerry Wexler and Muscle Shoals veteran Barry Beckett co-producing, and newcomer Mark Knopfler’s distinctive guitar at the center of the arrangements.

1989

TRAVELING WILBURYS VOL. 1 BEST ROCK PERFORMANCE BY A DUO OR GROUP WITH VOCAL: 32ND GRAMMY AWARDS Lucky Wilbury and his brothers Nelson, Otis, Lefty, and Charlie T. Jr. — or, as we had come to know them, Dylan, George Harrison, Jeff Lynne, Roy Orbison, and Tom Petty — proved the sum-of-the-parts adage true with this unprecedented collaboration. There was no supergroup ego clash here, but rather five iconic artists feeding off each other and feeding each other choice lines born out of immense mutual respect. Often as not each wrote in one of the others’ style, walking the fine line of loving parody and paying homage. Dylan’s signature wordplay and vocal styles seemed to be particular favorites of his “brothers.” And for all the novelty winks of the pseudonyms and conceits, many of the songs on Traveling Wilburys Vol. 1 stand with their makers’ best, in particular “Handle With Care,” primarily written by Harrison, but taken to pop heaven by the bridges spotlighting Orbison, who died of a heart attack just two months after the album’s release. 172

Three decades after the release of his debut album, Dylan was honored with a Recording Academy Lifetime Achievement Award, presented by Jack Nicholson. On the 34th GRAMMY Awards telecast, Dylan reached back into his earliest, most political repertoire to perform a furiously passionate version of “Masters Of War” with his band, a poignant and pointed choice given the Gulf War in Iraq. In his acceptance, Dylan cited his father (who in turn was quoting a 19th century rabbi) as telling him that, even if one was defiled so much that one’s parents turned away, “God will always believe in your own ability to mend your own ways.”

1994

WORLD GONE WRONG BEST TRADITIONAL FOLK ALBUM: 37TH GRAMMY AWARDS As on its 1992 companion, Good As I Been To You, with 1993’s World Gone Wrong Dylan reconnected with the very foundations of folk and blues music, music that inspired him in the first place, but now with new, hard-won perspectives. The performances are simple, direct, even crude — the sessions featured just him alone in his Malibu garage studio. But the results are striking, with songs drawn from the recorded repertoires of some of their originators: “Broke Down Engine” from Blind Willie McTell, the title song and “Blood In My Eyes” from the Mississippi Sheiks, and the muchinterpreted murder intrigues “Stack A Lee” and “Delia,” the latter a song Dylan performed as far back as 1960.

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1994

“BLOWIN’ IN THE WIND” GRAMMY HALL OF FAME It was the song that brought Dylan out of the Greenwich Village folk scene and onto the pop charts — albeit first via an earnest harmonic version by Peter, Paul & Mary — and at once captured a rising cultural zeitgeist in its series of philosophical questions. When Dylan recorded “Blowin’ In The Wind” in July 1962, a month after it was published in Sing Out! magazine, the Berlin Wall was a year old and tensions were building toward the Cuban missile crisis. When the song was released on The Freewheelin’ Bob Dylan in May 1963, Martin Luther King Jr. was just out of Birmingham Jail and the massive March on Washington was months away. Peter, Paul & Mary’s version (also inducted into the Hall) reached No. 2 as the march took place, and the song took on civil rights anthem status (later covered by, among others, the Staple Singers and Stevie Wonder). Produced by John Hammond, Dylan’s urgent recording has transcended time, even though the song typecast him as a protest singer, a tag he quickly rejected.

1997

TIME OUT OF MIND ALBUM OF THE YEAR, BEST CONTEMPORARY FOLK ALBUM “COLD IRONS BOUND” BEST MALE ROCK VOCAL PERFORMANCE: 40TH GRAMMY AWARDS Time Out Of Mind showed Dylan not merely back at the peak of his powers, but with a whole new set of powers. What The Freewheelin’ ... and Bringing It All Back Home reflected in his youth, what Blood On The Tracks yielded in his growing maturity, this album represents in his elder statesmanship. Here he unflinchingly embraces middle age (and beyond), as restless and probing as ever, but with earned experience and wisdom countered with even more questions and doubts. “Not Dark Yet” is a bold declaration, a statement some linked to the works of Keats, as well as to the source of his assumed name, Dylan Thomas. This centerpiece is framed by the frisky opener “Love Sick” (which Dylan performed on the 40th GRAMMY Awards telecast) and almost manic, rockabilly inflected “Cold Irons Bound,” and the epic closer, “Highlands.” At more than 16 minutes, the latter is the longest studio recording in his catalog. The sharp, atmospheric production by Daniel Lanois and playing from a stellar cast, including drummers Jim Keltner and Brian Blade, slide guitarist Cindy Cashdollar, and keyboardists Jim Dickinson and Augie Meyers, gave richness to the soundscapes of this career landmark.

1998

“LIKE A ROLLING STONE” GRAMMY HALL OF FAME Two years after posing a series of pointed yet Zen-ish queries facing coming-of-age baby boomers with “Blowin’ In The Wind,” Dylan snarled out what still stands as a rhetorical, existential question for the ages: “How does it feeeeel?” he sang, caustic, restless, and directly over music that popped out of transistor radios, centered on the roiling organ of Al Kooper. In summer 1965, American culture was turning a corner, from the bullet-shattered Camelot of John F. Kennedy to the fractious tumult of the anti-war and civil rights movements and hippie idealism. Dylan had already turned a corner, but as the words of this song say, on his own. The single’s release came almost concurrent with Dylan’s “electric” set at the Newport Folk Festival and arguably stands as an even more dramatic statement. Despite clocking in at more than six minutes, double the conventional pop single, it reached No. 2 on the Billboard Hot 100. Years later it stands even taller, with Rolling Stone declaring it the greatest song of all time. 174

The album cover for 1966’s Blonde On Blonde

1999

BLONDE ON BLONDE GRAMMY HALL OF FAME Between the summers of 1964 and 1966, Dylan recorded four albums, each reaching new heights of ambition and achievement. Released in May 1966, Blonde On Blonde capped that run with monumental flare. The front cover, bearing no name or title, features just a photo of the scarf-clad, tousle-haired artist, defiant and determined. It’s a perfect representation of the music held within. At more than 72 minutes, spanning two vinyl discs in its original release, Blonde On Blonde was unprecedented. The songs play as chapters in a modern, impressionistic novel. In the opener/prologue “Rainy Day Women #12 & 35,” Dylan is surrounded by a rowdy parade band, embattled but impervious. For the rest of the album he’s anything but. Alternately probing his relationships and his own state of being, he’s devoted and vulnerable (“Pledging My Time”), romantic (“Visions Of Johanna”), lustful (“I Want You”), taunting (“Leopard-Skin Pill-Box Hat”), tortured (“Stuck Inside Of Mobile With The Memphis Blues Again”), and dismissive (“Just Like A Woman”). Finally, the 11-minute-plus “Sad Eyed Lady Of The Lowlands” is a complex portrait of his then-new wife, Sara Lownds. Not that too many clues can be deciphered — the album is Dylan at his most richly elusive.

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2002

“MR. TAMBOURINE MAN” GRAMMY HALL OF FAME

DAVID GAHR

2001

LOVE AND THEFT BEST CONTEMPORARY FOLK ALBUM: 44TH GRAMMY AWARDS Love And Theft, which was also nominated for Album Of The Year, shows the same renewal and fire brandished on 1997’s Time Out Of Mind. Produced by Dylan (under the name Jack Frost), his approach was more straightforward but with plenty of rough edges. The songs are full of tall tales and colorful characters, many drawn from or alluding to classic folk and blues narratives, while the music slyly references and twists blues, rockabilly, Tin Pan Alley, and country elements. “High Water (For Charley Patton)” makes it explicit with the dedication to the blues titan, but the wild, often funny scenes set forth — from the opening New Orleans parade-inspired “Tweedle Dee & Tweedle Dum” to the dark closer “Sugar Baby” — are unmistakably Dylan.

2002

HIGHWAY 61 REVISITED GRAMMY HALL OF FAME Opener “Like A Rolling Stone” alone would make Dylan’s sixth studio album a classic, but with every song on Highway 61 Revisited he seemingly reached new peaks of confidence and accomplishment. A full band — including Chicago blues prodigy Mike Bloomfield and Nashville notable Charlie McCoy on guitars, with Al Kooper on the lead song’s essential organ — builds on and unifies the rock steps made on the previous album, Bringing It All Back Home, supporting and enhancing words as vivid and dense as any Dylan had sung. “Tombstone Blues,” “It Takes A Lot To Laugh, It Takes A Train To Cry,” “Ballad Of A Thin Man,” and “Queen Jane Approximately” all give plenty of fodder for Dylanologists looking to decode the great mysteries. And then, having given us almost too much to process, Dylan goes even deeper with the closing “Desolation Row,” a somber, free-ranging, 11-minute-plus epic that defies any attempts at decoding. Which may be the point. 176

“In the jingle-jangle morning I’ll come following you,” Dylan simply depicts in “Mr. Tambourine Man” — the narrator, weary and bleary after a long night, taken with the easy nature of a street musician. The Byrds’ influential reworking was released just three weeks after Dylan’s debuted on his fifth studio album, Bringing It All Back Home, and reached No. 1. (The Byrds’ version was inducted into the Hall in 1998.) Dylan’s rendition, with just Bruce Langhorne’s delicate electric guitar embellishing his acoustic guitar and harmonica, is more personal, more casual, more in the moment. The song has inspired a vast range of interpretations, from William Shatner’s method actor approach to Pulitzer Prizewinning composer John Corigliano’s song cycle Mr. Tambourine Man: Seven Poems Of Bob Dylan, winner of the 2008 GRAMMY for Best Classical Contemporary Composition.

2006

MODERN TIMES BEST CONTEMPORARY FOLK/ AMERICANA ALBUM “SOMEDAY BABY” BEST SOLO ROCK VOCAL PERFORMANCE: 49TH GRAMMY AWARDS Modern Times became the third straight of Dylan’s later-period albums to earn Best Contemporary Folk Album honors. This one, perhaps most of all, saw Dylan passionately personalizing classic folk and blues forms to serve his songs powerfully, reporting from his perspective of then being in his mid-60s. Words and melodies again slyly draw on a number of styles and artists, from Memphis Minnie and Sleepy John Estes to Bing Crosby (the melody of “When The Deal Goes Down” pays homage to the Crosby chestnut “Where The Blue Of The Night [Meets The Gold Of The Day]"). A frisky mix of country swing and classic ’50s jump R&B, “Someday Baby” finds Dylan saying how he’s going to break it off one day, with delicious detail, though with the admission that it’s not happening now: “You got me so hooked,” he croons, before promising, “Someday baby, you ain’t gonna worry po’ me anymore.”

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DYLAN’S BACK PAGES In addition to his 35 GRAMMY nominations and 10 wins, as well as being awarded keys to more than 50 U.S. cities, Bob Dylan has been the recipient of numerous other honors. 1982

1997

Inducted into the Songwriters Hall of Fame

Kennedy Center Honors

1988

Polar Music Prize, Sweden

Inducted into the Rock and Roll Hall of Fame

1990

Commandeur des Arts et des Lettres, France

2000

Academy Award for Original Song for “Things Have Changed”

2002

2009

Inducted into the Nashville Songwriters Hall of Fame

National Medal of Arts

2007

Presidential Medal of Freedom, America’s highest civilian honor

Prince of Asturias Award for the Arts, Spain

2008

Pulitzer Prize in recognition of his profound impact on popular music and American culture

2012

2013

Officier de la Legion d’honneur, France

2006

BRINGING IT ALL BACK HOME GRAMMY HALL OF FAME With 1964’s Another Side Of Bob Dylan, the artist signaled his intent to expand his palette with new forms of writing and performing. With his follow-up, 1965’s Bringing It All Back Home, he practically shouted it. Opening with the rollicking, messy missive “Subterranean Homesick Blues,” played with roadhouse spirit by a studio band, the album announced Dylan’s intent to rock with the best. “Maggie’s Farm” seers with sarcastic anger. “Bob Dylan’s 115th Dream” adds new dimensions to his stream of subconsciousness, the band as witty and wild as the words. Interspersed are the somewhat gentler “She Belongs To Me” and “Love Minus Zero/No Limit,” but still leaning to the rock side of folk rock. Side two scaled it back, but fed off the electric power of what preceded: the panoramic “Mr. Tambourine Man,” the cynical “Gates Of Eden,” the state-of-the-nation address “It’s Alright, Ma (I’m Only Bleeding),” and one of the most poetic send-offs ever in “It’s All Over Now, Baby Blue.”

2013

“THE TIMES THEY ARE A-CHANGIN’” GRAMMY HALL OF FAME “Come gather ’round people wherever you roam/And admit that the waters around you have grown ... ” is Dylan at his most sage. To some it was a promise, to others a threat — “For he that gets hurt will be he who has stalled.” But it was really just a statement of fact, from a steely eyed observer. For all the talk of “battle” and of rebellious youth “beyond your command,” Dylan — who wrote and recorded this song in fall 1963, right after the March on Washington and right before JFK’s assassination — was not trying to ignite something. It was already “raging.” The stentorian waltz, he told writer/filmmaker Cameron Crowe years later, was modeled after Irish and Scottish broadsides. When the same-titled album was released in January 1964, Kennedy was two months dead and the Beatles were a month from U.S. shores. Times were very much a-changin’, and Dylan stood at the fulcrum. 178

2015

BLOOD ON THE TRACKS GRAMMY HALL OF FAME “Lily, Rosemary And The Jack Of Hearts” is the quizzical epic; “Idiot Wind” is a howling screed against the chattering class. But “Tangled Up In Blue,” “Simple Twist Of Fate” and “Shelter From The Storm” are at the heart of what has proven not just the enduring landmark of Dylan’s ’70s return, but arguably the most personal, affecting album of his career. A brokenhearted Dylan was estranged from wife Sara, a divorce imminent. Every angle, every emotion is present — affectionate, hurt, regretful, nostalgic for what was, fearful of what will be and full of self-doubt and second-guessing, the latter mirrored in Dylan recording a bulk of the material twice, first in New York with session musicians largely new to him and again in Minneapolis largely with local folkies. The released version is split evenly between the two, yet sounds remarkably seamless, threaded with flowing folk and folk-blues motifs and the singer’s conversational poetry, not just songs but chapters in a story — a love story, all the more powerful for coming at its end.

Steve Hochman has been covering music since 1985. He can be heard regularly discussing new music releases on KPCC-FM’s “Take Two” and the KQED-FM-produced show “The California Report.” In addition to writing for GRAMMY.com, he has served as host and interviewer for live programs at the GRAMMY Museum. For 25 years he was a mainstay of the pop music team at the Los Angeles Times and his work has appeared in many other publications.

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Person Of The Year

Celebrates

25 YEARS

aunched in 1991, the Person of the Year gala stands as the cornerstone fundraising effort for the MusiCares Foundation (see page 198). Taking place each year during GRAMMY Week, the prestigious gala has continued to grow in size and stature. Meanwhile, the theme has remained constant: to honor a recording artist who has made important contributions to the world of music and demonstrated concern for the larger society through humanitarian and philanthropic efforts. From inaugural honoree David Crosby to 2015 honoree Bob Dylan, the Person of the Year gala has honored an impressive roster of 25 influential artists. Thanks in part to funds raised from the Person of the Year gala, MusiCares has provided nearly $40 million in direct financial assistance over the past 25 years and has served nearly 80,000 music people via its programs and services, drawing national attention to the foundationâ&#x20AC;&#x2122;s critical life-changing work.

1991

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NATALIE COLE

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BONNIE RAITT THE RECORDING ACADEMY

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LESTER COHEN

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1994

GLORIA ESTEFAN

1995

TONY BENNETT THE RECORDING ACADEMY

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1996

QUINCY JONES

1997

PHIL COLLINS LESTER COHEN

THE RECORDING ACADEMY

1999

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1998

LUCIANO PAVAROTTI RON GALELLA LTD./WIREIMAGE.COM

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PAUL SIMON THE RECORDING ACADEMY

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2011

BARBRA STREISAND

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NEIL YOUNG

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2012

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THE RECORDING ACADEMY® TODAY

The Recording Academy’s headquarters in Santa Monica, Calif.

Member Services GRAMMY® Week GRAMMY Museum® MusiCares Foundation® GRAMMY Foundation® Advocacy & Industry Relations The Latin Recording Academy® The Digital Academy GRAMMY Pro® The GRAMMY Awards® Process 190

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Membership And Member Services 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. Voting Members are professionals with creative or technical credits on six commercially released tracks (or their equivalent) or 12 tracks (or their equivalent) released through recognized online music retailers. These may include vocalists, conductors, songwriters, composers, engineers, producers, instrumentalists, arrangers, art directors, album notes writers, narrators, and music video artists and technicians. Associate Members are creative and technical professionals with fewer than the required credits for voting membership eligibility, and other individuals whose careers are focused on music, or who are employees of companies involved in the recording industry, including writers, publishers, attorneys, business managers, artist managers, artist agents, executive producers, music educators, music therapists, and music merchants. Student Members are students enrolled in a college or trade school who are in a music-related field or interested in pursuing a career in music. All student members are part of the GRAMMY University Network (GRAMMY U), The Recording Academy’s college education and career development program.

Programs And Services

The Recording Academy has regional Chapters in 12 cities across the United States. Chapters serve as a direct connection between The Academy and the music community. They conduct educational and professional

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development programs that explore issues and trends in the field of recording not only in their home city but also in the surrounding regions. Additional programs include showcase and networking opportunities, professional development events and discounts for select services and goods. The Academy serves its national membership through these 12 Chapters located in Atlanta, Austin (Texas Chapter), Chicago, Los Angeles, Memphis, Miami (Florida Chapter), Nashville, New York, Philadelphia, San Francisco, Seattle (Pacific Northwest Chapter), and Washington, D.C. GRAMMY U is The Academy’s collegiate education and career development program designed to enhance a student’s academic curriculum by providing access to professionals working in the recording industry today. Through educational and networking events, GRAMMY U provides college students with unique experiences and a working knowledge of a multitude of career paths in the recording and music industries, both performance- and business-based. The Producers & Engineers Wing is a Recording Academy membership division created to serve the needs of producers, engineers, remixers, manufacturers, technologists, and other related music-recording professionals. A network with more than 6,000 members, the P&E Wing comprises experts whose work spans all genres, regions and styles. As a powerful, organized voice for the creative and technical recording community, P&E Wing members address critical issues that impact the art and craft of recorded music. Sound quality, development of new technologies, technical best practices, education in the recording arts, and advocacy for the rights of music creators are all part of the P&E Wing mix. As advocates on behalf of its membership, The Academy works with Congress and federal agencies and is active throughout the country, utilizing its membership to advance artists’ rights. The Academy’s annual GRAMMYs on

the Hill Advocacy Day is the music community’s only national advocacy day in Washington, D.C., while Chapter events across America bring legislators, artists and music industry leaders to the membership through panel discussions and GRAMMY Town Halls. In 2005 The Academy launched GRAMMY, a digital 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 launched GRAMMY Pro, a new member benefit providing tools to help members grow in their careers creatively and technically. GRAMMY Pro’s dedicated website, www.grammypro.com, features an exclusive library of video and editorial content exploring the industry and the craft of music. Through the website, Academy members are 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.grammypro.com. Learn more about GRAMMY Pro on page 208.

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With GRAMMY Week, The Recording Academy produces 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.

Recording Academy President’s Merit Award recipient Neil Young speaks at the Producers & Engineers Wing GRAMMY Week celebration in his honor on Jan. 21, 2014

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 on which The Academy teams 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 honoree. 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 194

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. The GRAMMY Camp — Basic Training program provides hundreds of high school students with the opportunity to learn under the direction of teachers based on careers-in-music lesson plans developed in partnership with the USC Thornton School of Music. Additionally, music industry professionals visit with participating schools to share insights and provide valuable career advice. The program culminates at GRAMMY In The Schools Live!, a celebration of music and education that showcases the activities of the GRAMMY Foundation through performances from young program participants with special guest artists. The fundraising concert supports a wide range of GRAMMY in the Schools music education programs for high school students and schools. Members of GRAMMY Camp — Jazz Session, comprising 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. 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.

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GRAMMY® Week

Jennifer Hudson and Pharrell Williams perform at Clive Davis’ and The Recording Academy’s Pre-GRAMMY Gala on Jan. 25, 2014

The event honors individuals (the most recent honorees include Carole King, Bruce Springsteen, Paul McCartney, and Barbra Streisand) 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 sixth 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 technology with GRAMMY Connect. Finally, the week ends with the GRAMMY Awards Premiere Ceremony, GRAMMY Awards telecast and the GRAMMY Celebration after-party, a glamorous post-show affair. It’s an entire day of celebrating not just the 57th Annual GRAMMY Awards nominees and recipients, but also the spirit and importance of music in everyone’s lives. 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.

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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 fourstory, 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 AEG, 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 that explore GRAMMYwinning music, the Museum is also home to the Clive Davis Theater, an intimate 200-seat venue. 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 196

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; John Lennon, Songwriter; and Whitney! Celebrating The Musical Legacy Of Whitney Houston. The Museum’s more recent exhibits include Blue Note Records: The Finest In Jazz; Ringo: Peace & Love; Cheap Trick: I Want You To Want Me!; California Dreamin’: The Sounds Of Laurel Canyon, 1965–1977; Donna Summer: Four Seasons Of Love; Pride & Joy: The Texas Blues Of Stevie Ray Vaughan; and the Taylor Swift Experience. The GRAMMY Museum also hosts a wide range of public programs in the Clive Davis Theater, including artist interviews, live performances, film series, lectures, continuing education classes, and more. The past year has seen an exciting lineup of critically acclaimed programs with Black Sabbath, Carlene Carter, Alice Cooper, Dirty Vegas, Al Jarreau, La Santa Cecilia, Lang Lang, Nils Lofgren, Martina McBride, Graham Nash, St. Vincent, and Dionne Warwick, 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

Courtesy of GRAMMY Museum

GRAMMY Museum®

enrich the Museum experience for all ages. In 2012 the GRAMMY Museum launched the Music Revolution Project, a program that offers talented youth the opportunity to engage in musical discourse and performance with their peers. To celebrate the intersection of music and education, the Museum hosted its inaugural Jane Ortner Education Award Luncheon on July 16, 2014, featuring keynote speaker Michelle Obama and award recipients Janelle Monáe and Southern California educator Sunshine Cavalluzzi. In June 2013 a groundbreaking ceremony took place for the GRAMMY Museum Mississippi in Cleveland, Miss. Expected to open this fall, the 20,000-plus-square-foot facility is intended to be the most technologically advanced musicthemed museum in the world. Membership dues and donations support the Museum’s public and educational programs as well as maintain the Museum’s cuttingedge 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.

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MusiCares Foundation® The Mission

Established in 1989 by The Recording Academy, MusiCares provides 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

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).

Healthy Essentials Services

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 is helping music professionals understand medical insurance options available under the Affordable Care Act.

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Addiction Recovery

2014 MusiCares Person of the Year Carole King

and services are designed to meet the specific needs of its constituents. Last year MusiCares distributed more than $3.6 million in direct financial assistance to thousands who needed help.

Emergency Financial Assistance Program

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 198

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, supported by the Bohemian Foundation, offer a support network to those in recovery while they are participating 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. MusiCares and the GRAMMY Foundation hold an annual Teens Make Music Contest in conjunction

with the Partnership at DrugFree.org, which invites teen musicians to create songs or videos about the importance of healthy choices and the dangers of drug abuse. The contest is open to young musicians ages 14‒18, and the first-place winner receives two tickets to the GRAMMY Awards.

Person Of The Year Tribute

The annual MusiCares Person of the Year tribute dinner, now in its 25th year, takes 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 2015 honoree is Bob Dylan; the previous honorees are Tony Bennett, Bono, Natalie Cole, Phil Collins, David Crosby, Neil Diamond, Gloria Estefan, Aretha Franklin, Don Henley, Billy Joel, Elton John, Quincy Jones, Carole King, Paul McCartney, Luciano Pavarotti, Bonnie Raitt, Paul Simon, Bruce Springsteen, Sting, Barbra Streisand, James Taylor, Brian Wilson, Stevie Wonder, and Neil Young.

How Can I Help?

Your help is more important now than ever. 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 through various partners, including Charitybuzz, eBay, Julien’s Auctions, and Prizeo.

To learn more about MusiCares’ programs and services, visit www.musicares.org or call 310.392.3777.

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The GRAMMY Foundation was established in 1988 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.

Education Programs

Under the banner of GRAMMY in the Schools, the GRAMMY Foundation achieves its goals in music education through programs that bring students together with working professionals for “real-life” exchanges of information and inspiration; and recognizing excellence in musical achievement nationwide among individual students, teachers and school music programs. GRAMMY In The Schools Live! is a special concert event presented each year during GRAMMY Week to showcase these programs. GRAMMY Camp is a residential summer camp for high school students with a focus on the many careers in the music industry. In 2014 GRAMMY Camp was presented in Los Angeles, New York and Nashville, Tenn., and, for the first time, St. Paul, Minn. GRAMMY Camp — Weekend, a two-day nonresidential music industry experience, was held in Chicago, Miami, Minneapolis, and San Antonio. GRAMMY Camp — Basic Training is a program that brings music industry professionals together with high school students to give them an introductory look into the many careers available in the music industry. GRAMMY Camp — Jazz Session selects top high school instrumentalists and singers to form a band, choir and combo. They receive an all-expenses-paid trip to Los Angeles during GRAMMY Week to 200

perform at GRAMMY-related events, record an album, and attend the GRAMMY Awards. Qualified Jazz Session members will share approximately $2 million in scholarships from our college partners annually. 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’s Music Educator Award recognizes current educators who are making a significant and lasting contribution to the field of music education. The first-ever recipient was Kent Knappenberger of Westfield Academy and Central School in Westfield, N.Y.

Preservation & Advancement 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. Moving into its 17th year, ELI has awarded more than $170,000 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

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GRAMMY Foundation®

J.D. Souther and Joy Williams perform at the GRAMMY Foundation Legacy Concert on Jan. 23, 2014

$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 available for research and educational purposes. To date, the Foundation has completed more than 200 interviews with artists, producers, executives, and technology pioneers. The GRAMMY Foundation continues to partner with organizations and archives to preserve and feature historic music performances and materials. Entering its 17th 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, 400 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 through various partners, including Charitybuzz, eBay, Julien’s Auctions, and Prizeo. For more information on the GRAMMY Foundation, visit www.grammyfoundation.org. For more information on its education programs, visit www.grammyintheschools.com.

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PEPSI, the Pepsi Globe, LIVE FOR NOW and OUT OF THE BLUE are trademarks of PepsiCo, Inc.

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Advocacy & Industry Relations

Lady Antebellum’s Hillary Scott (second from right) and Charles Kelley (far right) perform the group’s “Compass” with help from members of Congress, including (from left) Reps. Steny Hoyer (D-Md.), Adam Schiff (D-Calif.), Blake Farenthold (R-Texas), Kevin McCarthy (R-Calif.), and Doug LaMalfa (R-Calif.), among others, at the GRAMMYs on the Hill Awards on April 2, 2014

Mission The only membership organization representing all types of music creators, The Recording Academy was dubbed the “supersized musicians lobby” by Congressional Quarterly. The Academy’s Advocacy & Industry Relations office in Washington, D.C., partners with Academy members from across the country to present a powerful lobbying corps for music creators’ rights. From congressional hearing testimony by Academy witnesses to online advocacy tools to the music community’s only annual grassroots advocacy day, The Academy’s Advocacy initiatives ensure that the music community’s point of view is heard by policymakers on Capitol Hill and in the White House. The Recording Academy protects the rights of music makers and advances their interests on important policy matters through advocacy, education and dialogue. Programs include:

Advocacy • GRAMMYs On The Hill Awards And Advocacy Day This two-day event in Washington brings together Academy members, lawmakers and music industry professionals for an awards ceremony honoring music creators and legislators who have improved the environment for music, followed by a grassroots lobby day during which Academy 202

Neil Portnow testifies at the House Judiciary Committee’s Subcommittee on Courts, Intellectual Property and the Internet hearing “Music Licensing Under Title 17 Part One” on June 10, 2014

members meet with their members of Congress on Capitol Hill • Congressional Testimony Numerous Recording Academy leaders have served as expert witnesses before key congressional hearings determining music policy. Most recently, Recording Academy President/CEO Neil Portnow testified in favor of a bill to address fair pay for all music creators across all platforms. Others who have testified recently include GRAMMY-winning composer and New York Chapter Board member Maria Schneider and former Academy Chair Jimmy Jam • Congressional Caucus The Recording Academy works closely with the Recording Arts and Sciences Congressional Caucus, co-chaired by House Majority Leader Rep. Kevin McCarthy (R-Calif.) and Democratic Whip Rep. Steny Hoyer (D-Md.) • 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, including the recently launched GRAMMYs In My District, a grassroots lobbying initiative in all 50 states

Education • Advocacy Year In Review This annual publication serves as a roundup of the year’s Advocacy & 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) •O nline 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), as well as a new GRAMMY Advocacy app, Academy members receive real-time updates on policy matters • 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

Dialogue • GRAMMY Industry Roundtable A series bringing together policy leaders and music professionals to discuss critical issues in a private, off-the-record setting • GRAMMY Town Hall A series of congressional briefings to educate Academy members on key policy matters. Recent town halls have featured Rep. Judy Chu (D-Calif.), co-chair of the Congressional Creative Rights Caucus, House Majority Leader Rep. Kevin McCarthy (R-Calif.) and Rep. Joe Crowley (D-N.Y.) • Music Leaders Retreat A semiannual retreat for leaders of every major music association. Co-founded 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 For more information about Advocacy & Industry Relations at The Recording Academy, visit www.grammy.org/advocacy.

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GRAMMY速, GRAMMY Awards速 and the gramophone logo are registered trademarks of The Recording Academy速 and are used under license 息2015 The Recording Academy

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THE Latin Recording Academy® ®

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In 2014 The Latin Recording Academy celebrated a milestone, its 15th 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 conducts outreach initiatives through educational and other events in cities such as Sao Paulo; Mexico City; Bogotá, Colombia; San Juan, Puerto Rico; Buenos Aires, Argentina; 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 15th Latin GRAMMY telecast. The Board members drive the organization’s efforts in staging the annual Latin GRAMMY Awards and many ancillary events while fulfilling The Latin Academy’s mission. The Latin GRAMMY Awards aims to recognize artistic and technical excellence, not sales figures or chart positions, and the nominees and respective winners

Calle 13’s Residente performs at the 15th Annual Latin GRAMMY Awards

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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 and creating a greater public awareness of the cultural diversity of Latin music genres, artists and creators, both domestically and internationally. The nominees and winners are chosen through a process that is similar to the GRAMMY Awards, with a few subtle but important differences: membership and voting are international, the eligible releases can be issued both inside and outside the United States and the recordings are primarily in Spanish or Portuguese. The Latin GRAMMYs, the highest profile celebration of Latin music culture, was the first primetime English-, Spanish- and Portugueselanguage telecast on U.S. television. The show is also aired in 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 an audience of more than 75 million with the best in Latin music. Culminating a week full of Latin GRAMMY-related events, the 15th Latin GRAMMY Awards telecast aired on the Univision Network live for the first time from the MGM Grand Garden Arena in Las Vegas. Nearly 10 million viewers tuned in to all or part of the live three-hour 15th anniversary broadcast. The telecast also delivered an average audience of 4.8 million total viewers 2+, 2.6 million adults 18–49 and 1.3 million adults 18–34, and positioned Univision as the No. 2 broadcast network for the entire night among adults 18–34. Additionally, the telecast ranked as the No. 2 social TV broadcast of the entire night based on the number of unique tweets. The Latin Academy continued another long-standing tradition when Joan Manuel Serrat was celebrated as the 2014 Latin Recording Academy Person of the Year. The Latin Recording Academy also recognized the impressive

long-lasting careers of Willy Chirino, César Costa, Carlos Do Carmo, Dúo Dinámico, Los Lobos, Valeria Lynch, and Ney Matogrosso as 2014 Lifetime Achievement Award recipients; and André Midani and Juan Vicente Torrealba as 2014 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 in 2014. Additional efforts included educational sessions in the United States, Mexico, Perú, Puerto Rico, and Buenos Aires, Argentina, and the Latin GRAMMY Acoustic Sessions, which were held in Los Angeles, Miami, New York, Dallas, Chicago, and Lima, Peru. As an extension of these efforts, in 2014 The Latin Recording Academy, with the support of The Recording Academy, announced the creation of the Latin GRAMMY Cultural Foundation as a means to further awareness and appreciation of the significant contributions of Latin music and its creators through scholarships, fellowships, grants, and educational programs. LatinGRAMMY.com continues to be the preferred communication tool with members, media and Latin music fans. The Latin GRAMMYs’ Twitter account has more than 2 million followers and the organization’s presence on Facebook provides a connection for more than 375,000 constituents. The active, generous and selfless participation of The Latin Recording Academy’s Trustees, various ad hoc committees and active 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 Latin 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.

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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 continue to expand 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 is an engaging destination celebrating music and its cultural impact that connects with music fans in an accessible and conversational voice. And with the launch of www.grammypro.com, the online component of the new GRAMMY Pro initiative (see page 208), GRAMMY websites continue to provide a 24/7 connection for all Recording Academy members. For the 57th GRAMMY Awards, GRAMMY.com offered more video, more photos, and a more live and interactive “second-screen” GRAMMY experience than ever before. For the sixth year, The Recording Academy presented GRAMMY Live — a live video stream of GRAMMY activities that included a live webcast of the GRAMMY Awards Premiere Ceremony and special behindthe-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 during the Premiere Ceremony, and until 2008 the presentation was only available to those in attendance. Social engagement, live event coverage, real-time video, photo uploads, and a GRAMMY Awards live-blog enhanced the lively GRAMMY dialogue on the site. The mobile-optimized GRAMMY.com accommodated the nearly 50 percent of visitors who access 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 206

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 56th GRAMMY Awards generating 34 million combined social media interactions, marking television’s biggest social event at the time. The GRAMMY Pro website provides Academy members with exclusive professional development video and articles, easy online membership management tools and a new-andimproved members-only social network where they can share, connect and learn from one another. All Academy members can access the website for unique content and post status updates as well as audio, video, photos, and more. For 2015 The Academy once again launched GRAMMY Amplifier presented by Hyundai. 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 ambassadors. Year-round, GRAMMY.com offers music fans a rich destination to explore the music and artists who are impacting the culture through a variety of content types, including performance video, interviews and more. GRAMMY.org is 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. The Academy also continues 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. The Academy is continually innovating its digital initiatives for the best engagement and communication with music fans and Academy members.

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BEHIND EVERY GRAMMY® WINNING ARTIST. (ALSO IN FRONT AND TO THE SIDE.)

JBL, AN OFFICIAL PARTNER OF THE 57TH ANNUAL GRAMMY AWARDS®. THE SOUND THAT ROCKS THE GRAMMY AWARDS® CAN ROCK YOUR HOME EVERY NIGHT.

HEADPHONES • PORTABLE SPEAKERS • HOME AUDIO • JBL.COM

©2015 HARMAN International Industries, Incorporated. All rights reserved. JBL is a trademark of HARMAN International Industries, Incorporated, registered in the United States and/or other countries. Features, specifications and appearance are subject to change without notice. GRAMMY®, GRAMMY Awards® and the gramophone logo are registered trademarks of The Recording Academy ® and are used under license. ©2015 The Recording Academy.

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GRAMMY Pro®

GRAMMY Pro is The Recording Academy’s new 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 offers 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 members-only website, www.grammypro.com, gives Academy members 24/7 access to exclusive online content. The website features a library of videos and articles exploring the business and craft behind music. Quick 208

tutorials provide tips and techniques from industry veterans while in-depth interviews with professionals from various backgrounds 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 are among the array of topics covered through the site. In addition, coverage of professional development events presented by The Recording Academy’s 12 Chapters bring local programming directly to members nationwide. The website also serves as members’ gateway to the GRAMMY Awards process with links to balloting and telecast ticket information, as well as an online listening function; a one-stop shop for membership management, allowing for easy sign-ups and

renewals; one-click access to Member Services staff; and 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 on-demand resources via the new website, GRAMMY Pro has expanded into live-streamed programming with a range of new professional development offerings, including up-close-and-personal conversations, engaging presentations and a variety of activities to serve Recording Academy members of all backgrounds and experience levels.

For more information, please visit www.grammypro.com.

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速

worldarts.com

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GRAMMY Awards® Process The GRAMMY Awards process is complex and involved. Each entry is subjected to verification, screening and multilevel nominating procedures that ensure fairness and integrity. From early July through August each year, The Recording Academy receives approximately 20,000 entries, which are processed and verified by Academy staff for eligibility. Each fall, at the annual GRAMMY Awards screening meetings, hundreds of music experts from around the country gather in Los Angeles to screen entries for placement into their appropriate categories. These screening meetings are one of the many vital steps in the complete GRAMMY Awards process. Over a two-week period, The Recording Academy hosts individual screening meetings comprised of panels of volunteer Field experts. The genres include Alternative, American Roots Music, Children’s, Classical, Country, Dance/Electronic, Gospel/Contemporary Christian Music, Jazz, Latin, Metal, Music For Visual Media, New Age, Pop, R&B, Rap, Reggae, Regional Roots Music, Rock, Traditional Pop, and World Music. During the screening process, a great deal of care is taken to ensure that each entry has been fully vetted, discussed and placed into its appropriate category. Once the screening process is completed, the entry list is created and sent with the first ballot to all voting members of The Recording Academy. In addition, 25 craft committees with experts in the fields of packaging, album notes, historical, surround sound, remixing, composing/arranging, producing, and engineering meet to determine the nominees in these categories. When the first ballot has closed, the initial results are tallied by The Recording Academy’s independent accounting firm and the nominations list is created. This list is determined by the first-round vote of Academy voting members in good standing. In some categories, the top five nominees are determined by this vote. In other specialized genre categories — such as jazz, classical and American roots — the 210

initial list is brought down to the top 15 to 30 vote recipients in each category, then voted on by special national nomination review committees — by genre — comprising voting members from all of The Academy’s Chapter cities and approved by the National Board of Trustees. These committees, much like the screening committees, gather for multiday meetings to determine the top five nominees in each category. The vote is by secret ballot and the votes are, once again, tabulated by our independent accounting firm. The top five vote recipients in each category become the nominees in those categories. The nominations are generally announced in early December.

Approximately two weeks later, final ballots are sent to the voting members of The Academy, who select the GRAMMY winners. The accounting firm once again tabulates the votes, and the sealed results are opened for the first time during the GRAMMY telecast and GRAMMY Awards Premiere Ceremony. A group of specialists representing every genre of music meets in April to determine the necessity, integrity and feasibility of Awards-related proposals submitted throughout the year. Any proposals approved by The Recording Academy’s Board of Trustees will be implemented immediately for the upcoming Awards year.

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We Applaud THIS YEAR’S GRAMMY® AWARD

Winners & Nominees ®

PEOPLE® IS PROUD TO BE THE EXCLUSIVE MAGAZINE PARTNER OF THE GRAMMY®S AND THE RECORDING ACADEMY®

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The Recording Academy速 Executive Staff

NEIL PORTNOW PRESIDENT/CEO

NEDA AZARFAR

VICE PRESIDENT, MARKETING COMMUNICATIONS

DARYL P. FRIEDMAN CHIEF ADVOCACY & INDUSTRY RELATIONS OFFICER

BRANDEN CHAPMAN EXECUTIVE IN CHARGE OF PRODUCTION & CHIEF BUSINESS DEVELOPMENT OFFICER

GAETANO FRIZZI

WAYNE ZAHNER

CHIEF FINANCIAL OFFICER

BARB DEHGAN

RICK ENGDAHL

BILL FREIMUTH

VICE PRESIDENT, ARTIST RELATIONS & CORPORATE COMMUNICATIONS

CHIEF INFORMATION OFFICER

SENIOR VICE PRESIDENT, AWARDS

NANCY SHAPIRO

CHIEF HUMAN RESOURCES OFFICER

CHIEF MARKETING OFFICER

EVAN GREENE

DAVID KONJOYAN

KRISTEN MADSEN

SCOTT GOLDMAN

DANA TOMARKEN

VICE PRESIDENT, CREATIVE SERVICES

SENIOR VICE PRESIDENT, MEMBER SERVICES

MusiCares and GRAMMY Foundations

SENIOR VICE PRESIDENT

VICE PRESIDENT

JUDY WONG

VICE PRESIDENT, FINANCE

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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Gramm

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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

KEN ABDO

PETER ASHER

LARRY BATISTE

JENNIFER BLAKEMAN

MAURETTE BROWN CLARK

HELEN BRUNER

BRANDON BUSH

MIKE CLINK

BETH COHEN

LINDA LORENCE CRITELLI

SHEILA E.

SUE ENNIS

FLETCHER FOSTER

CHICAGO

PHILADELPHIA

LOS ANGELES

ATLANTA

SAN FRANCISCO

LOS ANGELES

NEW YORK

FLORIDA

WASHINGTON, D.C.

LOS ANGELES

PACIFIC NORTHWEST

NASHVILLE

BILL GIBSON

PACIFIC NORTHWEST

NEW YORK

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The Recording Academy®

National Trustee Officers And Trustees Trustees

MALCOLM HARPER JR.

ANNE HARRIS

TERRY HEMMINGS

DANIEL HILL

TAMMY HURT

DAVID IVORY

SCOTT JACOBY

ERIC JARVIS

JOHNNY K

MIKE KNOBLOCH

CHANDRA LAPLUME

RUBY MARCHAND

KITTY MARGOLIS

SUSAN MARSHALL

HARVEY MASON JR.

DAVID MASSEY

LANA “MC LYTE” MOORER

KUROSH NASSERI

NICKI RICHARDS

MICHAEL ROMANOWSKI

GILBERT VELASQUEZ

CHRIS WALDEN

DAN WARNER

TEXAS

PHILADELPHIA

NASHVILLE

NEW YORK

CHICAGO

NEW YORK

NASHVILLE

TEXAS

SAN FRANCISCO

WASHINGTON, D.C.

NASHVILLE

CHICAGO

MEMPHIS

NEW YORK

ATLANTA

LOS ANGELES

SAN FRANCISCO

LOS ANGELES

KEN SHEPHERD MEMPHIS

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TEXAS

LOS ANGELES

FLORIDA

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rs embe m d n a ficers les, CA), f o e d th ) nge ns an 7 (Los A York City a i c i s 4 of Mu IL), Local 802 (New eir n o i t l a th eder Chicago, and Loca bers on s. F n a , d 8( em meric awar , TN) 0-20 ur m s The A f Local 1 (Nashville atulate o tions and work ies. d e r d a o r g n i ® om con l 257 reco y compan e s o Loca proudly AMMY n tor wh GR tists for signa r a e 57th rd hos ate t who reco l u t a ongr ians lso c y music a e b W orted p p u are s

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

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NATIONAL STAFF Thank You To The Dedicated Staff Of The Recording Academy EXECUTIVE STAFF Neda Azarfar Branden Chapman Barb Dehgan Rick Engdahl Bill Freimuth Daryl P. Friedman Gaetano Frizzi Evan Greene David Konjoyan Neil Portnow Nancy Shapiro Wayne Zahner

ADVOCACY & INDUSTRY RELATIONS Janine Coveney Todd Dupler Crystal Hypolite

CREATIVE SERVICES Kiana Butler Crystal Larsen Tim McPhate Philip Merrill Iman Saadat Woodley

DIGITAL MEDIA Rachel Bailin Kevin Colligan Frances Inomata Aaron Pecson AJ Roach Frank San Filippo Adrian Tosh

EXECUTIVE OFFICE

ARTIST RELATIONS & CORPORATE COMMUNICATIONS

Vicky Hofmann Claudine Little Laura Sibigtroth

Andie Cox Evangeline Ignacio

FACILITIES & OPERATIONS

AWARDS Michael Almanza Joanna Chu Brian Clasby Nick Di Fruscia Jennie Freeburg Lisa Goich-Andreadis Jeriel Johnson Angela Jollivette Marina Martinez Tracy McKee Marc Mutnansky Sean Riley Tahsan Scott Julie Smith Mary Stewart Linda Wilvang

BUSINESS AFFAIRS Ali Arenberg Eric Burnett Miranda Eggleston Jaimie Jenkins Sonja Jernigan Daniel Lopez Alan Matkovic Ann Meckelborg Todd Parker Lani Simmons

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Michael Sticka Charlotte Williams

Jose Cardenas Jr. Brian Klinsport Troy Lillestol Esperanza Ramirez Tim Whalen

HUMAN RESOURCES & DEVELOPMENT Stacey Adams Shonda Grant Lila Mayes

INFORMATION TECHNOLOGY David Mar Joseph Melendez Kiyumi Nishida Stephen Salazar Justin Shover Jonathan Tol Neal Youn

MARKETING & STRATEGIC ALLIANCES Jasmin Alejandrez Jim Cannella Shumetris Halford Andrew Hinze Ben Lamb Adrienne Reed Kourtney Richard

MARKETING COMMUNICATIONS Lindsay Gabler Lourdes Lopez Patton Stephanie Schell Lillestol Jerry Sharell Louis Vazquez

MEDIA PRODUCTIONS Paul Madeira Hillary Melin Scott Petersen

MEMBER SERVICES Rob Accatino Christee Albino Jessica Allen Stacy Anderson Rachel Aron Lyn Aurelius Grace Baca Erin Baxter Deston Bennett Jodie Blum Nicole Brown Michele Caplinger Jamieson Chandler Wendi Cherry Marta Clark Ashley Coleman Michael Compton Lacy Cowden Laura Crawford Neil Crilly Kayenecha Daugherty Maureen Droney Ashley Ernst Virginia Faddy Yvonne Faison John Farrey Brian Fox Annika Frank Sara Furrer Jenna Goode

Frank Guillen Tera Healy Shannon Herber Nate Hertweck Brittany Hoover Jon Hornyak Sarah Jansen Theresa Jenkins Andrea Jones Candace Jones Maurice Kalous Leah LaRocco Christen McFarland Daniel Mendoza Brittany Presley Kelley Purcell Nathan Pyle Paul Raksit Laura Rodriguez Mark Schulz Laura Segura Mueller Ashley Sheehan Bri Stewart Susan Stewart Alicia Warwick Reid Wick Michael Winger Candice Yang Matthew Young Lisa Zahn Alexa Zaske

PRODUCTION & BUSINESS DEVELOPMENT Adrian Diaz Fabrizio Fajardo Casey Immoor Nora Luna Leigha Nettleton Rex Supa Clay Upton

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NORWEGIANS ROCK ON. Shake it off on board Miami’s Ultimate Ship™, Norwegian Getaway, sailing year-round to the Caribbean. Bask in the spotlight inside or outside along The Waterfront at the first-ever GRAMMY® Experience at Sea, featuring live musical performances by past GRAMMY winners and nominees. Or enjoy an exclusive GRAMMY exhibit, featuring artifacts chosen and curated by the GRAMMY Museum at L.A. Live. Get ready to Cruise Like a Norwegian®.

GETAWAY.NCL.COM

OFFICIAL CRUISE LINE PARTNER OF THE GRAMMY AWARDS ®

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Foundations STAFF And BOARDS EXECUTIVE STAFF

COMMUNICATIONS

Scott Goldman Kristen Madsen Dana Tomarken Judy Wong

Hannah Berryman Christina Cassidy

Loren Fishbein Kristen Jennings LaShon Malone VanAn Tranchi

Renee Jones

BUSINESS AFFAIRS

EDUCATION

Ryan Donahue Carol Flores Roger Tang Kathy Tran

GRAMMY Foundation Board of Directors

MusiCares Foundation Board of Directors

EVENTS

DEVELOPMENT

ADMINISTRATION

Dawn Coraci Joseph Langford Julie Mutnansky PRESIDENT/CEO

VICE CHAIR

Neil Portnow

Geoff Cottrill

HONORARY CHAIR

SECRETARY/TREASURER

Ryan Seacrest

Rachna Bhasin

CHAIR

CHAIR EMERITUS

Tim Bucher

Rusty Rueff

PRESIDENT/CEO

SECRETARY/TREASURER

Neil Portnow

Arnie Herrmann

CHAIR

CHAIR EMERITUS

Bill Silva

Scott Pascucci

Stefanie Curtiss Shireen Janti Reid Erica Krusen Jennifer Leff Nicole Oliva Harold Owens Anita Ramsarup

Thomas Piland David Sears

Marisela Huerta Dorit Kalev Dina Prentiss Wynnie Wynn

HEALTH & HUMAN SERVICES

PROGRAMS & EVENTS

Danielle Bowker Brett Bryngelson Debbie Carroll

VICE CHAIR

Alexandra Patsavas

Kate Allen Kelly Darr Kellyn Robison

Christine Albert Pamela Alexander Darrell Brown Troy Carter Dan Cherry

Ethiopia Habtemariam John Hamm Amanda Marks Jeanne Meyer Elizabeth Moody

Greg "Stryke" Chin David Dorn George J. Flanigen IV

David Webster will.i.am

Christine Albert John Burk Rod Essig Pete Fisher Susan Genco Jody Gerson Olivia Harrison James Higa

Mike Knobloch Kevin Lyman Michael McDonald Alissa Pollack Kirdis Postelle Scott Powell, M.D. Stasia Washington

Latin Recording Academy Staff And Boards EXECUTIVE STAFF

BUSINESS AFFAIRS

EXECUTIVE OFFICE

Gabriel Abaroa Jr. Davina Aryeh Luis Dousdebes Aida Scorza

Karine Bello

Grace Santa-Ana

BUSINESS DEVELOPMENT

MEMBER SERVICES

AWARDS Diana Alvarado Uziel Colon Claudia Santos

Latin Recording Academy Board of Trustees

EXECUTIVE COMMITTEE CHAIR

Laura Tesoriero VICE CHAIRMAN

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Melanie Garcia Caitlin Marino

Lina Borda Livys Cerna Bernarda Reyes

DIGITAL MEDIA

LATIN GRAMMY CULTURAL FOUNDATION EXECUTIVE STAFF

Manolo Diaz ADMINISTRATION

Nannette Velez

Adriano Haubenthal Nicolette Neves

TREASURER

Luis Villanueva Neil Portnow TRUSTEES

Christine Albert Marcelo Castello Branco Fernando Barbosa Mary Black-Suarez SECRETARY Antonio “Moogie” Canazio Johnny Ventura

TRUSTEE AD HONOREM George J. Flanigen IV Andy Garcia Maria Cristina Garcia-Cepeda Oscar Gomez LEGAL COUNSEL Sebastian Krys Jorge Hernandez-Torano Terry Lickona Joel Katz Cris Morena Bobby Rosenbloum CHAIRMAN EMERITUS

Luis Cobos

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Chapter Boards And Staff East Region

REGIONAL DIRECTOR

Chicago

New York

Philadelphia

Washington, D.C.

Matthew Hennessy

David Frost

Ivan Barias

Tom Goldfogle

CHAPTER BOARD

Ken Abdo Anne Harris Johnny K

Jennifer Blakeman Linda Lorence Critelli Scott Jacoby Ruby Marchand David Massey Nicki Richards

Helen Bruner David Ivory

Maurette Brown Clark Kurosh Nasseri

TRUSTEES

PRESIDENT

Matthew Hennessy

VICE PRESIDENT

Justin Roberts

SECRETARY

Bonny Dolan

GOVERNORS

Ken Abdo Ruben P. Alvarez Andrew Barber William Beckett Chris Catalano Jimmy Chamberlin Brian Deck Michael Freeman Mr. Steven R. Gillis Kelly Hogan Mark Hubbard Stephen Hutton Daryl Jones Kem Phil Kosch Andre Mayon Mary Mazurek Gabe McDonough Daxx Nielsen Jessica Reedy Justin Roberts Manny Sanchez Matthew Skoller Terry Stewart John Stirratt Larry Sturm Andrea Troolin Paul Wertico Miss Alex White Malik Yusef

ADVISORS

Andrae Ambrose Dessa Wander

CHAPTER STAFF EXECUTIVE DIRECTOR

Sarah Jansen

MEMBERSHIP MANAGER

Maurice Kalous

Tera Healy

PRODUCTION MANAGER

Ashley Sheehan

TRUSTEES

PRESIDENT

David Frost

VICE PRESIDENT

Ben Allison

SECRETARY

Joe D’Ambrosio

GOVERNORS

Ben Allison Carlos Alomar David Caddick Tom Chapin Norman Chesky Joe D’Ambrosio Lauren Davis Charlie Feldman David Frost Pete Ganbarg Gloria Gaynor Sharon Isbin Bashiri Johnson Claude Kelly Emily Lazar Jeff Levenson Ann Mincieli Jason Moran Cathleen Murphy Ted Nash Arturo O’Farrill Deirdre O’Hara Matt Pinfield Billy Porter Neeta Ragoowansi Nile Rodgers Elliot Scheiner Ryan Shaw Duncan Sheik Karen Sherry Justin “Just Blaze” Smith

Kathy Sommer Richard Stumpf Sharon Tapper Andy Tavel Judy Tint Darryl Tookes Philip Traugott Debra White Lenny White ADVISORS

Robert Glasper Claude Zdanow

CHAPTER STAFF SENIOR PROJECT MANAGER

Lisa Zahn

MANAGER, CHAPTER ADMINISTRATIVE OPERATIONS

Stacy M. Anderson

ADMINISTRATIVE ASSISTANT

Brittany Presley

TRUSTEES

ADMINISTRATIVE ASSISTANT, EAST REGION/NEW YORK CHAPTER

Matt Young

TRUSTEES

PRESIDENT

VICE PRESIDENT

SECRETARY

GOVERNORS

Ivan Barias Ryan Schwabe Matt Cappy Ivan Barias Glenn Barratt Marcus Baylor Adam Blackstone Matt Cappy Sarah Dash Louis deLise Gloria Domina Sarah Janiszewski Terry Jones Lori Landew Melvin Lewis Khari Mateen Ryan Moys Phil Nicolo Kristal Oliver Mutlu Onaral Brandon Pankey Octavius Reid Bernard Resnick Donald Robinson Ritchie Rubini Ryan Schwabe Anne Sciolla Ashley Scott Wendell Sewell Kathy Sledge Jim Thorpe Rodney Whittenberg Dyana Williams

Tom Goldfogle Carolyn Malachi Deborah Bond Diane Blagman Deborah Bond Wayne Bruce Priscilla Clarke Sean Glover Tom Goldfogle Chelsey Green Lorenzo Johnson Nicolas Laget Carolyn Malachi James McKinney Elise Perry Ric Peters Kevin Powe Lita Rosario Omar Sharif Carl “Chucky” Thompson Verny Varela Carl “Kokayi” Walker Janine Wilson

ADVISORS

Phonte Coleman Lora Moinkoff

CHAPTER STAFF EXECUTIVE DIRECTOR

Wendi Cherry

MEMBERSHIP & PROJECT MANAGER

Kayenecha Daugherty

ADVISORS

Michael McArthur Stephanie Seiple

CHAPTER STAFF EXECUTIVE DIRECTOR

Mark Schulz

MEMBERSHIP COORDINATOR

Ashley Coleman

PROJECT COORDINATOR

Jenna Goode

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Chapter Boards And Staff South Region

REGIONAL DIRECTOR

Atlanta

Florida

Memphis

Nashville

Thom “TK” Kidd

Melanie Masterson

Lawrence “Boo” Mitchell

Jeff Balding

CHAPTER BOARD

Brandon Bush Tammy Hurt

Beth Cohen Dan Warner

Susan Marshall Ken Shepherd

Fletcher Foster Terry Hemmings Daniel Hill Chandra LaPlume

TRUSTEES

SENIOR PRODUCTION MANAGER

Lyn Aurelius

TRUSTEES

MANAGER, ADMINISTRATIVE OPERATIONS

Ashley Ernst

TRUSTEES

PRESIDENT

VICE PRESIDENT

PRESIDENT

SECRETARY

VICE PRESIDENT

GOVERNORS

SECRETARY

Thom “TK” Kidd Matt Still

Mala Sharma Tai Anderson Charlie Brusco Brandon Bush Kristian Bush Dot Bustelo Steve Dancz Richard Dunn Diane Durrett Jorel “Jfly” Flynn Wes Funderburk Michael Graves Gwen Hughes Billy Johnson Peggy Still Johnson Scott Keniley Kevin Leahy Lisa Love Melissa Love Al “Butter” McLean Stephen Moretti Neal Pogue Bradford Rogers Shani Sammons Dr. Lyn Schenbeck Mala Sharma Matt Still Miles Walker Stephanie Wallin Matt Williams Chaka Zulu

ADVISORS

Joe Fitz John Driskell Hopkins

CHAPTER STAFF

SENIOR EXECUTIVE DIRECTOR

Michele Rhea Caplinger

SENIOR MEMBERSHIP & PROJECT MANAGER

Erin Baxter

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Susan Stewart

Melanie Masterson Lee Levin

Lauren Reskin Carlos Alvarez Randy Barlow Daniel Betancourt Gabrielle Bozza Greg “Stryke” Chin Vincent di Pasquale Jimmy Douglass Serona Elton Doug Emery Rene Flores Javier Garza Regina Kelland Gloria Lemmey Radha Mehta Marianne Mijares Boris Milan Veronica “Milcho” Milchorena Tom Morris Ivan Parron Armando “Pitbull” Perez Carlos Perez Julio Reyes Copello Leesa Richards Chris “C-Rod” Rodriguez Andres Saavedra Eric Schilling Elsten Torres Mark Tremonti Peter Wallace Angel Zamora

ADVISORS

Kevin Antunes James Bass

CHAPTER STAFF SENIOR MEMBERSHIP MANAGER

Lawrence “Boo” Mitchell Kim Stephens Erin Frankenheimer

Chris Bell Scott Billington Scott Bomar Lahna Deering Erin Frankenheimer Garry Goin Catrina Guttery D.A. Johnson Kim Bledsoe Lloyd Susan Marshall Jim McCormick Shannon McNally Justin Merrick Johnny Palazzotto Matt Ross-Spang Joel Savoy Lester Snell Jody Stephens Jay Weigel ADVISORS

John “Jdogg” Shaw Rueben Williams

CHAPTER STAFF

SENIOR EXECUTIVE DIRECTOR

Jon Hornyak

SENIOR MEMBERSHIP & PROJECT MANAGER

Reid Wick

Jeff Balding David Corlew Lisa Harless

GOVERNORS

Ruby Amanfu Lori Badgett Jeff Balding Woody Bomar Allen Brown Joanna Carter Clay Cook David Corlew Trey Fanjoy Tim Fink Pete Fisher Fletcher Foster Ben Fowler Tracy Gershon Jeff Hanna Brandon Heath Scott Hendricks Daniel Hill Doug Howard Brett James Allison Brown Jones Julian King Marion Kraft Chandra LaPlume Jim Lauderdale Frank Liddell Martina McBride Daniel Miller Erika Wollam Nichols Robert K. Oermann Tree Paine Nick Palladino LeAnn Phelan Michael Rhodes Leslie Roberts

ADMINISTRATIVE ASSISTANT, SOUTH REGION/NASHVILLE CHAPTER

Nathan Pyle

Scott Robinson Shannon Sanders Victoria Shaw Jon Randall Stewart Alan D. Valentine ADVISORS

Leslie Fram Rod Riley

CHAPTER STAFF EXECUTIVE DIRECTOR

Alicia Warwick

SENIOR MEMBERSHIP COORDINATOR

Laura Crawford

PROJECT COORDINATOR

Courtney White

CHAPTER ASSISTANT

Bri Stewart

Marta Clark

PROJECT MANAGER

Jessica Allen

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Chapter Boards And Staff West Region

REGIONAL DIRECTOR

Neil Crilly

PRODUCTION MANAGER

Paul Raksit

ADMINISTRATIVE ASSISTANT

Alexa Zaske

Rachel Aron

Los Angeles

Pacific Northwest San Francisco

Texas

Mindi Abair

Geoff Ott

Michael Starita

Carlos Alvarez

CHAPTER BOARD

Sue Ennis Bill Gibson

Larry Batiste Kitty Margolis Michael Romanowski

CHAPTER BOARD TRUSTEES

Peter Asher Mike Clink Sheila E. Mike Knobloch Harvey Mason Jr. Lana “MC Lyte” Moorer Chris Walden

PRESIDENT

Mindi Abair

VICE PRESIDENT

Cheryl Pawelski

SECRETARY

Jeff Greenberg

GOVERNORS

Adam Anders John Beasley Evan Bogart Claudia Brant John Burk Ed Cherney Mike Clink Mamie Coleman Qiana Conley Nick Egan Siedah Garrett Wendy Goldstein Jeff Greenberg Lalah Hathaway Rodney Jerkins Booker T. Jones David Jordan Amy Keys Eman Kiriakou James Leach Christopher Lennertz Gavin Lurssen Brian Malouf Susan Markheim Orly Marley Julia Michels Marcus Miller Robin Nixon Ray Parker Jr. Diana Rodriguez Daniel Rojas Harmony Samuels Andrew Sandoval

Rafa Sardina Jason Schweitzer Rachel Stilwell Christopher Tin Jojo Villanueva Tremaine Williams CHAPTER GOODWILL AMBASSADOR

Verdine White

ADVISORS

Aureo Baqueiro Savan Kotecha

CHAPTER STAFF EXECUTIVE DIRECTOR

Kelley Purcell

SENIOR MEMBERSHIP MANAGER

Yvonne Faison

MANAGER, CHAPTER ADMINISTRATIVE OPERATIONS

Nicole Brown

PROJECT MANAGER

Shannon Herber

TRUSTEES

PRESIDENT

Geoff Ott

VICE PRESIDENT

Aaron Starkey

SECRETARY

Christen Greene

GOVERNORS

Tim Bierman Nick Blasko Ishmael Butler Charles R. Cross Bartley Day Tom Dyer Astra Elane Jack Endino Steve Fisk Beth Fleenor Christen Greene Sean Horton Mike Jones Andrew Joslyn Pali Kaaihue Steve Mack Kris Orlowski Edward Pierson Jonathan Plum Christopher Porter Nancy Rumbel David Sabee Portia Sabin Glenn Schick Aaron Starkey Tyler Stone Steve Turnidge Will Wakefield Victoria Wimer Contreras Alan Yamamoto

ADVISORS

Jennifer Petersen Ryan Wines

TRUSTEES

VICE PRESIDENT

SECRETARY

GOVERNORS

Nona Brown Sarah Jones

Nate Anderson Roem Baur Laura Bergmann Tony Brooke Alex Brose Nona Brown Patrick Brown Chris Dugan Frances England David Glasser Cliff Goldmacher Beverly Robin Green Leslie Ann Jones Caren Kelleher Judy Kirschner Camilo Landau Ledisi Kitty Margolis Tom Murphy Piper Payne Nick Phillips Gino Robair Michael Romanowski Lia Rose Tom Shimura aka Lyrics Born Sam Smith Michael Starita Alex Theory Ben Van Houten Wayne Wallace

ADVISORS

Michael Compton

CHAPTER STAFF

MEMBERSHIP & PROJECT MANAGER

EXECUTIVE DIRECTOR

Michael Winger

SENIOR PROJECT MANAGER

Christen Pocock McFarland

MEMBERSHIP MANAGER

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Malcolm Harper Jr. Eric Jarvis Gilbert Velasquez

PRESIDENT

Michael Starita

CHAPTER STAFF EXECUTIVE DIRECTOR

TRUSTEES

PRESIDENT

Bradley Hughes Robbie Percell

John Farrey

226

ADMINISTRATIVE ASSISTANT, WEST REGION/LOS ANGELES CHAPTER

Carlos Alvarez Dan Workman Tamera Bennett David Acosta Chip Adams Jay Boy Adams Rodney Alejandro Carlos Alvarez Ricky Anderson Caroline Burruss Ernest Gonzales Gary Hickinbotham Harvey House Eric Jarvis Daniel Jones Freddie Krc Nick Landis David Messier Paul “Pappy” Middleton Casey Monahan Lisa Morales Laura Mordecai Nakia Donn Nelson Rick Orozco Tim Palmer Dick Reeves Lupe Rosales Joseph Stallone Carl Thiel Alex Trevino Andrea Villarreal Paul Wall

ADVISORS

Abelardo Rivera Mark Stansberry

CHAPTER STAFF

SENIOR EXECUTIVE DIRECTOR

Theresa Jenkins

PROJECT MANAGER

Christee Albino

MEMBERSHIP COORDINATOR

Brittany Hoover

Brian Fox

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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

BILL LOWERY

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

CHAIRMAN/PRESIDENT 1964–1965

IRVING TOWNSEND

WESLEY H. ROSE

CHAIRMAN/PRESIDENT 1969–1971

CHAIRMAN/PRESIDENT 1971–1973

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

GARTH FUNDIS

DANIEL CARLIN

TERRY LICKONA

JIMMY JAM

GEORGE J. FLANIGEN IV

LESLIE ANN JONES CHAIRWOMAN 1999–2001

CHAIRMAN 1987–1989

CHAIRMAN 2001–2003

CHAIRMAN 1991–1993

CHAIRMAN 2003–2005

JAY S. LOWY

NESUHI ERTEGUN

CHAIRMAN/PRESIDENT 1973–1975

CHAIRMAN/PRESIDENT 1985–1987

228

PAUL WESTON

CHAIRMAN/PRESIDENT 1961–1962

CHAIRMAN 1993–1995

CHAIRMAN 2005–2007

CHAIRMAN 1995–1997

CHAIR 2007–2009

CHAIRMAN/PRESIDENT 1983–1985

CHAIRMAN 1997–1999

CHAIR 2009–2013

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WELCOME TO MUSIC’S BIGGEST NIGHT®

57 THE

GRAMMY AWARDS®

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GRAMMY速, GRAMMY Awards速 and the gramophone logo are registered trademarks of The Recording Academy速 and are used under license 息2015 The Recording Academy

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IN MEMORIAM Craig Aaronson

Shirley Temple Black

Matthew Cogley

Go Eun-bi aka EunB

Gary Grimshaw

Claudio Abbado

John Blake Jr.

Paul Colby

Joe Evans

Peter Grosslight

Alberta Adams

Joe Bonner

Michael Coleman

Brian Farmer

John Gustafson

Terry Adkins

Joanne Borgella

Damon Core

Leopoldo Federico

Peter Gutteridge

Victor Agnello

Jerry Boulding

Glenn Cornick

José Feghali

Sheila Guyse

Sharifah Aini

Alex Boyd

Randy Coven

Seymour Ira Feig

Gary Haber

Licia Albanese

Dave Brockie aka Oderus Urungus

Steven Craenmehr

Cheo Feliciano

Jeremy Haberman

Paul Craft

Lionel Ferbos

Amnom “Ami” Hadani

Bob Crewe

Jeff Fletcher

Charlie Haden

Andraé Crouch

Med Flory

George Hamilton IV

Francisco Curiel

Ralph Fontenot

Lawrence Hamilton

Steve Curry

Juan Formell

John Hampton

Ian Cuttler

Xochil Zack Fortune aka Furoche

Bradley Hancock

Gerd Albrecht Johnny Allen Johnny Ray Allen K. Lamar Alsop Peter Amend David Anderle Kenneth Anderson Maya Angelou Dave Appell Paul Ash Scott Asheton Robert Ashley Gil Askey Jonathan Athon

Iola Brubeck Jack Bruce Frans Brüggen Rodney Bryce aka DJ E-Z Rock George Buck Gary Burger Don Burkhimer Mike Burney Yvonne Busch John Cacavas Jackie Cain

Alice Babs

Pedro Pubill Calaf aka Peret

Lauren Bacall

Michael Campbell

Steve Backer

Roy Campbell Jr.

Bob Bailey

Nati Cano

Seymour Barab

Renato Capriles

Amiri Baraka

Milton Cardona

Antonio Morales Barretto aka Junior

Bryan Carlstrom

Claire Barry Simone Battle Ronnie Bedford Franny Beecher Clive Beer-Jones Mark Bell Al Belletto Malik Bendjelloul Joseph “Powda” Bennett Jo Jo Benson Al Berard

Joe Carr

Dick Dale Irene Dalis Pino Daniele Rosejay “Jay” Elizabeth Danna Don Davis Paco De Lucía Lynsey De Paul Manitas De Plata Luc De Vos Rod De’Ath Franz-Paul Decker Ruby Dee Buddy DeFranco Leonard Delaney Cristina Deutekom

Bob Casale

Francesco Di Giacomo

Luis Fernando Muñoz Castro

Dave Diamond Lance Diamond

George James “Buddy” Catlett

Simón Díaz

Gustavo Cerati Anita Cerquetti Micky Champion Ernie Chataway Leee Black Childers Cahron Childs aka JayAre

Little Jimmy Dickens Willie "Popsy" Dixon Mikey Domingo Alan Douglas Kenny Drew Jr.

Van Buren Fowler

Rashad Harden aka DJ Rashad

Claude Frank

Al Harewood

Ian Fraser

George Harper Jr.

Dennis “Fergie” Frederiksen

Tim Hauser

Steven Fromholz Rafael Frühbeck de Burgos John Fry Ed Gagliardi Jim Galloway Herb Geller Nicola Ghiuselev Shane Gibson H.R. Giger

Earl Hayes Richard Hayman Wayne Henderson Larry Henley Alice Herz-Sommer Mario Hess aka Big Glo Gene Hilliard Bob Hine Fred Ho Al “The Bishop” Hobbs

Billy Gilbert

Mabon “Teenie” Hodges

Chakradhar Gilla aka Chakri

Christopher Hogwood Kelly Holland

Brian Roy “Wimpy Roy” Goble

John Holt

Paul Goddard Gerry Goffin Harris Goldsmith Jeff Golub Edith Gonzalez

Tim Drummond

Julio Cesar Segocia Gonzalez

Bobette Dudley

Graeme Goodall Karen Walter Goodwin

Sir George Christie

Antoine Duhamel

Ted Bergmann

Roy Cicala

Frankie Dunlop

Anna Gordy Gaye

Carlo Bergonzi

Raoul J. Cita

Jacen JD Ekstrom

Patrick Gowers

George Berry

Gene Clair

Yosra El-Essawy

Tobias Graf

Bob Bielarz

Johnny “Johnny Too Bad” Elichaoff

Tim Green

Acker Bilk

William “Bunny Rugs” Clarke

Paul Binkley

Jessica Cleaves

Donald Engel

Jerry G. Bishop

Joe Cocker

Martin Erdman

Betty Cody

Maggie Estep

Polly Bergen

236

Michael Brown

Dave Gregg Isaac Greggs Chris Grier

Lucy Hood Jake Hooker Ed Hookstratten Paul Horn Ann Howard Lee Hyla Alexander Ivashkin Henry Jackson aka Big Bank Hank Melvin Jackson Jimi Jamison Stan M. Jay Herb Jeffries Alvin Jett Michael Johns Barbara Jones Warren “Porgy” Jones

57th Annual GRAMMY Awards

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BEST RESORTS. BEST REWARDS. mlife.com Experience M life — the ultimate way to earn rewards for virtually every dollar you spend.

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IN MEMORIAM Ronny Jordan

Johnny Mann

Al Porcino

DJ Father Shaheed

Udo Jürgens

Andrea Marongiu

Sean Potts

Rita Shane

Scott Kalvert

Janis Martin

Ralph Pruitt

Kevin Sharp

Dennis Kamakahi

Jason Albert Mason

John M. Quinn

Harold Shaw

Leigh Kamman

Robert Masters

Jody Raithel

James Alan Shelton

Richard Kaplan

Cosimo Matassa

Tommy Ramone

Casey Kasem

Hideo Matsushita

Hilario “Larry” Ramos

Thomas “Tom” J.D. Shepherd

Fred Kaz

John W. Mazzola

Frankie Randall

Jim Keays

Lee McBee

Billy Rath

Ray Kennedy

James McCash

Raphael Ravenscroft

Rod Kennedy

John McClure

David Redfern

Joseph Kerman

Richard McDonnell

Jean Redpath

Kenny Kerner

Larry McKinley

H. Owen Reed

Andrew Kerr

Ian McLagan

Wendy Rene

Bobby Keys

Larry Monroe

Neil Reshen

Steve King

Bob Montgomery

Jeffrey Ressner

Mildred “Millie” Kirkham

Charles Moore

Paul Revere

Frankie Knuckles

Carlos Emilio Morales

Rudy Richard

Maria “Tristessa” Kolokouri

Jonny Morelli

Matthew Richko

Ralph Morman

Derek Rieth

Gerard Mortier

Kwon Ri-sae aka RiSe

Rick “Mad Dog” Moyer

Joan Rivers

Idris Muhammad

Ken Roberts

Weldon Myrick

Mary Rodgers

David Nadien

Linda Rodney

Nelson Ned

Humberto Ledezma Rodriguez

Linda Komorsky Liker Tom Krause Nedunuri Krishnamurthy Milton Kyser Jerry LaCroix Vera Lakey Joe Lala Dave Lamb María Luisa Landín Chuck Landry Elodie Lauten Henri Lazarof Mitch Leigh Selim Lemouchi Roy Leonard James Levesque Hopeton Lewis Don Light Hank LoConti

Frances Nero Mack Newberry Jimmy C. Newman Mike Nichols Richard Nichols Elena Obraztsova Magda Olivero William Patrick Olvis Konstantin Orbelian Riz Ortolani Isaiah “Ikey” Owens Carlos Paez Vilaro

Prince Rupert Loewenstein

Clive Palmer

Mark Loomis

Stephen Paulus

Rick Parashar

Lonnie Lynn

Harry Hall Pearson Jr.

Lorin Maazel

Ralph Penland

Sheila MacRae

Armando Peraza

Khagen Mahanta

Gary Perkins

Carlos “Topy” Mamery Giuseppe Mango

238

Bernard “Doc” Neeson

Jeff Plewman aka Nash The Slash

Mickey Rooney Rick Rosas Steve Rossi Johnny Rotella Manny Roth Tom Rounds Ann Ruckert Tibor Rudas Julius Rudel Jimmy Ruffin Jim Russell Sabah Paul Salamunovich Joe Sample Rafael Santa Cruz Jim Schwartz “Little” Jimmy Scott Rock Scully Peter Sculthorpe Dawn Sears Pete Seeger

Nickesse Toney aka Nicky Da B Tito Torbellino Michael Travis Jay Traynor Jerry Vale Laszlo “Laci” Varga

Frank Shipway

Ivo Vinco

John Shirley-Quirk

Maria von Trapp

Mandolin U. Shrinivas

Clark Vreeland

George Shuffler

Dick Wagner

Peter Shukat

Gene Walker

Horace Silver

Eli Wallach

Jayne Neches Simon

Saado Ali Warsame

Willie “Bill” Sinegal

Marion “Little Joe” Washington

Tom Skeeter Rob Skipper Vernon Slaughter Philip Smart Arthur “Guitar Boogie” Smith

Jack Wayman David Weiss David Michael Wells Alfred Wertheimer Harry West

D.C. “Smokey” Smith

Kenny Wheeler

Larry Smith

John White

Velma Williams Smith

Patti Wicks

Wayne Smith

Joe Wilder

Coenraad “Coen” Solleveld

Noel Williams aka King Sporty

Mary Tom Speer-Reid

Robin Williams

John Spinks

Tim “Rawbiz” Williams

Patrick Stansfield

Alan Wills

Alvin Stardust

Billy “Bun” Wilson

Wayne Static

Gerald Wilson

J. Jaye Steele

Sandy Wilson

Irwin Steinberg

Tim Wilson

Jon Ster

Jesse Winchester

Tyson Curtis Stevens

Johnny Winter

Ray Still

Oliver Withöft

Henry Stone

Merrill Womach

Frank Strazzeri

Bobby Womack

Elaine Stritch

Herb Wong

Henry Strzelecki

Bill Young

Fred Sturm

Charles M. Young

Jerry Sullivan

Chip Young

Roberto Sustaita

Joe Young

Finis Tasby

Robert “Throb” Young

Edna Tatum

Saul Zaentz

Marty Thau

Habeeb Ameer Zekajj aka Big Paybacc

Tabby Thomas Ken Thorne

(List through Jan. 12, 2015)

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LISTENFORMORE

Over 50 years of creating the worldâ&#x20AC;&#x2122;s best personal listening experiences for the studio, stage and home. audio-technica.com

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