GRAMMY Hall Of Fame® 2015 by FX Group

GRAMMY Hall Of Fame 2015 Collector’s Edition

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From The President/CEO

This year, The Recording Academy’s Board of Trustees ratified 27 new recordings for inclusion in the GRAMMY Hall Of Fame, which now consists of nearly 1,000 of the most important recordings of the 20th century that are at least 25 years old. Most all of the essential music creators of the era are represented, but we honor the actual recordings, just as we do in many of the GRAMMY Awards categories. The GRAMMY Hall Of Fame aims to help preserve music’s towering legacy, to honor the amazing accomplishments inherent in each recording and to spotlight and help curate these essential works for each generation that follows. To do that, the Hall honors recordings of every style and genre that have had a meaningful impact on our culture, whether they were released on a 78 or 45 rpm record, an LP, or CD. Indeed, this year’s inductions span R&B, gospel, country, and jazz to folk, rock, and punk rock. In this book, we’ve provided an in-depth look at each of this year’s inducted recordings, including some little-known nuggets of information that will likely give you new insight into this music, like listening with a fresh ear to a familiar song. We also look at the artists with the most inducted recordings, provide a complete GRAMMY Hall Of Fame list, and offer a snapshot of many of our educational initiatives through our GRAMMY Foundation. While the GRAMMY Hall Of Fame doesn’t physically preserve recordings nor provide grants (we often address those efforts with our GRAMMY Foundation Grant Program: see page 70), the Hall takes the first, most essential step in ensuring music’s legacy by serving as an expertly curated recognition of the recordings that have reflected and colored our times. Additionally, the GRAMMY Hall Of Fame is represented by its physical home at the GRAMMY Museum in downtown Los Angeles. There, you can listen to samples and browse information on what each title means in the larger cultural picture. But the Hall Of Fame is just a small part of what the Museum offers. This state-of-the-art interactive facility provides visitors a truly 21st century look and listen to the history of music through permanent and special exhibits, as well as regular up-close-and-personal conversations with artists, musicians, songwriters, producers, and others in the Museum’s very intimate Clive Davis Theater. We invite you to stop by whenever you’re in Southern California. And we hope this book is just a starting point for you to discover or become reacquainted with the important and entertaining music represented in the GRAMMY Hall Of Fame. With the availability today of many licensed digital streaming and download options, and the ability to access music via your laptop, tablet, car, and mobile device, the incredible riches of all this music are truly at your fingertips. So, there’s some great information inside these pages, and a world of wonder to be explored in the Hall’s recordings themselves. Go listen — and enjoy.

Neil Portnow

President/CEO of The Recording Academy

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COMMEMORATE IN STYLE

60th Anniversary U.S. Special Forces 1952 - 2012

Emmy® Almanac | 2014 Edition

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FX Group specializes in producing world-class, officially licensed magazines as souvenirs and collectibles for a variety of entertainment, sport and military events. We are proud to team with The Recording Academy® in producing the GRAMMY Hall Of Fame® 2015 souvenir book, available in both print and digital versions. Download the digital version: issuu.com/fxgroup/docs/grammyhalloffame2015/0 For advertising opportunities call 813-283-0100 or visit FXM-Group.com

Contents

22 Welcome 4

From The President/CEO

The GRAMMY Hall Of Fame

About The GRAMMY Hall Of Fame

2015 GRAMMY Hall Of Fame Inductions

About The Recording Academy

About The GRAMMY Foundation

About The Music Educator Award

The Hall Of Fame’s Top Hall Of Famers

Complete GRAMMY Hall Of Fame List

Features 70 Funding The Future Our rich musical heritage is safe in the hands of the GRAMMY Foundation Grant Program 72

Halls Of Glory From classical to hip-hop, we trace music halls dedicated to preserving and honoring music across the United States

Learning Through Music Not just your average museum, the GRAMMY Museum serves as an interactive gateway to learning for students of all ages

84 10 Years Of Teamwork With 10 impactful years under its belt, the GRAMMY Foundation’s GRAMMY Camp program looks forward to 10 more

16 18 20 22 24 26 28 30

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.

80 42 6

// GRAMMY Hall Of Fame 2015

The National Academy of Recording Arts & Sciences, Inc., owns, among others, the following trademarks: National Academy of Recording Arts & Sciences®, The Recording Academy®, GRAMMY®, GRAMMY Awards®, GRAMMY Hall Of Fame®, Latin Academy of Recording Arts & Sciences®, The Latin Recording Academy®, MusiCares Foundation®, GRAMMY Legend Awards®, GRAMMY in the Schools® and GRAMMY Foundation®. The 2015 GRAMMY Hall Of Fame book is published by The Recording Academy, 3030 Olympic Blvd., Santa Monica, CA 90404, in association with FX Group. © 2014 The Recording Academy. All rights reserved.

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FOR THE RECORDING ACADEMY

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

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Curse Mackey Sr. VP of Artist & Media Relations Joseph Duhamel Art Director & Production Manager Bailey Luna Intern Designer Scot Shuman Internet & Technical Services Contributing Writers Steve Baltin, Bruce Britt, Chuck Crisafulli, Alan di Perna, Laurel Fishman, Bill Forman, Holly George-Warren, Paul Grein, Don Heckman, Steve Hochman, Nick Krewen, Tammy La Gorce, Lynne Margolis, David Nathan, J. Poet, Bryan Reesman, David Ritz, Kait Stuebner, Neil Tesser, Roy Trakin, Lisa Zhito The Official GRAMMY Hall Of Fame 2015 collector’s edition 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 in 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. © 2014 The Recording Academy. All rights reserved. Published by

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The GRAMMY Hall Of Fame

announced on the 16th Annual GRAMMY Awards telecast on March 2, 1974. Five more recordings were inducted in 1975. The Hall’s first 10 recordings were featured in glass and rosewood cases at The Recording Academy’s temporary display within the Universal Studios Tour in Los Angeles. Each case was equipped with a playback button providing visitors the opportunity to hear the recordings and the An original GRAMMY Hall Of Fame award displays were augmented by the actual original recordings, photographs and historical data. Meanwhile, The Recording Academy The GRAMMY Hall Of Fame continued formulated plans for a “Recording Arts to expand throughout the ‘80s and ‘90s, Museum,” a venue that would not only adding classic recordings from artists such house the GRAMMY Hall Of Fame but as Bill Haley And The Comets, the Beatles, afford visitors an opportunity to learn Art Tatum, Béla Bartók, Patsy Cline, Miles about music and the recording process. Davis, Carl Reiner & Mel Brooks, the Andrews “It will be enjoyed by the public as Sisters, and Mothers Of Invention, among a tourist attraction; but visitors will also many others. From 1998–1999, the Hall leave it with a better understanding of the welcomed a robust total of 327 seminal recording industry,” said then-Recording recordings, an influx designed to enhance the Academy Chairman/ GRAMMY Hall Of Fame’s depth and breadth. President Jay S. Now in its 41st year, the Hall’s legacy Lowy in 1980. grows annually by honoring both single “The Recording Academy has given recognition through its annual GRAMMY Awards to Dating back and album recordings of all genres of all sorts of contemporary recordings in the various creative fields. However, our heritage to the early ‘70s, lasting qualitative or historical significance is so rich and runs so deep that it is the feeling of our National Trustees that those great several cities that are at least 25 years old. With 27 recordings of lasting qualitative or historical significance released before the inception of were considered recordings representing the class of the GRAMMY Awards in 1958 certainly should also receive their rightful recognition.” as possible sites 2015, the current number of recordings for the museum in the GRAMMY Hall Of Fame is 987. — Bill Lowery, former Recording Academy Chairman/President, 1974 project, including Recordings continue to be reviewed Burbank, Calif.; annually by a special member committee Anaheim, Calif.; comprising eminent and knowledgeable for the selection of the Hall’s first class. Orlando, Fla.; Atlanta; New York; Philadelphia; professionals from all branches of the recording arts, with final approval by The A 90-member committee, composed of and New Orleans. Academy’s Board of Trustees. Commemorative Recording Academy representatives and The museum project ultimately crystalized certificates are then awarded to recipients. individuals with years of experience in in 2008 with the opening of the GRAMMY From the Beatles to Beethoven, the Police various fields within the music industry, Museum (see page 80). Nestled within the to Bob Marley, Woody Guthrie to Grandmaster ratified the GRAMMY Hall Of Fame’s first flourishing L.A. Live entertainment complex Flash, Prince to Joni Mitchell, Michael five recordings: Louis Armstrong & His Hot in downtown Los Angeles, the dynamic fourJackson to Carole King, Muddy Waters to Five’s “West End Blues”; Nat “King” Cole’s story facility features educational exhibits Ray Charles, Glen Campbell to Peggy Lee, “The Christmas Song”; Bing Crosby and and offers an array of public programs and George Carlin to Martin Luther King the Ken Darby Singers’ “White Christmas”; while also serving as the permanent home Jr. — the GRAMMY Hall Of Fame embodies Coleman Hawkins’ “Body And Soul”; and for the GRAMMY Hall Of Fame, and thus the creative spirit and cultural significance George Gershwin with Paul Whiteman’s representing the fruition of an Academy of the greatest recordings of all time. “Rhapsody In Blue.” This inaugural class was vision spanning nearly four decades. ince approximately the beginning of the 20th century, a vast body of music has been dedicated to “tape.” In all its forms, genres and styles, made by thousands of artists and other contributors, each of whom was influenced by the last, this collection of music has made our world far richer than gold or silver. This wealth of musical riches is reflected not only in the lineage of music’s highest honor, the GRAMMY Award, but also in the nearly 1,000 classic recordings enshrined in the GRAMMY Hall Of Fame. At The Recording Academy’s annual Board of Trustees meeting in May 1972, a proposal was passed to establish a hall of fame to honor recordings of “lasting historical or qualitative significance which have made contributions to our cultural heritage.” And in 1973 the GRAMMY Hall Of Fame was officially launched. Paul Weston, The Recording Academy’s first Chairman/ President, communicated the unique distinction of this initiative, stating that the GRAMMY Hall Of Fame would honor not individuals, but “the recordings themselves.” Over a subsequent six-month period, various Academy committees combed the history of recorded music in preparation

For more information on the GRAMMY Hall Of Fame, visit www.grammyhalloffame.com.

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GRAMMY Hall Of Fame

Class Of 2015 By Paul Grein

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-dodoo.” 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.

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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. 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 won a GRAMMY for Album Of The Year, took Raitt from well-liked artist to bona fide 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 recording in the Hall (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 “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 doo-wop, 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 side-long 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

2015 GRAMMY Hall Of Fame Inductees 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. AUTOBAHN Kraftwerk Vertigo (1974) Album BIG GIRLS DON’T CRY The 4 Seasons Vee-Jay (1962) Single BLOOD ON THE TRACKS Bob Dylan Columbia (1975) Album THE BRIDGE Sonny Rollins RCA Victor (1962) Album CALYPSO Harry Belafonte RCA Victor (1956) Album DANCING QUEEN ABBA Atlantic (1976) Single HARVEST Neil Young Reprise (1972) Album 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 SAN ANTONIO ROSE Bob Wills And His Texas Playboys Vocalion (1939) Single SCHOOL’S OUT Alice Cooper Warner Bros. (1972) Single THE SHAPE OF JAZZ TO COME Ornette Coleman Atlantic (1959) Album

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

SIXTY MINUTE MAN The Dominoes Federal (1951) Single SONGS OF LEONARD COHEN Leonard Cohen Columbia (1967) Album STAND! Sly & The Family Stone Epic (1969) Album STARDUST Willie Nelson Columbia (1978) Album SWING LOW, SWEET CHARIOT Fisk Jubilee Singers Victor (1909) Single SWING LOW, SWEET CHARIOT 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

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2015 GRAMMY Hall Of Fame Inductees Parlophone/Warner Bros. Records

Autobahn Kraftwerk

n the mid-’70s computers were still seen as puzzling if not fearsome slabs of hardware — soulless behemoths best suited for roles as corporate mainframes, space program number crunchers and sci-fi villains. But to the pioneering members of Kraftwerk, smart machines heralded a world of new musical possibilities. The massive success of their 1974 album Autobahn and its irresistible title track marked the moment when artists and audiences embraced unmistakably synthesized sound as a valid and welcome form of pop music. German music students Ralf Hütter and Florian Schneider began working together in the early ’70s, sharing a keen interest in newly available electronic instruments. Their first recordings were decidedly experimental, in keeping with the avant-garde spirit of such “krautrock” contemporaries as Can, Faust and Tangerine Dream. On Autobahn, Kraftwerk’s fourth studio album, the group utilized their disciplined, minimalist aesthetic to create an inspired blend

of cutting-edge electronics and pop accessibility — music that was as catchy as it was difficult to categorize. The album was an international breakthrough and a statement of purpose, presenting listeners with something they’d never heard before, but wanted to hear again. Unlike some later Kraftwerk albums, Autobahn wasn’t purely electronic. In addition to synthesizers, both commercially available and banddesigned, the album also features guitar, piano, violin, and flute. Three of the album’s five tracks represented the heady explorations of sonic atmosphere in which the group had become expert. But the unique sounds, propulsive beats and pop hooks of “Autobahn” and “Kometenmelodie 2” were an open invitation to all listeners, creating fresh blueprints for how pop songs could be built. The album featured percussionist Wolfgang Flür and as its success led to more tour dates, the group added percussionist Karl Bartos, establishing the four-man Kraftwerk lineup that endured for the next decade.

The title track, meant to evoke a sunny day’s outing on a German highway, was originally released as a 22-plus-minute road trip, but trimmed to a more radio-friendly 3:27 single, it became a surprise international smash and the most unexpected of U.S. Top 40 hits. “Autobahn” was the first Kraftwerk track to feature sung lyrics, and the combination of vocoder effects and the members’ German accents led to a bit of enduring lyrical confusion, as some listeners heard the song’s repeated chorus lyrics as a sly, computer-age play on the Beach Boys’ classic car tune “Fun, Fun, Fun.” In fact, Kraftwerk were singing “fahren, fahren, fahren,” which in German means “drive.” Autobahn established Kraftwerk as artistic game-changers and clearly stands as one of the most influential works in pop music history. Kraftwerk’s initial hard-drive down the highway has pointed the way for diverse sounds ranging from Devo to Daft Punk, from disco to dubstep, and from synth-pop to hip-hop. — Chuck Crisafulli

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Juilliar

2015 GRAMMY Hall Of Fame Inductees Tom Copi/Michael Ochs Archives/Getty Images The 4 Seasons’ (left to right) Bob Gaudio, Tommy DeVito, Nick Massi, and Frankie Valli

ny discussion of the indelible 4 Seasons hit “Big Girls Don’t Cry” is apt to be short on nuance. Lyrics don’t get much more straightforward: A “silly boy” tells his girl he wants to break up, she calls his bluff and refuses to cry, and he kicks himself (so hard, maybe, that he is compelled to sing of his grief in an unusually mighty falsetto). The story behind the song, which hit No. 1 on the Billboard Hot 100 in November 1962, is a tale of two different film inspirations, depending on which of the song’s co-writers you believe. Bob Gaudio says he took the title from Tennessee’s Partner, hearing actress Rhonda Fleming, after a slap in the face, say “big girls don’t cry” as he nodded off on the couch. But reportedly, the line never appears in the film. Which gives the late Bob Crewe’s story of having heard the line in the John Payne/Rhonda Fleming film noir Slightly Scarlet, in which the

line does appear, a bit more credence The 4 Seasons’ second hit, “Big Girls Don’t Cry” — which, like their first, “Sherry,” spent five weeks at No. 1 — sounds similar to its predecessor. The fun’s in the falsetto, and in the teasing way lead singer Frankie Valli stretches syllables until there’s nothing left to do but follow him into his ungovernable, but oh-so satisfying, vocal wonderland. Falsetto on pop hits certainly wasn’t new when the 4 Seasons, with Valli’s inimitable voice, burst on the scene in the early ’60s. Del Shannon had notably scored a No. 1 hit in 1961 with “Runaway” (which was inducted into the GRAMMY Hall Of Fame in 2002) and its brief highpitched chorus. But after the 4 Seasons topped the charts, falsetto took on a new resonance on radio. Lou Christie’s 1966 No. 1 smash “Lightnin’ Strikes” was a direct 4 Seasons descendent, and Motown act the Temptations were highlighting their falsetto lead, Eddie Kendricks. Not

that the 4 Seasons, and especially Valli, could be accused of launching a trend toward musical homogeneity. Valli’s voice is as irreproducible as a Beach Boys harmony or a Jimi Hendrix guitar riff; it’s a kind of national treasure. That voice, together with the rest of the talent glue that bound the 4 Seasons — Tommy DeVito; Nick Massi, who sang the “silly boy” bass part of “Big Girls ... ”; and Gaudio, a chief songwriter for the group — have been celebrated recently on both the Broadway stage and the big screen (the band’s Newark, N.J.-manufactured grit also gets its due). But would “Jersey Boys” have seen the degree of liftoff it did without that sophomore single? Maybe not. “Big Girls ... ” burst into a mellow early ’60s musical landscape, landing a one-two punch that shook sleepy listeners awake. And more than 50 years later, we aren’t about to say goodbye-yi-yi. — Tammy La Gorce

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Todd Rosenberg

“Big Girls Don’t Cry” The 4 Seasons

Juilliard_GrammyAd_2015_FullPage_A1_Juilliard_GrammyAd_2015_A1 12/2/14 11:54 AM Page 1

Todd Rosenberg

The Juilliard School salutes its dedicated faculty and alumni, who have won more than 100 GRAMMY Awards.速

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2015 GRAMMY Hall Of Fame Inductees

Blood On The Tracks Bob Dylan

“Y

er gonna make me give myself a good talkin’ to.” Given all the lines pored over by the many who felt Bob Dylan was speaking to them, for them, or both, this one — taken from “You’re Gonna Make Me Lonesome When You Go” — seems a mere throwaway. It’s just a winking witticism in the most sweetly sentimental song on an album otherwise marked by emotional knots — made explicit by the opening song “Tangled Up In Blue” — as Dylan looked back over a relationship from the vantage point of its dissolution. (His own marriage was, in fact, falling apart at the time.) That little aside sums it up: With Blood On The Tracks, he was speaking for himself. To himself. Despite that, or because of it, the album stands as one of the most cherished and impactful of his career. In 1975 Dylan seemed more an emeritus figure than a current force. The previous year’s Planet Waves, his first album of new material after nearly four silent years, was a tentative return, notable more for him reuniting with the

Graham Bezant/Getty Images

Band than the songs. Sure, “Forever Young” became an instant anthem, but the only other hit from the album, “On A Night Like This,” is a trifle. The subsequent tour with the Band, captured on the Before The Flood live album, showed the musicians re-energized. But it was still mostly about looking back. Blood On The Tracks felt very much in and of the moment, and included the most revealing set of songs he’d presented in, well, maybe ever. Many of the songs are deceptively simple and unassumingly charming. The acoustic-rooted sounds were not just a clear break from the Band reunion but also distinct from his generally pricklier folky and folk-rock styles of a decade before. It’s not revolutionary, just effective. From the quick two-step of “Lily, Rosemary And The Jack Of Hearts” to the Piedmont blues of “Buckets Of Rain,” there’s a sonic thread present, even if these recordings came from two times and places. In September 1974 in New York, he recorded the songs largely with a core group featuring bassist Tony Brown, organist Paul Griffin and

steel player Buddy Cage. Then, at the end of December, he hastily rerecorded some tracks in Minneapolis with a different set of folk-centric musicians. The songs play out as chapters in a book, not discrete pieces. The opening pair, “Tangled Up In Blue” and “Simple Twist Of Fate,” and the penultimate “Shelter From The Storm” are close siblings, framing the tale. Between them, “You’re A Big Girl Now,” “You’re Gonna Make Me Lonesome When You Go,” “Meet Me In The Morning,” and “If You See Her, Say Hello” sketch scenes in which wistful affection stands toe-to-toe with regret. Often we arrive in the middle, hearing anecdotes and quips that mean something to the singer that we can’t possibly know, but to which many can relate. Critics and fans alike tied the album to Dylan’s personal life, something he quickly and emphatically denied. Either way, as writer Rick Moody wrote later, it’s “the truest, most honest account of a love affair” ever turned into song. Whether it’s Dylan’s true account or not is almost irrelevant to its inherent truths. — Steve Hochman

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The Bridge Sonny Rollins

n the early ‘60s, New Yorkers who took walks near the Williamsburg Bridge were often surprised to hear superb jazz phrases from a solo tenor saxophone drifting across the East River. Some might have immediately identified the playing of the inimitable Sonny Rollins. Others no doubt simply smiled in approval at the unexpected gifts the city sometimes provided. In fact, it was indeed Rollins, who had taken a three-year hiatus from performing and was perched daily on the bridge girders, often playing for hours at a time. Why? “I needed to brush up on various aspects of my craft,” said Rollins. “I felt I was getting too much, too soon, so I said, ‘Wait a minute, I’m going to do it my way.’” Released in 1962, The Bridge was Rollins doing things his way. The album presents an artist taking a major step forward in an already stellar career. But it does not reveal a change in

Tom Copi/Michael Ochs Archives/Getty Images

style, technique or method. Many jazz fans and observers anticipated that Rollins, on his return, would delve into the so-called free jazz territory widely explored by alto saxophonist Ornette Coleman. Others expected that Rollins might be intrigued by the avant-garde pathways traveled by such other adventurous saxophonists as Eric Dolphy and Albert Ayler. Perhaps most of all, many expected that Rollins, in his first album since 1958, might choose to go mano a mano with John Coltrane in a challenge centered within the tradition-shattering style that Coltrane favored. But Rollins chose to remain on his own unique creative voyage. And The Bridge, recorded in January and February 1962, was the crystal-clear announcement of the influence that Rollins would have, from the early ‘60s to today. The group he organized for the recording of The Bridge — guitarist Jim Hall, bassist Bob Cranshaw, and drummers Ben Riley and Harry “H.T.”

Saunders (who replaced Riley on “God Bless The Child”) — was perfectly chosen to support Rollins’ desire to take a brilliantly expressive, post-bop improvisational approach that was nonetheless deeply rooted in tradition. The impact The Bridge has had over the past five decades is best seen in the responses of critics and musicians. AllMusic.com critic Scott Yanow described The Bridge as “a near-classic and a very successful comeback.” Inkblot magazine described The Bridge as “one of the greatest albums from one of jazz’s greatest musicians.” Many of contemporary jazz’s saxophonists have also been effusive in their recognition of The Bridge. David Liebman, Joe Lovano and the late David “Fathead” Newman described it as their favorite Rollins album. The late David S. Ware and Joshua Redman both noted The Bridge was the first album by Rollins they purchased. And Bob Mintzer said that “The Bridge is right up there at the top.” — Don Heckman

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2015 GRAMMY Hall Of Fame Inductees

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Calypso Harry Belafonte

ven in the colossal pantheon of great albums, Harry Belafonte’s classic 1956 long player Calypso looms as a towering achievement. One of the most popular recordings of all time, the album marked a breakthrough for world music, playing a crucial role in introducing Americans to Caribbean-styled folk and pop. Spawning a veritable sea of imitators in its folky wake, the album was such a definitive statement for Belafonte that its most popular single, “Banana Boat (Day-O),” endures to this day as his signature tune, distinguishable by its plaintive refrain: “Day-o! ... daylight come and me wan’ go home.” Its musical influence notwithstanding, Calypso was also a groundbreaking achievement for the recording industry. Belafonte’s LP was the first millionselling album by a single artist, clocking 31 weeks at the top of the Billboard 200. By the completion of its run, Calypso had spent an astounding 99 weeks on the chart. At the time of its release, Calypso’s

songs sounded like nothing else on the radio. The album comprises tunes inspired by the island nation of Trinidad, with the majority of the compositions by American-born tunesmith Irving “Lord Burgess” Burgie. The son of a Barbadian mother, Burgie wrote or co-wrote eight of Calypso’s 11 tracks, including the album’s two most successful singles, “Banana Boat (Day-O)” and “Jamaica Farewell.” The album also featured what is hailed by some music historians as the first feminist folk song, “Man Smart (Woman Smarter).” Written by Norman “King Radio” Span, the song has since been interpreted by Chubby Checker, the Grateful Dead, Robert Palmer, and Rosanne Cash, among others. While not a calypso song, “Banana Boat (Day-O)” still struck a chord. A traditional Jamaican folk tune, it’s sung from the perspective of dock workers loading bananas onto ships on the night shift. With their shift over at dawn, the workers plead with the “Tally Man” to

count their harvest so they can go home: “Come, Mr. Tally Man, tally me banana/ Daylight come and me wan’ go home.” Despite its worldwide appeal, “Banana Boat (Day-O),” which was inducted into the GRAMMY Hall Of Fame in 2009, holds personal significance to Belafonte. “That song is a way of life,” the singer once told The New York Times. “It’s a song about my father, my mother, my uncles, [and] the men and women who toil in the banana fields, the cane fields of Jamaica.” In the decades following Calypso’s release, Belafonte became renowned as much for his award-winning acting career and insistent civil rights activism as for his music. But today it seems clear that Calypso helped familiarize Western audiences with Caribbean music well before the advent of the British ska movement of the ’60s or the global reggae craze. Ambitious, visionary and worldly, Calypso remains one of the finest moments of Belafonte’s multifaceted career. — Bruce Britt

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Peter Bischoff/Getty Images ABBA’s (from left) Björn Ulvaeus, Agnetha Fältskog, Anni-Frid Lyngstad, and Benny Andersson

“Dancing Queen” ABBA

any pop and rock artists released recordings in the late ’70s to capitalize on the popularity of disco. Few had lasting appeal, but ABBA’s nod to the dance floor, “Dancing Queen,” became their biggest global hit, as well as arguably the best distillation of their irresistible pop sound. The exuberant track captures the group’s chief strengths: a vibrant sense of energy, a strong focus on melody and lavish sonic textures. The richly layered production echoes Phil Spector’s “Wall of Sound” extravaganzas and Brian Wilson’s work with the Beach Boys. The high female harmonies of Agnetha Fältskog and Anni-Frid Lyngstad suggest the influence of another classic ’60s pop force, the Mamas And The Papas. ABBA’s creative team, Benny Andersson and Björn Ulvaeus, co-wrote “Dancing Queen” (which was originally titled “Boogaloo”) with the group’s manager, Stig Anderson. Andersson

and Ulvaeus also co-produced the track. Sessions began in August 1975. The song was partially inspired by George McCrae’s 1974 disco smash “Rock Your Baby.” Released in 1976, “Dancing Queen” hit No. 1 in more than a dozen countries, including Australia, the UK and ABBA’s native Sweden. In April 1977 it became the group’s only song to reach No. 1 on the Billboard Hot 100. Lyngstad (“Frida” to ABBA’s army of fans) isn’t surprised that “Dancing Queen” became the group’s biggest hit. “I love that song,” she said in the liner notes of ABBA’s 1994 box set, Thank You For The Music. “And I loved it from the very beginning when Benny brought home the backing track without any vocals on it. … It was so beautiful I started to cry. I mean, even without lyrics or voices on it, it was outstanding.” Not all critics fell under ABBA’s spell, but some influential ones did. In a 1978 review for Rolling Stone, John Rockwell said: “Those of us who

love ABBA do so because the band is about as pure an example of smart/ dumb pop imaginable. Significant rock is all well and good, but there is always a place for pop music that is fun.” “Dancing Queen” was among five ABBA songs featured in the 1994 movie Muriel’s Wedding. It’s also among the highlights of the stage musical “Mamma Mia!” — which opened in London’s West End in April 1999. The show opened on Broadway in October 2001, providing a welcome escape for a country traumatized by Sept. 11. The show is still running in both London and New York and is the longestrunning “jukebox musical” ever in both cities. A movie version premiered in July 2008 and became a smash hit. In 2011 Rolling Stone included “Dancing Queen” (at No. 174) on its list of the 500 Greatest Songs Of All Time. The magazine rightly hailed it as “a disco-flavored dessert of sublime melody and pop-operatic harmonies.” — Paul Grein

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2015 GRAMMY Hall Of Fame Inductees © Condé Nast Archive/Corbis

Harvest Neil Young

eil Young wanted his Harvest album packaged in a sleeve that would disintegrate — or biodegrade, in current terms — once the plastic shrink-wrap was removed. That idea was nixed by his record company, on grounds of expense and unwieldiness. Still, it’s quite a thought: a by-design impermanent package for music that stands among the most enduring from its era. Yet it would have been fitting. Many of the key songs on Harvest were meditations on fleetingness, of uncertainties, told by the lonely boy we meet in the first song, “Out On The Weekend.” With “Heart Of Gold” already a No. 1 hit when the album was released in February 1972, Harvest went on to become the biggest-selling album of the year. But while for millions it captured the moment, for Young it reflected the several years leading to it. He’d been a front-row witness to the death of the hippie dream — the fractiousness of the Woodstock generation, four dead in Ohio, many more still dying in Vietnam. And inside Crosby, Stills, Nash & Young, the famed harmonies thinly veiled the disharmony that marked the group. Much of the album, accordingly, exposes a troubled yearning for

personal connection: searching for that elusive heart of gold; reaching out in “Old Man” for a bond across generational divides; lamenting the lack of meaningful communication in woefully inadequate “Words (Between The Lines Of Age)” — the ultimate frustration and isolation for an artist. Nowhere, perhaps, is it more acute than on “The Needle And The Damage Done.” Recorded live during a solo show at UCLA’s Royce Hall, the song prophesied the drug-related losses that would become the sodden desolation of Young’s next albums, culminating with 1975’s black-shrouded Tonight’s The Night. And in wider focus, civil rights screed “Alabama” follows Young’s own “Southern Man” indictment, hitting home enough to elicit Lynyrd Skynyrd’s defiant “Sweet Home Alabama” in retort. The band behind him was an ad hoc community itself, pieced together from old and new friends. Dubbed the Stray Gators, they were directed by Jack Nitzsche, the former Phil Spector protégé who co-produced Young’s 1968 solo debut. Nashville, Tenn., session aces Tim Drummond (bass) and Kenny Buttrey (drums) joined Nitzsche (piano) and Young. But it’s Ben Keith’s pedal steel that is the key ingredient, bringing out the prominent

country tones implied in the back cover photo of the group rehearsing in a barn. Linda Ronstadt and James Taylor sang background vocals on “Heart Of Gold” and “Old Man,” Taylor adding spur-of-the-moment banjo to the latter. And Crosby, Stills & Nash also contribute vocals, though tellingly in all three possible pair combinations, but never the full CSN&Y. If these additions are expected, Nitzsche’s dramatic London Symphony Orchestra arrangements layered onto “A Man Needs A Maid” and “There’s A World” came as a shock, and are still jarring, though perhaps true representations of Young’s inner turmoil. In liner notes to his 1977 Decade anthology, Young disparaged the pop success of “Heart Of Gold” having put him in the middle of the road. “So I headed for the ditch,” he wrote. “A rougher ride, but I saw more interesting people there.” Harvest has its own rough qualities — it’s almost three albums, casting Young as country rocker, guitar stomper and loner singer/songwriter. The popularity of the album, if distressing to the artist, gave him both the platform and impetus to commit to the restless quest that became his signature. Triumphs and missteps alike, they were all essential parts of a singular career. — Steve Hochman

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2015 GRAMMY Hall Of Fame Inductees “Honky Tonkin’” Hank Williams And His Drifting Cowboys

he song that lent its name to a style of country music — honky-tonk — is also the composition that led to Hank Williams’ stardom. The Alabamaborn singer/songwriter, who began performing when barely in his teens, was 23 when he played “Honky Tonkin’” for Nashville, Tenn., publisher Fred Rose. Williams had included the number, then titled “Honkey-Tonkey,” in a World War II-era songbook with the lyrics “we’ll get a quart of whiskey and get up in the air” — later changed to “if you go to the city, baby, you will find me there.” Rose signed Williams as a songwriter and pitched “Honky Tonkin’” to Cowboy Copas, before landing the artist a contract with Sterling Records. Williams cut the first version of “Honky Tonkin’,” which kicked off with a fiddle lick and featured instrumental breaks on pedal steel and electric guitar. Sterling issued “Honky Tonkin’” in early 1947, and the catchy tune —

Michael Ochs Archives/Getty Images

featuring Williams’ braying vocals on the chorus — and sing-along lyrics made it a crowd pleaser. The record’s success enabled Rose to negotiate a more lucrative deal for Williams with MGM, where Williams would go on to make 66 recordings, 37 of them hits. On Nov. 6, 1947, at Castle Studios, in Nashville’s Tulane Hotel, Williams rerecorded “Honky Tonkin’” at Rose’s behest for MGM. He was backed by top session players, though the record was credited to Hank Williams And His Drifting Cowboys, his touring group that at various times included steel guitarist Don Helms, lead guitarist Sammy Pruett, fiddler Jerry Rivers, and bassist Cedric Rainwater. The new version opens with steel guitar, which predominates the instrumentation, but also features fine fiddle and electric guitar breaks, as well as acoustic guitar and doghouse bass. Williams’ donkey-style vocals are toned down on the “honky tonkin’” chorus, with his call-to-nocturnal

frolics sounding as inviting as before. The original Sterling single was still in stores when MGM released “Honky Tonkin’” in April 1948. It became Williams’ second Billboard entry, following the previous year’s “Move It On Over,” and by July it reached No. 14 on the Most Played Juke Box Folk Records chart. It became the theme song for postwar country music lovers, seeking their music in barrooms and honky-tonks, rather than churches and school auditoriums. Today, “Honky Tonkin’” sounds as exciting as it did 67 years ago when the still-frisky Williams set the honky-tonk standard, which has been embraced over the past six decades by artists ranging from Rose Maddox and George Jones to Dwight Yoakam and Miranda Lambert. “Honky Tonkin’” also marks Williams’ sixth recording to enter the GRAMMY Hall Of Fame, maintaining his record as the country artist with the most entries in the lauded Hall. — Holly George-Warren

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2015 GRAMMY Hall Of Fame Inductees

Michael Ochs Archives/Getty Images (From left) Randy Fuller, Bobby Fuller, DeWayne Quirico, and Jim Reese

“I Fought The Law” Bobby Fuller Four

he classic, original outlaw anthem “I Fought The Law” was written in 1958 by Sonny Curtis, and recorded in 1959 when he replaced the late Buddy Holly on guitar in the Crickets. Curtis, bassist Joe B. Mauldin and drummer Jerry Allison were joined by vocalist Earl Sinks on their 1960 Norman Petty-produced album, In Style With The Crickets, and the song was the B-side of their single, “A Sweet Love.” There were subsequent versions cut by Paul Stefen And The Royal Lancers and Sammy Masters, as well as Bobby Fuller and his band on his own El Paso, Texas-based Exeter label, which proved a Southwest regional hit. Still, “I Fought The Law” didn’t connect with a national audience until the newly named Bobby Fuller Four — comprising Fuller, brother Randy Fuller (bass), Jim Reese (guitar), and DeWayne Quirico (drums) — signed with producer Bob Keane’s Del-Fi

label and rerecorded the song for the Mustang imprint. That version was released in 1965 and climbed to No. 9 on the Billboard Hot 100 by March 1966. The song breaks out of the gate like a runaway car leaving a cloud of dust in a black-and-white film noir. With pulse-pounding, rumbling drum rolls, rhythmic hand claps, and a prototypical cowboy-rockabilly guitar riff, the lyrics paint the picture of the song’s narrator suffering the consequences of his actions: “Breaking rocks in the hot sun/I fought the law and the law won.” According to AllMusic.com, “I Fought The Law” is “the archetypal rock ‘n’ roll song of conflict between the outlaw and the law, not so much celebrating the outlaw outsider as acting as a cautionary tale of the consequence of living outside the law.” Fuller, a Buddy Holly acolyte and fellow Texan, had his own tragic demise, dying at age 23 under mysterious circumstances in a parked car in Hollywood, Calif., nearly

eight months after the song’s release. Other self-made rebels who covered the song include Green Day, Hank Williams Jr., Dead Kennedys, Nitty Gritty Dirt Band, and Mary’s Danish, whose version appears on 1992’s Buffy The Vampire Slayer movie soundtrack. One of the most well-known versions was cut by the Clash after Joe Strummer and Mick Jones heard the Bobby Fuller Four song on a jukebox at The Automatt studio in San Francisco while they were working on their 1978 album, Give ’Em Enough Rope. Their cover was included as part of the U.S. edition of the band’s self-titled debut album, which gave them their first U.S. airplay and helped bolster the band’s reputation as a rock group masquerading as outlaws. Voted No. 177 on Rolling Stone’s 500 Greatest Songs of All Time list, “I Fought The Law,” with its feverish, hot desert sun mix of defiance and contrition, helped set the template for rock and roll rebellion, which endures today. — Roy Trakin

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2015 GRAMMY Hall Of Fame Inductees © Underwood & Underwood/Corbis

“Jitterbug Waltz” “Fats” Waller, His Rhythm And His Orchestra

jazz waltz — in 3/4 time, that is — was an almost unheard-of rarity in the decades preceding the World War II year of 1942. Equally rare was the presence of a Hammond organ on a jazz recording. Yet both of these ingredients are very much present on “Fats” Waller’s classic recording of his whimsically titled “Jitterbug Waltz.” The recording session took place in New York on March 16, 1942, at an RCA Victor studio. But it was actually written two months earlier, while Waller and His Rhythm sextet were performing at Chicago’s Panther Room, a favorite Waller venue. In his Waller biography, Ain’t Misbehavin’: The Story Of Fats Waller, Ed Kirkeby, Waller’s manager, describes the composition of “Jitterbug Waltz” at the Panther Room, and his own subsequent titling of the song — combining the name of the popular, energetic swing-style dancing of the period in an unlikely, but intriguing blend with the elegance of the waltz. The origin of “Jitterbug Waltz”

reportedly traces to some baroquesounding piano exercises that Waller’s son, Maurice, had been working on with considerable frequency. But there’s nothing baroque-sounding about the way “Jitterbug Waltz” comes to life on the original RCA recording. Start with the unusual presence of the Hammond organ. In addition to his impressive songwriting skills, as well as his innovative mastery of the stride piano jazz style, Waller was also a well-trained organist. By the time he was 6, he was playing organ in his father’s church. By his early teens he was exploring jazz on the organ in performances at New York’s Lincoln Theatre. Although the organ was not unseen in the recording studios of the ’30s and ’40s, it was rarely heard in the hands of a performer with the jazz skills of Waller. Add to that a sizzling mixture of the hard-swinging (even in 3/4 time) rhythmic groove of Waller and His Rhythm supplemented with orchestral timbres and explosive big band accents. The result was a work that

immediately became a vital addition to a stellar Waller catalog reaching from “Squeeze Me” and “Honeysuckle Rose” to “Ain’t Misbehavin’” and beyond. How influential has Waller’s recording of “Jitterbug Waltz” been in the years since his death in 1943, just more than a year after he wrote and recorded it? Consider that new jazz pieces in 3/4 time have become relatively common, surfacing in many manifestations. Among some of the highlights: Thad Jones’ “A Child Is Born,” Miles Davis’ “All Blues,” Joe Henderson’s “Black Narcissus,” Wayne Shorter’s “Footprints,” and Bill Evans’ “How My Heart Sings!” to name a few. And, of course, Waller’s song, “Jitterbug Waltz,” has continued to be played in every area of jazz. The numerous post-Waller recordings include versions reaching from Bobby Hackett and Joe Sample to Davis and Chick Corea. And Waller’s original recording of “Jitterbug Waltz” continues to be available in various reissue collections. — Don Heckman

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2015 GRAMMY Hall Of Fame Inductees Boris Spremo/Toronto Star via Getty Images

John Prine John Prine

here aren’t many debut albums that go on to become greatest hits collections, but more than half the songs on Prine’s first album, including “Illegal Smile,” “Hello In There,” “Sam Stone,” “Paradise,” “Angel From Montgomery,” and “Donald And Lydia,” have become valued additions to American popular culture and have been widely covered by other artists. Not too bad for a singer/ songwriter who was relatively unknown in 1971, when John Prine was released. Prine started playing guitar when he was 14 after his brother Dave asked him to join his old-time music band on rhythm guitar. Prine learned how to fingerpick and started writing songs, two of which — “The Frying Pan” and “Sour Grapes” — later appeared on his second album, 1972’s Diamonds In The Rough. Prine moved to Chicago and worked in the post office, writing songs at night until he was drafted in 1966 and sent to Germany. By 1969 he was back at the post office and performing at open mic nights in Chicago folk clubs. Steve

Goodman, who was just getting his career started, became Prine’s friend and mentor. Goodman introduced him to Kris Kristofferson, who was so impressed he said, “Prine writes songs so good we’ll have to break his thumbs,” and then asked Prine to perform during one of his shows at The Bitter End in New York. Famed Atlantic Records producer Jerry Wexler was in the audience and, within 24 hours, Prine had a deal with Atlantic. Prine was one of the many singer/ songwriters tagged as “the next Dylan” in the early ’70s, but the two artists have little in common besides their rough vocals and songwriting ability. Dylan was, however, a fan of Prine’s and backed him on harmonica during Prine’s first gig at The Bitter End. Atlantic tried to market Prine as a folk singer, but his blend of folk, country and semiacoustic rock was too pop for folkies and not rock enough for mainstream listeners. The debut album’s stripped-down sound made it hard to pigeonhole and it was a commercial failure, even though critics raved about Prine’s insightful songwriting.

With 20/20 hindsight, it’s easy to see that Prine was more interested in investigating the human condition than achieving success in the music business. What’s harder to understand is why an album that’s arguably one of the best singer/songwriter records ever cut was so commercially unappreciated at the time. Prine’s career took off after leaving major labels to start his own Oh Boy Records. He earned GRAMMY nominations for German Afternoons (1986) and Lost Dogs And Missed Blessings (1995), and won Best Contemporary Folk Album honors for The Missing Years (1991) and Fair & Square (2005). While he’s never had a major hit under his own name, his songs have been covered by a long A-list of singers, including the Everly Brothers, Bette Midler, Joan Baez, Dylan, Bonnie Raitt, Tammy Wynette, Don Williams, Gail Davies, Manfred Mann’s Earth Band, and Swamp Dogg. Prine never had to deal with the infamous sophomore slump; his material has always remained as timely and compelling as the songs on John Prine. — J. Poet

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Boris Spremo/Toronto Star via Getty Images

“Le Freak” Chic

he inspiration for the breakthrough disco anthem “Le Freak” came, ironically enough, when Chic’s Nile Rodgers and Bernard Edwards were denied admission to Studio 54 on New Year’s Eve 1977. Despite a personal invitation from Grace Jones, the two were left at the velvet rope when famed doorman Marc Benecke couldn’t find their names on the list. After returning to Rodgers’ nearby apartment, Rodgers came up with the signature funk guitar riff and Edwards added the stinging putdown: “F*** Studio 54 … aww f*** off.” Realizing those profane lyrics would never get on radio, the two then replaced the epithet with “freak out,” a reference to a bad acid trip. And while the straight-laced Edwards had never taken LSD, he substituted the phrase “Le freak, c’est Chic” for the opening “f*** Studio 54,” thinking the refrain would

make a nice reference to the Freak, a new dance craze of the time, insisting the song could be their own version of “The Twist.” The rest is history. Having already composed most of their next album, Rodgers and Edwards quickly rushed to record the impromptu song in January, with a young session vocalist named Luther Vandross and the band’s signature double-female-lead-vocal sound provided by Alfa Anderson and Robin Clark. The resultant single was released in summer 1978 and exploded, giving Chic their only platinum single. “The Zen of it was, by not getting what we wanted, we got more than we ever imagined,” wrote Rodgers in his 2011 autobiography, Le Freak: An Upside Down Story Of Family, Disco, And Destiny. The song went to No. 1 on the Billboard Hot 100, Hot Dance Club

Chic’s Bernard Edwards and Nile Rodgers

Play and R&B Singles charts, and ranked No. 21 on Billboard’s Top 100 songs of the first 55 years of the Hot 100 in 2013. “Le Freak” was the first single to attain the No. 1 position on the Hot 100 three separate times. “Le Freak” represents the apogee of the late ’70s New York disco explosion. Just as their previous hit “Dance Dance Dance (Yowsah, Yowsah, Yowsah)” tips its hat to the city’s past dancehall days, “Le Freak” also seamlessly links that past era (the reference to “stompin’ at the Savoy”) to the thencurrent ascendancy of Studio 54 (“find a spot out on the floor”), where they were once snubbed but soon became much-feted VIPs. Rodgers parlayed the song’s success (along with that of their 1979 chart-topping “Good Times”), segueing into an in-demand producer for the likes of Madonna, David Bowie, Duran Duran, and Mick Jagger. — Roy Trakin

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2015 GRAMMY Hall Of Fame Inductees Richard E. Aaron/Redferns Sex Pistols’ (from left) Johnny Rotten, Sid Vicious, Steve Jones, and Paul Cook

Never Mind The Bollocks, Here’s The Sex Pistols Sex Pistols

t’s hard to believe it’s been nearly four decades since iconic British punk rockers the Sex Pistols unleashed on the unsuspecting masses their seminal and only studio album, 1977’s Never Mind The Bollocks, Here’s The Sex Pistols. Fueled by snarling aggression and sneering nihilism, the 12-track collection was a call to arms for disaffected youth against proper British society and, with their ubiquitous single “God Save The Queen,” the monarchy itself, under which working-class people at the time suffered economically. Billed as “the most incendiary rock and roll band since the Rolling Stones and the Who” by Rolling Stone writer Paul Nelson in 1978, the Sex Pistols eschewed progressive rock pretensions, disco funkiness and pop glossiness to deliver simple, blistering anthems on subjects that ranged from anarchy to ennui. The group’s roots were working-class,

with the exception of original bassist Glen Matlock, who was later replaced by Sid Vicious, even though Matlock contributed to 10 of the 12 songs on their debut. As Vicious was only moderately capable at his instrument at the time, he’s only heard on “Bodies,” with guitarist Steve Jones and Matlock playing bass on the remaining tracks. Ultimately, proficiency was not the goal; singer Johnny Rotten was hired for his attitude rather than vocal abilities, and the barely musical Vicious was brought on to look and sound just that. Paul Cook served as the backbone with his cacophonous basic drumming. The Sex Pistols’ first single, “Anarchy In The U.K.,” got them dropped from their first label. Their second single, “God Save The Queen,” was banned by the BBC. These weren’t setbacks, they were triumphs for a band dead-set on a shock-and-awe campaign against the status quo in both music and society. Out of the studio, the members of

the Sex Pistols had a penchant for troublemaking, playing thunderously along the River Thames, spewing profanity and even fighting fans at concerts. The band came apart in January 1978 at the end of their first U.S. tour, a fittingly messy end. Nelson called “Anarchy In The U.K.” and “God Save The Queen” “nearperfect rock and roll songs, classics in the way the Who’s ‘My Generation’ and the Rolling Stones’ ‘Satisfaction’ are.” That is to say, they encompass the same sense of disaffected youth railing against the powers that be with the weapon of amplified noise. But even for their fans, the music was only a component of what made the Pistols so influential. With one album, some live shows and an aggressively anti-social attitude remarkable for the time, the Pistols became the bellwether of a true revolution, birthing a do-ityourself ethic that spawned one of the most fertile periods in rock. — Bryan Reesman

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Paul Natkin/WireImage.com

Nick Of Time Bonnie Raitt

hen Bonnie Raitt released her eponymous debut in 1971, critics loved her. It was the dawn of California’s singer/songwriter era, a time when musical categories were more flexible than ever. Raitt was nominally a blues artist, but the two original songs on the album — “Thank You” and “Finest Lovin’ Man” — hinted at the mixture of blues, country, folk, pop, R&B, jazz, and roots music that would become her trademark. It was an Americana album long before the genre had a name. Her impressive slide guitar work, coupled with her gritty, understated vocals won her glowing reviews. Her label at the time predicted great things for her, but despite a hit single (an R&B-flavored cover of Del Shannon’s “Runaway” went to No. 57 in 1977) and two gold albums (1972’s Give It Up and 1977’s Sweet Forgiveness) a major breakthrough never happened. In 1983 she was dropped from her contract. Then she met Don Was. He produced her version of “Baby Mine,”

a song from Disney’s 1941 animated feature Dumbo, for a compilation of Disney songs. The pair hit it off and Was signed on to helm her Capitol Records debut, 1989’s Nick Of Time. “Nick Of Time isn’t that much of a reinvention of what I did before, it’s just a better version,” Raitt told USA Today in 2014. “I was very clearheaded. My spirit was rejuvenated after the heartbreak of being dropped and having a romantic love affair fall apart in the mid-’80s.” Raitt had also stopped indulging her party-all-night-long lifestyle and was clean and sober. Her clarity carried over to her performances on Nick Of Time. The album’s slick production and the ferocity of Raitt’s vocals gave the music the spark and crackle that made her live performances so powerful. The album crept up the charts until February 1990 when it won three trophies at the 32nd GRAMMY Awards, including Album Of The Year. The album jumped to No. 1 and eventually sold more than 5 million copies.

“It has such emotional meaning for me, that record, because it represented such a shift in my life,” Raitt said. “It was an astonishing comeback for me after a rough period of time. I sing so many of those songs every night, and I’m proud of how they held up.” Twenty-five years later, Nick Of Time remains one of the finest albums in Raitt’s catalog. Two of her originals on the record, “The Road’s My Middle Name” and the title track, have become signature tunes and the album’s success elevated her from cult artist to superstar — an “overnight success” after 18 years in the business. “The success of Nick Of Time brought me a level of freedom, and the opportunities to do everything I had wanted to do,” Raitt said on the occasion of the album’s rerelease on vinyl in June 2014. “Nearly every gift in my life now is, in so many ways, because of what happened with that album and the GRAMMYs. Definitely one of the greatest highlights of my life.” — J. Poet

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Popperfoto/Getty Images

“Rescue Me” Fontella Bass

“R

escue Me” was originally recorded by Fontella Bass in August 1965 at a songwriting and rehearsal session with Carl Smith and Raynard Miner, staff writers and producers at Chess Records in Chicago, and intended as the B-side to “Soul Of The Man,” the St. Louis-born singer’s first solo recording for the company’s Checker label. According to author Robert Pruter in Chicago Soul, “[Bass, Smith and Miner] were fooling around with the song when arranger Phil Wright walked in, and the ensuing four-way jam session brought forth ‘Rescue Me.’” Billy Davis produced the side, aided by Chess arranger/ producer Gene Barge’s driving horn section. The rhythm section for the pulsating track included members of the Chess Records’ house band, notably drummer Maurice White (founder of Earth, Wind & Fire) and bassist Louis Satterfield (later a

member of EW&F’s horn section) with the late Minnie Riperton as one of the background vocalists. In a 1989 interview with The New York Times, Bass — who died in 2012 at age 72 — recalled, “When we were recording that, I forgot some of the words. … Back then, you didn’t stop while the tape was running, and I remembered from the church what to do if you forget the words. I sang, ‘Ummm, ummm, ummm,’ and it worked out just fine.” The third take, according to writer Pierre Perrone’s article on Bass in 2012 for The Independent, “was far from perfect but captured a wonderful performance, even if the lyric sheet fell off the music stand, which accounts for Bass humming her way into the fade-out, while [producer] Davis simply went ’round the studio and tapped each musician on the shoulder to make them stop, leaving Satterfield and White to end the track.” The finished version of “Rescue Me” became the A-side when released. It

became a million-seller for Chess (its first in 10 years), reaching No. 4 on the Billboard Hot 100 and spending five weeks at No. 1 on the publication’s R&B Singles chart. The global success of “Rescue Me” (which reached No. 11 on the UK pop charts) put the label on par with other companies such as Atlantic, Stax and Motown in the emerging world of soul music. Beyond its initial success, the infectiously rhythmic song has been featured in films such as Sister Act, A Cinderella Story, Jumpin’ Jack Flash, Air America, and In The Army Now, and has been recorded by a diverse range of artists, including Diana Ross, Cher, Melissa Manchester, Linda Ronstadt, Tom Jones, Bryan Ferry, Ann Peebles, Dee Dee Warwick, and Pat Benatar. “Rescue Me” has been used in advertising campaigns by American Express and L’Oréal, among others, helping cement the song’s status as a classic American R&B staple. — David Nathan

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GAB Archive/Redferns

“San Antonio Rose” Bob Wills And His Texas Playboys

he 1930s were a tough decade in American history. The 1929 stock market crash helped trigger the Depression, but with Prohibition in place until 1933, even those who could afford it couldn’t legally enjoy drink as a temporary diversion. Just as Prohibition lifted, drought enveloped the Great Plains, causing devastating dust storms and sending more than 3.5 million people in search of greener pastures. Meanwhile, tensions in Europe were leading to World War II. But Americans could elevate their moods, as humans have done since they first discovered rhythm, with dance. All it took was a live band, a radio show or a phonograph and a shellac 78, and you could swing your partner round and round to your heart’s content. Bob Wills And His Texas Playboys were more than happy to help, filling ears and moving

feet with their Southwestern version of bopping East Coast big bands. Emphasizing fiddle, pedal steel and electric guitars over brass and woodwinds, though eventually incorporating all these elements, Wills gave a country flavor and pop sensibility to jazz and dance music. When the Texas native took his band to Tulsa, Okla., renamed them the Texas Playboys and began performing on radio station KVOO in 1934, the sound took off. But serious stardom came in 1939, after they recorded what became their first national hit and signature tune: “San Antonio Rose.” Its lilting melody actually came from an earlier tune, “Spanish Two Step,” which Wills had written for the largely Hispanic audience that attended Saturday night dances he’d played years earlier while living in Roy, N.M. When Art Satherley, who was handling

A&R for Columbia Records, asked him at a recording session if he had any more fiddle tunes like “Spanish Two Step,” Wills said he’d come up with one — and did so on the spot. Wills couldn’t think of a name, so Satherley suggested “San Antonio Rose.” With sweet fiddle and pedal steel leads and gentle percussion, the song drew in listeners and sold quite well. But it really took off in 1940 after Wills was asked to add lyrics. He and band trumpeter Everett Stover wrote what became “New San Antonio Rose.” That version, featuring Tommy Duncan’s vocals punctuated by Wills’ falsetto “a-has,” became a hit in its own right, helping launch Wills’ film career, leading to countless cover versions (including a Bing Crosby version that became a million-plus seller) and forever cementing Wills’ reputation as the King of Western Swing. — Lynne Margolis

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Michael Putland/Getty Images Alice Cooper (second from right) and his band (from left) Neal Smith, Michael Bruce, Dennis Dunaway, and Glen Buxton

“School’s Out” Alice Cooper

he power and enduring appeal of all great rock and roll anthems lie in their ability to encapsulate a transformational moment in the life of young people. The turbulence of first love, the defiant stance of youthful rebellion, the exhilaration of being in with the in crowd … this is the stuff of which classic rock songs are made. By 1972, however, rock had entered a “mature” phase, buoyed by the political activism and spiritual aspirations of the late ’60s that in turn fueled the singer/songwriter introspection and progressive rock musical sophistication of the early ’70s. It seemed like the era of simple, direct songs of youth gone wild had passed. But somehow, thankfully, Alice Cooper didn’t get the memo. The flamboyantly theatrical singer and the hard-rocking band who bore his name at the time scored their first major hit in 1972 with “School’s Out.” The song

expressively conveys the heady rush and expansive sense of freedom that every school kid experiences on that final day of classes before summer vacation. Interestingly, Cooper’s original inspiration for the song came from a line in a Bowery Boys film. “As a lyricist I’m always looking for that one phrase,” Cooper said earlier this year. “You start laughing and say, ‘Oh, I’ve got one. Wait till you hear this one.’” The musical linchpin of “School’s Out” is guitarist Glen Buxton’s powerhouse intro riff. Standing proud alongside raunchy chordal riffs such as Deep Purple’s “Smoke On The Water” and the Who’s “My Generation,” the “School’s Out” guitar figure both sets the song up and serves as the musical foundation for the verses. The first verse gives way to a punchy pre-chorus that sneers pure youthful rebelliousness: “Well we can’t salute ya, can’t find a flag/

If that don’t suit ya, that’s a drag.” Then the song slams straight into the chorus, frog-marched by a mock-heroic bolero rhythm. In the ’50s the great Chuck Berry had celebrated the last day of school in classic songs such as “Oh Baby Doll,” albeit tying the theme in with one of romantic uncertainty. But here in the post-Woodstock, studentradicalized early ’70s, the gloves were off. Cooper’s big chorus sounds a clear note of anarchy — school isn’t just out for summer, it’s out forever. Not only that, it’s been blown to pieces. To drive the point home even further, a kind of bonus second chorus reprises the ancient schoolyard rhyme, “No more pencils, no more books, no more teacher’s dirty looks,”setting it to a triumphantly ascending melody with a beautiful contrapuntal bass line played by Dennis Dunaway. It comes off as the national anthem of a new world order run by school kids. — Alan di Perna

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2015 GRAMMY Hall Of Fame The Inductees Shape Of Jazz To Come Ornette Coleman

hen Ornette Coleman’s music hit the scene in the late ’50s, everything about it seemed tailor-made to shake up the jazz establishment. He approached melody and pitch from a perspective that was almost alien to Western music; recalling an earlier “aha” moment, he explained, “I realized you could play sharp or flat in tune.” He and his frequent collaborator, trumpeter Don Cherry, used unorthodox instruments that produced unpolished sounds that clashed with the burnished tones most jazzmen strove for. (Cherry played pocket cornet, a compact miniature horn resembling a toy; Coleman preferred a student-model alto sax made of white plastic.) Within any given solo, rather than stating and reiterating a particular key, they implied an entire range of tonalities. And they rejected the accepted method of improvising upon a song’s chord structure. Instead, Coleman wrote bright, energetic melodies that eschewed any predetermined harmonic pattern. As he predicted in the liner notes

Michael Ochs Archives/Getty Images

for his 1958 debut album Something Else!!!! — The Music Of Ornette Coleman, “I think one day music will be a lot freer. Then the pattern for a tune, for instance, will be forgotten and the tune itself will be the pattern.” That day came into clearer focus in 1959 with the release of The Shape Of Jazz To Come. It opens with the startling “Lonely Woman” — a bleak, beautiful ballad with a roiling rhythmic undercarriage, which has become the best-known of Coleman’s compositions (thanks in part to dozens of recordings by other instrumentalists and vocalists). Its penultimate track, the raffish “Congeniality,” provides a clear bridge between bebop, the previous revolution in jazz, and Coleman’s own free jazz. Featured throughout the album is the late bassist Charlie Haden’s extraordinary harmonic perception: As the horn solos skitter in and out of different keys, Haden’s lines appear to sense and instantly react to the music’s shifting tonality. And with his crisp technique and unerring rhythmic pulse,

drummer Billy Higgins maintained ties to the jazz tradition, even as he defined another Coleman contention: “My music doesn’t have any real time, no metric time. It has time, but not in the sense that you can time it.” (Coleman’s speech patterns have always been as unique as his musical utterances.) The Shape Of Jazz To Come was Coleman’s first album on a major label, and thus the first to widely introduce his concepts to a barely ready world. It arrived the same year as Miles Davis’ Kind Of Blue, another album to challenge the bebop-rooted status quo. But where Davis eased listeners into the coming decade, Coleman lit a firecracker under them. The album’s title proved correct: The ’60s saw jazz elevate freedom to an end unto itself, as musicians sought to match the decade’s turbulent social events with increasingly avant-garde sounds. Coleman has said, “Play the thought, the idea in your mind. Break away from the convention and stagnation — escape!” That was indeed the shape of jazz to come. — Neil Tesser

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2015 GRAMMY Hall Of Fame Inductees

“Sixty Minute Man” The Dominoes

ifteen minutes of kissing. Fifteen minutes of teasing. Fifteen minutes of squeezing. And 15 minutes of blowing his top. Taken together, these precisely timed activities add up to the heated promises of “Lovin’ Dan” — better known to ’50s rock and rollers as the “Sixty Minute Man.” Jackie Brenston & His Delta Cats’ “Rocket ‘88’” — a 1998 GRAMMY Hall Of Fame inductee — is often credited as the first rock and roll song. But in May 1951, just a month after“Rocket ‘88’” was released, the Dominoes clocked in with “Sixty Minute Man,” which despite — or because of — its not-so-hard-to-figure-out subject matter, shot up both the Billboard R&B and pop charts to become one of the first big crossover hits of the rock era. The Dominoes were put together by bandleader Billy Ward, a Juilliardtrained musical prodigy who worked as a Broadway arranger before assembling his vocal group. The first Dominoes recordings were doo-wop ballads featuring the soaring tenor of Clyde

Michael Ochs Archives/Getty Images (clockwise from left) Joe Lamont, Billy Ward, Bill Brown, Charlie White, and Clyde McPhatter

McPhatter, later of Drifters fame. But when Ward, along with songwriting partner Rose Marks, came up with “Sixty Minute Man,” bass singer Bill Brown was tapped for lead vocals (the rest of the group’s original lineup included tenor Charlie White and baritone Joe Lamont). The result was a seductive, rollicking R&B single with lyrics that drew upon the tradition of innuendo-fueled blues tunes (the chorus line, “I’ll rock ’em, roll ’em all night long,” made it pretty clear what this newfangled rock and roll was going to be centered on). Listeners who missed the entendre may have thought the song was about a man with a wristwatch. But there were plenty of people who understood exactly what Lovin’ Dan was saying — even as the single propelled the Dominoes into one of the most indemand live acts of the time, their biggest hit was banned at many radio stations. Similarly, while the song quickly became popular with both black and white audiences, that popularity made it a powerful cultural flashpoint. In his memoir Me And A Guy Named Elvis: My

Lifelong Friendship With Elvis Presley, Memphis Mafia stalwart Jerry Schilling describes an episode in which, as a 7-year-old, he played a prized 78 disc of “Sixty Minute Man” in the home of some white friends — only to have the record snatched from the turntable and broken into pieces by an irate mother who declared, “You’re not going to play that race music in my house!” (except she doesn’t use the word “race”). Today, the song’s winking come-ons hardly seem scandalous, but the tune remains a milestone — one that marked a crucial moment in rock and roll’s early years when musical influences were blended, lyrical boundaries were pushed and audience color lines were crossed. The song also had a very direct legacy in “answer” tunes. Brown left the Dominoes to form the Checkers, who recorded “Don’t Stop Dan” (“Don’t stop ... Lovin’ Dan, you’ve got 59 minutes to go”). And in 1952 the Du-Droppers scored their first hit with the significantly less boastful “Can’t Do Sixty No More.” — Chuck Crisafulli

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2015 GRAMMY Hall Of Fame Inductees Songs Of Leonard Cohen Leonard Cohen

erhaps it’s no coincidence that the year the world was introduced to Canadian-born songwriter and recording artist Leonard Cohen, Canada was celebrating its first century as a nation. For both Cohen and Canada, 1967 marked new chapters filled with rebirth, hope and a promising future: Cohen already claimed a global following as an acclaimed poet and novelist, thanks to such celebrated literary works as 1961’s The Spice-Box Of Earth anthology of prose and the novel Beautiful Losers (1966) (which led The Boston Globe to compare him to James Joyce). Before Cohen entered a New York studio in May to record Songs Of Leonard Cohen, he had a head start: Judy Collins had furnished versions of “Suzanne” and “Dress Rehearsal Rag” on her own project, 1966’s In My Life, and actor Noel Harrison had released “Suzanne” as a single with modest success. Consisting of 10 tunes, including the

Condé Nast Archive/Corbis

eventual classics “Suzanne,” “Sisters Of Mercy,” “So Long, Marianne,” and “ Hey, That’s No Way To Say Goodbye,” Songs Of Leonard Cohen wasn’t an easy album to make, by all accounts. Cohen preferred his arrangements simple, adorned only with his acoustic guitar. Producer John Simon (the Band, Simon & Garfunkel), who parachuted in after original producer John Hammond was unable to continue the sessions due to illness, wanted to add accompaniment. “John Simon wrote some delightful arrangements like the one to ‘Sisters Of Mercy,’ still based around my guitar playing,” Cohen told Sylvie Simmons for her book I’m Your Man — The Life Of Leonard Cohen. “I wanted women’s voices and he came up with some nice choirs of women. We did have a falling out over ‘Suzanne’; he wanted a heavy piano syncopated, and maybe drums. That was my first requirement, that I didn’t want drums on any of my songs,

so that was a bone of contention.” By the time he had finished recording the album in New York on Nov. 9, there had been many takes: an estimated 20 of “Suzanne” and 24 of “So Long, Marianne.” He had also snuck Kaleidoscope, an uncredited band featuring guitarist David Lindley, into the studio, unbeknownst to Simon. Songs Of Leonard Cohen wasn’t an instant hit. Though it charted on the Billboard 200, it took 22 years to sell 500,000 copies and turn gold, but it did introduce the then-33-year-old Cohen as an inimitable, distinctive voice, or as Uncut has described him, “the laureate of romantic gloom and erotic distress,” a man whose monotone intonation revealed longing, romantic conflict and gifted imagery, providing a lasting and sober tonic to the free-flowing escapist vibe known as the Summer of Love. The album serves as a template of inspiration for self-expressive songwriters around the world. — Nick Krewen

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Stand! Sly & The Family Stone

retha Franklin and Sam Cooke’s gospel origins are well-known, Sly & The Family Stone’s less so. Yet in 1952, when Sly Stone (neé Stewart) was all of 9 years old, he and siblings Freddie, Rose and Vaetta, recording together as the Stewart Four, released their 78 rpm single, “On The Battlefield Of The Lord” backed with “Walking In Jesus’ Name.” But it was a very different America, and a very different Sly & The Family Stone, that saw the release of the band’s 1969 breakthrough album, Stand! The assassination of Martin Luther King Jr. led to riots in cities across the country, while more than half a million American troops had been deployed to Vietnam. The music world, meanwhile, was achieving more positive results: In 1967 Franklin’s “Respect” earned a pair of GRAMMY Awards — her first of 18 — while Sly and siblings scored their first No. 1 hit in early 1969 with Stand!’s “Everyday People.” The advance single heralded the thematic direction of the band’s

Michael Ochs Archives/Getty Images (clockwise from top) Larry Graham, Freddie Stone, Greg Errico, Sly Stone, Rose Stone, Cynthia Robinson, and Jerry Martini

fourth album. The song embraced diversity in a time of division, and did so with Sly & The Family Stone’s unique combination of endearing humor and intense conviction. “There is a yellow one, that can’t accept the black one/That won’t accept the red one/That won’t accept the white one,” declares sister Rose in the bridge, which she delivers in a sing-song style more typical of schoolyard chants than chart-topping hits. The title track, meanwhile, is more impassioned, with brother Sly making the case for activism and awareness: “Stand! Don’t you know that you are free/Well, at least, in your mind, if you want to be,” he sings as the song segues to the extended gospel outro that echoes the siblings’ sanctified roots. Over the course of the album’s approximate 40-minute running time — a third of which is devoted to the instrumental “Sex Machine” — the musicianship is no less engaging. Freddie Stone, the band’s third

lead vocalist, contributes psychedelic guitar solos that serve as a rock counterpoint to Sly’s funky keyboards and vocoder, while Larry Graham pioneers the “thumbin’ and pluckin’” bass technique he would later perfect with his band Graham Central Station and subsequent Prince collaborations. The music is taken still higher by the one-two punch of trumpeter Cynthia Robinson and saxophonist Jerry Martini, the much-sampled drumming of Greg Errico, and background vocals courtesy of fourth sibling Vaetta and her trio Little Sister, which make Stand! a family affair in the truest sense of the word. To this day, Stand! remains a highwater mark in the band’s career. But what made this a truly historic accomplishment was its demonstration of Sly & The Family Stone’s ever-expanding sound — one that presaged everything from jazz fusion to jam bands — as well as lyrics that conveyed the right message at precisely the right time. It’s a message, in fact, that rings just as true and just as necessary nearly half a century later. — Bill Forman

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@COVERGIRL

@OlayUS

@herbalessences

@3DWhite

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Shelly Katz/The LIFE Images Collection/Getty Images

Stardust Willie Nelson

illie Nelson wasn’t the first country artist to record American pop standards, nor was Stardust his first trip down memory lane. But Stardust remains notable, both for the moxie Nelson showed in making the album and its lasting impact on one of music’s most beloved canons. By the late 70s Nelson was an established country star, thanks to his multi-platinum smash Red Headed Stranger. Nelson had been given free creative rein by Columbia Records, and he used it. Subsequent projects had solidified his place among the vanguard of outlaw country, those rock-infused rebels who had brought Nashville, Tenn., back to its roots. But Nelson’s roots also ran to songs such as Irving Berlin’s “Blue Skies,” the Gershwins’ “Someone To Watch Over Me” and Stuart Gorrell and Hoagy Carmichael’s “Georgia On My Mind.” These classics were the music of Nelson’s youth in Abbott, Texas. It’s the material

on which he honed his musical chops as an aspiring musician, and it’s the music he wanted to record in 1977. When Nelson told Columbia Records he wanted to make an album of songs culled from the Great American Songbook, they hated the idea. As Nelson later recalled to Radio.com, label executives said, “This is not a good idea. It costs too much money first of all, and these old songs, nobody wants to hear ’em anymore.’” Nelson’s response? “Great songs are great songs, no matter when they’re written,” biographer Joe Nick Patoski wrote in Willie Nelson: An Epic Life. Even more audaciously, Nelson wanted Memphis soul legend Booker T. Jones to produce. Typically, his reasons were grounded in friendship and musical kinship: Nelson and Jones were neighbors in the same Malibu, Calif., apartment building. A friendship had blossomed, with the two indulging their shared love of American pop standards in living room jam sessions. Recording an album together seemed a no-brainer.

Nelson prevailed with Columbia and Stardust was recorded over nine days in December 1977. Jones rearranged the songs to be played on guitar, stripped them of their pop gloss, and let the material breathe. With just a simple harmonica front and center, Jones and Nelson revealed the down-home Americana at the heart of these Tin Pan Alley classics. It’s no accident that Stardust still sounds fresh today, though some of the material is nearly 100 years old. On its release in April 1978, Stardust was a critical and commercial blockbuster. The album was certified platinum eight months later, peaked at No. 1 on the Country Albums chart on the strength of the Top 5 Country Singles hits “Blue Skies” and “All Of Me,” and brought home multiple awards, including a GRAMMY for Best Country Vocal Performance, Male for “Georgia On My Mind.” Stardust spent 10 years on the Country Albums chart and in 2002 was certified quintuple platinum. — Lisa Zhito

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2015 GRAMMY Hall Of Fame Inductees Hulton Archive/Getty Images Fisk Jubilee Singers circa 1860

“Swing Low, Sweet Chariot” Fisk Jubilee Singers

t’s a rare occurrence when a spiritual song casts a long, formidable shadow over religious and pop cultures alike, but “Swing Low, Sweet Chariot” is such a rarity. The song’s timeless appeal and enduring popularity can be attributed to the Fisk Jubilee Singers of Fisk University, who quite possibly spared the old slave song from eternal obscurity when they recorded it in 1909. In the century’s time that has passed, the song and the Nashville, Tenn.-based group have become inextricably linked. The Fisk Singers recorded “Swing Low, Sweet Chariot” (one of two versions inducted this year) without instrumental accompaniment — their tremulous, honey-sweet voices articulating each word with perfect clarity. The lyrics express the desire for a release from bondage and a return home — perhaps back to their ancestor’s place of birth, or their heavenly spiritual home. Though many scholars agree that the

Fisk Singers recorded the definitive version of the classic African-American spiritual, a veritable multitude of other artists have interpreted the tune, including Paul Robeson (see page 60), Louis Armstrong, Duke Ellington, Elvis Presley, the Staple Singers, Stevie Wonder, and contemporary artists such as Beyoncé and She & Him. Other artists, including Chuck Berry, Neil Young and Radiohead, have made allusions to the tune in their own songs — Dizzy Gillespie’s “Swing Low, Sweet Cadillac” perhaps the most popular of all. While the song’s popularity is undisputed, its origins aren’t quite as clear. Wallis Willis, a former slave who joined the Choctaw Nation after emancipation, is often credited as the song’s composer. As legend has it, Willis was inspired both by his Oklahoma home and Mississippi’s Red River, the latter of which reminded him of the Old Testament tale of Prophet Elijah crossing the Jordan River to hide from King Ahab. Just as Elijah was carried to his heavenly

home by a divine whirlwind, “Swing Low, Sweet Chariot” alludes to a divine carriage “coming for to carry me home.” Some historians believe that “Swing Low, Sweet Chariot” contains cloaked lyrics referencing the Underground Railroad, a network of 19th century escape routes used by slaves. Others claim “Swing Low, Sweet Chariot” was crafted over time by a community of African-American slaves prior to the Civil War. In his 1907 book, Folk Songs Of The American Negro, song collector John Wesley Work reported a legend that “Swing Low, Sweet Chariot” was composed by Hannah Shepherd of Tennessee in the mid-19th century. According to Work, Shepherd created the spiritual to comfort a distressed slave who feared being sold to another plantation and separated from her infant daughter. No matter its origins, “Swing Low, Sweet Chariot” has become a touchstone of the African-American experience. — Bruce Britt

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“Swing Low, Sweet Chariot” Paul Robeson

he first thing you notice, of course, is Paul Robeson’s voice. As deeply moving as any in the history of recorded music, it had an emotional resonance, whether filling concert halls or emanating from living room consoles, that was undeniable. The late jazz artist Little Jimmy Scott, whose high-pitched vocals were about as far removed from Robeson’s bass-baritone as you can get, was one of countless musicians who found the Harlem Renaissance singer’s body of work profoundly inspiring. “I would swear he was telling that story right to me,” Scott told DownBeat writer Scott Aiges. “Like the way he would sing ‘Go Down Moses.’ I would say, ‘Why don’t they let them folks go? Because that man is going to cry!’” Robeson’s rendition of the AfricanAmerican spiritual “Swing Low, Sweet Chariot” — which historians believe was first recorded by the Fisk Jubilee

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Singers (see page 59) in 1909 — was no less moving. The song is believed to have been written two decades before the Civil War by Wallis Willis, a former slave who joined the Choctaw Nation after emancipation. Some historians have speculated that the song’s biblical tale of a heaven-bound chariot is a coded metaphor for the Underground Railroad, much in the way that “Wade In The Water” referenced the strategy runaway slaves employed to throw bloodhounds off their trail. It was only fitting, then, that the song should come to be recorded by Robeson, the civil rights pioneer whose concerts were disrupted by white supremacists in the ’40s and who was later blacklisted during the McCarthy era. Robeson’s version of the song was cut on Jan. 7, 1926, at the Victor Talking Machine Company’s recording studio in Camden, N.J., an hour away from where the singer was raised. The recording finds Robeson

accompanied by Lawrence Brown, a pianist and arranger who’d spent the previous year traveling throughout the South, researching traditional spirituals and field songs. Although the recording hails from an era when sound reproduction was anything but high-fidelity, it remains as profoundly moving as anything captured by the most advanced recording technology. Following Robeson’s death in 1976, thousands crowded into the memorial service held at Harlem’s Mother A.M.E. Zion Church. “There,” wrote Ebony magazine’s Carlyle Douglas, “in a silk suit and tie and a closed mahogany coffin, Paul Bustill Robeson lay dead.” But the same can never be said for his recordings, which Douglas described as “Paul Robeson’s gift from black America to the world.” Or, as Scott explained, “It just seemed so real, the way he expressed it; whatever he was singing, it just had to be so.” — Bill Forman

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“Tell It Like It Is” Aaron Neville

n 1966 Aaron Neville was living in his hometown of New Orleans, digging ditches and doing whatever construction work he could find. The Neville Brothers, the GRAMMY-winning band formed by him and his brothers, was a decade away. “I was down in the docks,” Neville said in the 2000 biography The Brothers Neville. “And I was down in the dumps. But I’d be singing away. Cats working beside me would say, ‘You got a great voice. You should be making hits.’ But hell, I didn’t even have a record deal.” Enter George Davis and Alvin “Red” Tyler, two local musicians who had grown up with Neville in the Calliope Projects. They had just started Par Lo, a small label, with third partner Warren Parker. Lee Diamond, a veteran of the R&B circuit, had been writing with Davis. At the initial session, Diamond played

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Neville two of those songs — “She Took You For A Ride” and “Tell It Like It Is.” “We nailed them both in a couple of takes,” says Neville. “I preferred ‘... Ride’ because it grooved so hard. This was when New Orleans’ Robert Parker had a smash with his groove song ‘Barefootin.’ ‘Tell It Like It Is’ was a sweet and smooth ballad — I dug it — but ballads weren’t happening. When I played both tunes for my brother Art, my musical mentor, he didn’t agree. He heard ‘Tell It …’ and said, ‘Bro, this is the s*** right here. This is the serious s***.’” Art was right. “Tell It Like It Is” is one of the seminal ballads of the ’60s golden age of soul. Both simple and profound, the song has a prayerful feeling, the plea of a man searching for the truth. With its ethereal vibrato, Neville’s high tenor is the perfect instrument to convey the

overarching theme: the need for sincerity. “If you want something to play with,” Neville sings with heartfelt purity, “Go and find yourself a toy … baby, my time is too expensive/And I’m not a little boy.” Yet it’s exactly little-boy genuineness that imbues Neville’s reading with such emotional power. The sparse arrangement — the softly repeated piano patterns and slow-building horns — perfectly frames Neville’s lead vocal, a paradigm of soulful subtlety. “Today, nearly 50 years later, fans get mad if I don’t sing it during every one of my shows,” Neville says. “Certain psychologists have told me how they play the record for children with emotional issues. They say that on that particular song the timbre of my voice calms them down when nothing else will. If that’s not a gift from God, I don’t know what is.” Amen. — David Ritz

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“Try A Little Tenderness” Otis Redding

tis Redding’s memorable rendition of “Try A Little Tenderness” was inspired by a version he’d heard by one of his musical influences, the late Sam Cooke, who recorded the song as part of a medley for his 1964 album Sam Cooke At The Copa. Two years earlier, a then-20-year-old Aretha Franklin was the first R&B artist to cut the track. But it was Redding who made it a hit. Redding recorded “Try A Little Tenderness” during a session at Stax Records in Memphis, Tenn., on Sept. 13, 1966, for his acclaimed album Complete & Unbelievable: The Otis Redding Dictionary Of Soul. The track reached No. 25 on the Billboard Hot 100 and No. 4 on the R&B Singles chart, giving the Dawson, Ga.-born singer/songwriter one of his biggest

pop hits before his untimely death in an airplane crash on Dec. 10, 1967. During the recording session, Redding was backed by the Stax house band — members of Booker T. & The MG’s (guitarist Steve Cropper, bassist Donald “Duck” Dunn, drummer Al Jackson Jr., and keyboardist Booker T. Jones) — along with Stax producer Isaac Hayes on keyboards and Gilbert Cable providing the saxophone solo, which Hayes arranged. With its slow opening, the track showcased Redding at his best, interpreting the lyrics of a song originally written in 1932 in his own distinctive style before the track builds and reaches a tumultuous horn-driven conclusion, utilizing elements from the Duke Ellington/Lee Gaines’ song “Just Squeeze Me (But Please Don’t

Tease Me)” as well as the popular catchphrase of the day: “Sock it to me.” The soulful classic is often considered Redding’s signature song. “If there’s one song, one performance that really sort of sums up Otis and what he’s about, it’s ‘Try A Little Tenderness,’” said Stax Records co-founder Jim Stewart. “That one performance is so special and so unique that it expresses who he is.” Redding’s interpretation has inspired several covers, including takes by Three Dog Night and Michael Bolton, and was famously featured in the 1986 film Pretty In Pink. For their 2011 album Watch The Throne, Jay Z and Kanye West paid tribute to the pioneering King of Soul with their single “Otis,” which samples “Try A Little Tenderness” and its thunderous climatic lyrics, “Squeeze her, don’t tease her, never leave her.” — David Nathan

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“Walk On The Wild Side” Lou Reed

ack in 1972, Lou Reed was struggling with his next move, having left the Velvet Underground — a band, for all their infamy, who were a commercial flop. Signed as a solo artist to RCA Records, Reed released his self-titled debut in April, consisting of songs he’d written three years prior for the Velvets. It took labelmate David Bowie, a rising star in the UK whose own gender-bending “glam” image was inspired by the downtown Andy Warhol demimonde, to which “Walk On The Wild Side” alludes, to convince Reed to address his experiences directly. Bowie and guitarist Mick Ronson teamed to produce Transformer, Reed’s sophomore album, which included his signature song, and only hit, “Walk On The Wild Side.” The title was adopted from an aborted attempt to turn the 1956 Nelson Algren book (and subsequent 1962 movie) into a musical. Bowie talked Reed into dressing androgynously and wearing makeup, which he did for the Mick Rockphotographed cover of Transformer.

In “Walk On The Wild Side,” Reed described, by name, the coterie of superstar transgender men and women and drag queens he came across at Warhol’s Factory, with its sordid tales of the real-life Holly Woodlawn, Candy Darling, Joe Dallesandro, and Jackie Curtis. The song was recorded at Trident Studios in London in July 1972, the smoky sax solo performed by Ronnie Ross, who originally taught a young Bowie how to play the instrument. The “colored girls” who go “doo-do-doo-do-doo-do-do-doo” are a UK group called Thunderthighs. The song’s prominently featured interlocking bass lines were played by Herbie Flowers on two different instruments, including a fretless bass. He later revealed to BBC Radio he did that to get paid double for the session. The song peaked at No. 16 on the Billboard Hot 100, a shocker considering it sported cheeky double-entendre lines such as “but she never lost her head/ even when she was giving head.” Reed told journalist Marc Spitz in Bowie: A Biography, “It was one of

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the quote-unquote unlikeliest hits in the world,” mentioning he could never duplicate it. “There hasn’t been a sequel. These really simple things are really hard. As far as I’m concerned, there’s this thing you managed to grab hold of for a second and then it’s gone. You can’t do it again ’cause it’s not there to do. Very strange process. I don’t for a minute understand it. I’ve given up a long time ago any explanation for anything.” The song helped kick-start Reed’s post-Velvets career and subsequent identity as a chronicler of the urban underworld, a sexually ambiguous deadpan observer who prefigured rap’s real-life, name-checking narratives (A Tribe Called Quest sampled the song for their 1991 single “Can I Kick It?”), directly spawning the punk rock scene that followed in clubs such as CBGB and his original watering hole, Max’s Kansas City, and anticipating the likes of everyone from Patti Smith, Television, Richard Hell, and the Ramones, to Jayne County, Jobriath, Madonna, and Lady Gaga. — Roy Trakin

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The Recording Academy

he Recording Academy has built a rich tradition as the premier outlet for honoring achievements in the recording arts and for supporting the music community. In 1957 a visionary group of music professionals and label executives in Los Angeles recognized the need to create an organization that would acknowledge and celebrate the artistic achievements of not only talented musicians and singers, but also important behind-the-scenes contributors such as producers and engineers. Conceived as a way to create a real recording industry community, The Recording Academy was born and the GRAMMY Awards process began. The GRAMMYs are the only peerpresented award to honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position. The GRAMMY Awards themselves have grown right along with the organization that presents them. Initially a series of taped network TV specials titled “The Best On Record,” the GRAMMYs have long been a state-of-the-art live extravaganza (in 2003 the GRAMMYs became the first awards show to broadcast in high-definition television and 5.1 surround sound) and the premier music awards show on television. In addition to the GRAMMY Award, The Recording Academy presents several 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 Paul McCartney and Ringo Starr at the 56th Annual GRAMMY Awards the leading force in honoring, celebrating and advancing music. young people with real-world exposure The Academy has been at the forefront to music and the music industry. of critical issues affecting both the music During GRAMMY Week in 2014, community and the general population, such The Recording Academy and GRAMMY as legislation affecting the arts community, Foundation partnered to launch the protection of intellectual property rights, first-ever Music Educator Award, an piracy, archiving and preservation issues, honor recognizing a current educator censorship concerns, and creating dialogue who has made a significant contribution between the music and technology sectors. to the field of music education. To accomplish this mission, The Recording Since 2008, The Recording Academy Academy has developed a network of 12 has worked with the Natural Resources field offices across the country to provide Defense Council to focus its awareness industry service and program development on the carbon footprint of The Academy to our more than 23,000 members. The and GRAMMY Awards production to help Academy also launched the Producers & educate telecast guests on environmental issues, and to aid The Academy in Engineers Wing in 2000 to create communicating to its vendors an interest an organized voice for the important in sustainable solutions. In 2009 The technical and creative community. Academy’s headquarters in Santa Monica, Through its Washington, D.C.-based Calif., attained LEED gold-level certification, Advocacy & Industry Relations office, further demonstrating the organization’s The Academy seeks to amplify the voice positive environmental impact. of music creators in national policy Finally, The Academy opened the doors matters. The Academy was instrumental to the GRAMMY Museum in December in helping form the Recording Arts and 2008, launching a state-of-the-art cultural Sciences Congressional Caucus in 2004, facility at the exciting L.A. Live complex and in 2007 co-founded the musicFIRST Coalition, which has taken a leadership role in downtown Los Angeles. Expanding the institution’s reach, the 20,000-plus in the fight to expand radio performance square-foot GRAMMY Museum Mississippi royalties to all music creators. is expected to open in summer 2015. The Through its affiliated MusiCares Museum brings the mission, impact and Foundation and GRAMMY Foundation, legacy of The Recording Academy and The Academy works to protect and GRAMMYs to the public year-round. support music people in crisis, and provide

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You can learn more details about The Recording Academy’s many programs at www.grammy.org.

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The GRAMMY Foundation

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he 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.

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

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 by recognizing excellence in musical achievement

nationwide among individual students, teachers and school music programs. GRAMMY Camp is a residential summer camp for high school students with a focus on the many careers in the music industry. In 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 one-day event that brings top music industry professionals together with high school students to make them aware of careers that are available in music and present a behind-the-scenes look into the industry. GRAMMY Camp — Jazz Session selects top high school instrumentalists and singers to form a band, choir and combo. They receive an all-expenses-paid trip to Los Angeles during GRAMMY Week to 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 the Foundation’s 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 (see next page) 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 (see page 70), with funding generously provided by The Recording Academy, awards grants each year to organizations and individuals in two categories: scientific research and archiving and preservation. The Grant Program has awarded more than $6 million over the life of the program. The GRAMMY Living Histories program preserves on visual media the life stories of key recording industry professionals and visionaries who helped create the history of recorded sound. This footage is 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.

Forlearn moremore information on theThe GRAMMY Foundation, visitmany www.grammyfoundation.org. You can details about Recording Academy’s programs at www.grammy.org. For more information on its education programs, visit www.grammyintheschools.com.

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hen Kent Knappenberger was presented with the inaugural Music Educator Award during GRAMMY Week in 2014, the Westfield, N.Y., music teacher couldn’t believe the impact he’s had on his students was so significant it garnered the attention of the GRAMMY Foundation and The Recording Academy 3,000 miles away in Los Angeles. “When I first received the emails telling me that I had been nominated … I would have never imagined I would be standing here right now as the recipient,” said Knappenberger during his acceptance speech. “I guess that although I see myself as a very happy, playful, fun-loving, and effective music teacher, I didn’t see myself as someone for whom you might be looking.” On the contrary, Knappenberger was exactly the type of music educator the GRAMMY Foundation and The Academy were looking for. A member of the National Association for Music Education and the National Education Association, he holds a bachelor’s degree from the State University of New York at Fredonia and a master’s degree in music education, harp performance and literature from Eastman School of Music. He’s served as a music teacher and choir director at New York’s Westfield Academy and Central School for more than 25 years. But most important, he’s a tireless educator and advocate for the essential need for music education. “The award goes a long way, and will continue to go a long way, in recognizing the important job music educators do,” said Knappenberger in a 2014 interview with GRAMMY.com. The Music Educator Award was launched in 2013 by The Recording Academy and the GRAMMY Foundation in an effort to formally honor the important role music teachers play in our society. Whether introducing a child to her first instrument, assisting elementary school students to overcome stage fright or helping aspiring music professionals hone their craft, music teachers nationwide are beacons of encouragement, knowledge and inspiration

to students of all stripes. And for every performer fortunate to make it to the hallowed GRAMMY stage, there was likely a music teacher who played a critical role in getting her there. “Many musicians would not be expressing their gift for creativity had it not been for the dedication and encouragement of a music teacher who inspired them to pursue a professional career,” said Neil Portnow, President/ CEO of the GRAMMY Foundation and The Recording Academy. To be bestowed Kent Knappenberger accepts the inaugural Music Educator Award at the Special Merit Awards Ceremony annually, the & Nominees Reception during GRAMMY Week in 2014 Music Educator Award honors annual GRAMMY Awards telecast, and outstanding current, full-time classroom receives a $10,000 honorarium. The other music educators who teach music in finalists each receive a $1,000 honorarium, public or private schools (kindergarten and the respective schools of all 10 through college) in the United States. finalists also receive matching grants. Those eligible to nominate educators In 2014, the award’s first year, more than for the award include music teachers, 32,000 nominations were received from school administrators, parents, students, all 50 states. Rounding out the inaugural friends, colleagues, community members, class of finalists were Lisa Bianconi and Recording Academy members. After (Westminster, Vt.), Charles Cushinery several rounds of application submissions, the top scoring teachers are reviewed (Las Vegas), Andrew DeNicola (Edison, N.J.), by a Blue Ribbon Committee comprising Vivian Gonzalez (Miami), Kathrine Kouns music education professionals, GRAMMY (Scottsdale, Ariz.), Glen McCarthy Foundation Board members and qualified (Fairfax, Va.), Steve Vutsinas (Chesapeake, Va.), members of The Recording Academy. Jo Wallace-Abbie (Plano, Texas), and This committee, with final ratification Mary Jo West (Falls Church, Va.). from The Academy’s Board of Trustees, As a new group of finalists, including determines the nine finalists and the the second annual Music Educator recipient of the Music Educator Award. Award recipient, are honored during The recipient is flown to the GRAMMY GRAMMY Week 2015, The Recording Awards’ host city to accept the award at Academy and GRAMMY Foundation The Recording Academy’s Special Merit say ”thank you” for everything teachers Awards Ceremony & Nominees Reception do for our young musicians, and for during GRAMMY Week and attend the students in all disciplines.

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Music Educator Award™

The deadline to nominate a teacher for the third annual Music Educator Award is March 15, 2015. Applications are currently online at www.GRAMMYMusicTeacher.com.

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Protecting Our Rich Musical Heritage For nearly three decades, the GRAMMY Foundation Grant Program has funded wide-ranging projects of historical, cultural and social significance By Laurel Fishman

Charley Gallay/Getty Images Herman Leonard

rom archiving and preserving precious musical, photographic and other historically valuable collections that would otherwise be lost to the ravages of time, to funding music-related quality-of-life services and neurologic research, the GRAMMY Foundation Grant Program has provided invaluable resources for nearly three decades. Established in 1988, the GRAMMY Foundation (see page 68) works in partnership year-round with The Recording Academy to bring national attention to important issues such as the value and impact of music and arts education and, through initiatives such as the Grant Program, the urgency of preserving our nation’s rich cultural heritage. The GRAMMY Foundation Grant Program has awarded nearly $6.5 million in funding to more than 300 worthwhile grant recipients, with funding provided by The Recording Academy. Drawing from a previously established education endowment fund, in its formative years a Recording Academy education committee began determining grant projects that would receive Grant Program funding. These early funded projects included music-research studies involving hearing loss and enhancement of spatial reasoning in children, and research on the effects of music therapy on seniors to improve emotional and

physical well-being. With the new millennium, the Foundation disbursed grants to more than a dozen recipients, supporting such projects as the Lost & Found Sound Collection, which archived and preserved NPR’s the Kitchen Sisters (Davia Nelson and Nikki Silva) program, ensuring the legacy of the “Lost & Found Sound” anthology, which chronicles, reflects and celebrates more than 100 years of American life through recorded sound. Since its inception, the Grant Program has funded significant collections and research projects from coast to coast. New Orleans has received a lifeline via the Grant Program, allowing the city’s famed musical legacy to continue building on its deep roots after many physical remnants of the city’s musical history were destroyed in 2006 by Hurricane Katrina. In the aftermath of the hurricane, that year the Foundation administered a special grant cycle for the Gulf Coast, part of which went to the aid of celebrated Big Easy radio station WWOZ-FM. Throughout its history, WWOZ-FM had amassed thousands of recordings of every conceivable type of musical performance, sourced from anywhere in the city that music could be made. Recorded in the streets, nightclubs, festivals, churches, and other venues, irreplaceable, fragile

reel-to-reel recordings and other imperiled media had accumulated over the years. After Hurricane Katrina’s floodwaters nearly destroyed the diverse, already-deteriorating collection, WWOZ’s endangered music archives were transferred to digital files thanks to funding from the Grant Program. In addition, WWOZ was able to leverage the grant for additional support from the Library of Congress. In 2008 the Grant Program supported New Orleans-based photographer Herman Leonard, whose iconic images captured jazz greats in atmospheric settings. Born in 1923, Leonard photographed legends such as Duke Ellington, Ella Fitzgerald, Miles Davis, Billie Holiday, Dizzy Gillespie, Louis Armstrong, and Charlie Parker. To gain access to artists, often during rehearsals, Leonard would barter his prints to club owners and musicians for the opportunity to take photos. Originally from the East Coast, where he lived in New York’s Greenwich Village and created most of his work, Leonard relocated to New Orleans in 1991. In his later years, he painstakingly printed his images from the ’40s through the ’60s for exhibition. Leonard also revived his passion for photography, documenting New Orleans’ blossoming jazz renaissance. Hurricane Katrina destroyed Leonard’s home, studio and

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Courtesy of WWOZ-FM

Courtesy of the Wing Luke Museum of the Asian Pacific American Experience

R&B singer Ernie K-Doe (left) in the studio with WWOZ-FM radio host Billy Delle in the ’90s Members of a Chinese opera whose tapes are being cataloged and digitized by the Wing Luke Museum of the Asian Pacific American Experience

archive of 8,000 handmade photographic prints. However, as a result of a GRAMMY Foundation grant, all of his negatives were digitized. Before his passing in 2010, Leonard spent the last two years of his life archiving and discovering images. Leonard’s entire catalog, including many long-forgotten photos, is now preserved as a priceless testament to American music. Many GRAMMY Foundation grants support research addressing music’s effects on the human condition. In one Grant Program-funded study in 2008, music’s impact on the autistic brain was evaluated at UCLA. The study drew on music’s demonstrated power to reach children with autism. The research assessed the ability of children with autism to identify emotions in musical excerpts, as well as in facial expressions. Because some of these children are unable to interpret a smile or a frown, their ability to communicate with others is impaired. Using functional magnetic resonance imaging, the study tested the hypothesis that engaging the brain region involved in processing emotions through exposure to music can be a gateway for teaching children with autism to better recognize emotions in social stimuli. With GRAMMY Foundation support, The Help Group — UCLA Autism Research Alliance has made significant strides in this arena and is continuing to provide new ways to help children with autism through active music making in the Music Enhanced Learning Opportunities for Developing Youth program. More recently, in 2014 the GRAMMY Foundation Grant Program awarded more than $200,000 in grants to 15 recipients. One grant funded an Arizona State University Foundation

study on how music can facilitate stroke patients’ ability to understand everyday speech. Findings are providing new avenues for aphasia rehabilitation and useful ways of communicating with stroke patients who have aphasia. Other 2014 Grant Program-funded studies at various University of California locations include a UC Davis project examining how people who have memory loss retain the ability to respond to music-evoked life memories, and a UC San Francisco study developed to assess rhythm training as an intervention for age-related declines in anticipatory attention, perception and memory.  At the University of Maryland’s Language and Cognition Lab, a 2014 Grant Programfunded project explored why musicians show advantages in second-language learning as adults, particularly in learning the sound structure of new languages. For the future, study results can influence musical instruction, second-language learning and the general understanding of auditory cognition. The Grant Program also facilitated a range of archiving and preservation projects in 2014, which included preserving the Nashville, Tenn.based Country Music Foundation’s rare, historic interviews with performers, songwriters and industry professionals; restoring the Woodstock, N.Y.-based Creative Music Foundation’s historically and artistically significant audiotapes of innovative performances by pioneering composers and performers of jazz, world music and new music; and the Seattle-based Wing Luke Museum of the Asian Pacific American Experience, whose 251 Chinese opera tapes were cataloged and digitized, preserving the history and culture of the Chinese-American

community through this classical art form. As the Grant Program moves toward its 30th anniversary in 2017, the GRAMMY Foundation will continue to build upon the program’s standing as a philanthropic leader in the areas of archiving, preservation and scientific research, while also taking a fresh opportunity to evaluate the program. “It’s a terrific opportunity for us to focus on the results of the program, taking a look into a ‘rearview mirror’ to see what we’ve accomplished,” says Kristen Madsen, Senior Vice President of the GRAMMY Foundation. “How many fantastic gems of recorded musical history exist today as a result of our funding to ensure they aren’t lost through deterioration or obsolete playback technology? In music research, how has the scientific exploration we’ve funded enhanced our understanding of music’s effect on the human experience, or led to new applications in treating health and emotional well-being? We’re working to create a compendium detailing 30 years of impact, which will illuminate where we should go in the next 30 years.” Laurel Fishman is a writer and editor in many fields, including entertainment media. She is an advocate for the benefits of music making, music listening, music education, music therapy, music-and-the-brain research, and music and interdisciplinary studies. The deadline each year for submitting GRAMMY Foundation Grant Program letters of inquiry is Oct. 1. Guidelines and the letter of inquiry form for the 2016 cycle will be available beginning May 1. For more on the GRAMMY Foundation Grant Program, visit grammyfoundation.org.

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Halls Of

Glory

From classical to hip-hop, a look at music halls across the United States dedicated to preserving and honoring music’s legacy

hile the GRAMMY Hall Of Fame is likely the only music hall of fame that inducts and celebrates recordings, there are a number of other halls across the country that aim to recognize, preserve and honor the cultural value of music by enshrining the artists who made these enduring contributions to the arts. Some are well-known and well-funded, such as the Rock and Roll Hall of Fame and Museum in Cleveland. Others seek to bring greater attention to a specialized genre of music, such as the International Bluegrass Music Hall of Fame, which sits on the banks of the Ohio River in Owensboro, Ky., in the heart of the genre’s Appalachian birthplace. These halls and several others have found the resources to build worthy homes for guests to visit. Others are nobly seeking to build permanent headquarters, including halls dedicated to genres as wide-ranging as hip-hop and folk music. Meanwhile, several U.S. states have created a music hall of fame to honor the local heroes who helped put their states on the cultural map. Like the GRAMMY Hall Of Fame, these various halls share a common general goal: to educate, enlighten and entertain visitors in an effort to spotlight the continuing importance of music. Or, to paraphrase the more poetic words of William Shakespeare, “If music halls of fame be the food of love, play on.”

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The American Classical Music Walk of Fame’s dancing fountain

American Classical Music Hall of Fame

American Classical Music Hall Of Fame 1225 Elm St., Cincinnati, OH 45202

Whether the American Classical Music Hall of Fame is technically a hall is likely in the eye of the beholder. Practically speaking, it’s primarily a Walk of Fame that resides in Washington Park in Cincinnati. According to the hall, the Walk of Fame is the only project in existence that combines classical music, mobile technology, public spaces, and, yes, a dancing fountain. Visitors can use their mobile devices to learn about inductees by reading bios, viewing photos, listening to educational audio tours, and by playing music through an interactive mobile jukebox that broadcasts through the park speaker system and activates dancing multicolor fountain jets.

Since 1998 the hall has honored more than 120 inductees that run the gamut from composers, conductors and vocalists to groups such as Opera America, companies such as Steinway & Sons and educational institutions including Juilliard. Started by Cincinnati business leader David A. Klingshirn — who took his inspiration from the thennewly constructed Rock and Roll Hall of Fame and Museum in Cleveland — the hall endeavors to honor those who have “contributed to American music and music in America,” which so far includes GRAMMY winners such as Ukraine-born Emanuel Ax, Briton Sir Georg Solti and even Dave Brubeck, best known for his groundbreaking jazz recordings, but who also wrote orchestral pieces, chamber music and more.

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Country Music Hall Of Fame And Museum

International Bluegrass Music Hall Of Fame

In case you’re wondering where you’d find the Taylor Swift Education Center, it’s right here. Christened in 2013 thanks to a $4 million Swift gift — she signed her first record contract at the Country Music Hall of Fame and Museum as a teen — the education center is just a part of this recently expanded 350,000-square-foot ode to country music’s past and present. You’ll find a number of other big donor-named spaces as well, such as the Curb Conservatory (named for Curb Records founder and former California Lt. Gov. Mike Curb) and BMI Hall (in honor of the performance rights group). But mainly the museum presents exhibits geared toward preserving and celebrating country music, and its hall of fame process has underscored that mission by inducting and bringing awareness to country greats since 1961, when its inaugural class included Jimmie Rodgers, publisher Fred Rose and Hank Williams. The museum’s initial home opened in 1967 on Music Row in Nashville, Tenn. In 2001 its current piano keyboardinspired building was opened in downtown Nashville near the new Music City Center. It’s worth a visit. Let’s face it, you could do worse than to get schooled by Taylor Swift.

Born in the Bluegrass State of Kentucky, the International Bluegrass Music Hall of Fame was founded in 1991 to recognize noteworthy individuals for their outstanding contributions to bluegrass music. The three inaugural honorees were GRAMMY winners Bill Monroe, Lester Flatt and Earl Scruggs. The hall of fame has since inducted GRAMMY winners Del McCoury, Ralph Stanley and Doc Watson, and GRAMMY nominee Mother Maybelle Carter, among others. Inductees are chosen by a committee comprising respected bluegrass musicians and artists as determined by the International Bluegrass Music Association, and each year are honored at the International Bluegrass Music Awards Show. Inductees are commemorated with plaques that are permanently housed at the 20,000-square-foot International Bluegrass Music Museum. Located 30 minutes from Rosine, Ky., the birthplace of Father of Bluegrass Monroe, the museum is located in the RiverPark Center in downtown Owensboro. As visitors approach the museum’s entrance, which sits a few hundred feet away from the Ohio River, they’ll hear the sounds of

222 5th Ave. South, Nashville, TN 37203

117 Daviess St., Owensboro, KY 42303

Country Music Hall of Fame and Museum

Dove Wedding Photography

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bluegrass playing from the museum’s radio station, Radio Bluegrass International. Exhibits and artifacts on permanent display at the museum include GRAMMY winner Pete Seeger’s banjo, a showcase of historically significant instruments and the luthiers who crafted them, a timeline of bluegrass music, and the hall of fame, where visitors can learn more about inductees through artifacts and documentary films.

Musicians Hall Of Fame And Museum 401 Gay St., Nashville, TN 37201

The goal of the Musicians Hall of Fame and Museum, appropriately located in Music City, is to honor musicians, regardless of genre or instrument, dating back to the dawn of recorded music. With more than 100 years of musicians from which to pick, running out of honorees is low on this hall’s list of concerns. Higher on that list, at least in 2010, was where the hall was going to live. The city of Nashville purchased its former site via eminent domain to build its new convention center, Music City Center. It wasn’t until 2013 that the hall reopened on the first floor of the historic Nashville Municipal Auditorium, where the street outside was renamed Musicians Way. Nominations for induction are made by current members of the American Federation of Musicians, while the hall also solicits nominations from music industry professionals, producers, engineers, songwriters, singers, and historians. Making its first inductions in 2007, the hall has already honored giants ranging from session greats

International Bluegrass Music Museum Katie Keller

the Nashville “A” team and Los Angeles’ famed Wrecking Crew, to individuals such as surf guitarist Dick Dale, pianist/producer Billy Sherrill and jazz percussionist Victor Feldman. Each induction class is feted with a ceremony and show, with past installments featuring performances by artists such as members of the Beach Boys, Garth Brooks, Keith Richards, Kid Rock, and Lee Ann Womack.

Musicians Hall of Fame and Museum Jay McDowell

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Southern Gospel Museum And Hall Of Fame 2700 Dollywood Parks Blvd., Pigeon Forge, TN 37863

Founded in 1997, the Southern Gospel Museum and Hall of Fame was established by the Southern Gospel Music Association, a professional organization comprising artists, songwriters, industry members, and fans with the goal of preserving, protecting and promoting the history and heritage of Southern gospel music. Voted on annually by the association, the hall of fame’s inductees include Recording Academy Trustees Award recipient Thomas A. Dorsey and GRAMMY winner J.D. Sumner, among others. The 2014 inductees were celebrated during Southern gospel music’s largest annual event, the National Quartet Convention, in Pigeon Forge, Tenn.

Inductees are permanently enshrined with a plaque bearing their photo and a list of accomplishments in the Southern Gospel Museum and Hall of Fame, which opened its doors April 17, 1999. Situated deep in the heart of Dolly Parton’s Dollywood theme park in the Great Smoky Mountains of Tennessee, the museum hosts more than 1 million visitors annually. Housed in a building reminiscent of an old Southern church, the museum brings to life the rich heritage of Southern gospel music through rare artifacts and interactive exhibits from a century of gospel music, such as a replica of the first-ever “tour bus” designed by the Blackwood Brothers, an animatronic quartet performing the Stamps Quartet’s “Give The World A Smile,” plus interactive video and sound clips. Museum visitors can also take a trip to the Dollywood Theme Park where they’ll learn about the music that inspired Parton’s career.

Rock And Roll Hall Of Fame And Museum 1100 E 9th St., Cleveland, OH 44114

Southern Gospel Museum and Hall of Fame Dollywood

The Rock and Roll Hall of Fame was conceived in 1985 when a group of music industry professionals, including Rolling Stone co-founder and publisher Jann Wenner, convened to establish the Rock and Roll Hall of Fame Foundation to “recognize the people who have created this music, which has become the most popular music of our time.” The foundation held the first annual Rock and Roll Hall of Fame induction ceremony in 1986 in New York, honoring Elvis Presley, James Brown, Buddy Holly, Jerry Lee Lewis, Ray Charles, the Everly Brothers, and Little Richard, among others. At publication time, the hall had held 29 induction ceremonies, recognizing a total of 304 inductees. The 2014 class included Cat Stevens, Nirvana, Kiss, the E Street Band, and Linda Ronstadt, among others. In 1995 Cleveland became the home of the Rock and Roll Hall of Fame and Museum, beating out offers from cities such as New York, Philadelphia, New Orleans,

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San Francisco, Memphis, and Chicago. In 1998 the museum opened the Hall of Fame wing — a 2,900-square-foot drum that extends over Lake Erie. The wing features a multimedia production highlighting past induction ceremonies along with film footage, music, interviews, animation, and still photography that tell the story of each

inductee. The museum also features permanent exhibits, including a comprehensive collection of Beatles’ items such as Ringo Starr’s 1969 birthday card to John Lennon.

Rock and Roll Hall of Fame and Museum

Courtesy of the Rock and Roll Hall of Fame and Museum

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From Hall To Shining Hall States from coast to coast have established halls of fame to honor the local artists who helped shape the music scene in their region and beyond. On the West Coast, the Colorado Music Hall of Fame, located at its new home at the Red Rocks Trading Post in Denver, inducted the breathtaking Red Rocks Amphitheatre and GRAMMY winner John Denver in its

inaugural class in 2011. The hall dedicates exhibits to inductees who have come to define Colorado’s diverse musical legacy, including an exhibit currently dedicated to GRAMMY winner Judy Collins, who spent most of her childhood in Denver. If you’re looking for a hall that is as diverse as its state, check out the Texas Music Hall of Fame in Carthage, Texas, where artists spanning a variety of genres — from jazz to conjunto — are commemorated. The Hawaiian Music Hall of Fame and Museum honors islanders such as Don Ho, while visitors to the Arkansas Entertainers Hall of Fame are greeted by an animatronic statue of Johnny Cash, which plays songs by the local legend. Halls of fame in the Midwest include Indiana’s Wabash Valley Musicians Hall of Fame, the Wisconsin Polka Hall of Fame and the Minnesota Music Hall of Fame, the latter of which honored hometown heroes Bob Dylan and Judy Garland in 1991. Down South the Alabama Music Hall of Fame inducted its first class in 1985 and has since honored GRAMMY-winning artists such as Lionel Richie, Emmylou Harris and, of course, the Blind Boys Of Alabama. Those flying through Jackson, Miss., are encouraged to visit the Mississippi Musicians Hall of Fame and the Music Heritage Museum located at Jackson-Medgar Wiley Evers International Airport. East Coast halls include the West Virginia Music Hall of Fame and the New Jersey Hall of Fame, which recently inducted the late GRAMMY winners Whitney Houston and Celia Cruz.

Hip Hop Hal Master Plan New York, N

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A rendering of the Hip Hop Hall of Fame Museum

Hip Hop Hall of Fame Museum

Halls On The Rise While many halls have successfully erected brick-and-

of Fame in Canonsburg, Pa. The hall inducted its inaugural

Hip Hop Hall of Fame Phase Date Hall of Fame Area mortar locations, others are seeking to build permanent class in 2013, which included pop icons the Beatles,12.10.2010 the Beach Master Plan Rendering New York, NY homes to honor all types of music. The New York-based Boys, Ray Charles, Brenda Lee, and Stevie Wonder. In 2013

Hip Hop Hall of Fame Museum is poised to become the foremost hip-hop institution of the 21st century, according to organizers. In addition to celebrating inductees such as Afrika Bambaataa & Soulsonic Force and Grandmaster Flash & The Furious Five, the hall will include a restaurant, concert lounge and gift shop, and is looking to open its doors to an estimated 1 million annual visitors by early 2017, according to the museum. In May 2014 the Blues Hall of Fame announced it would begin constructing a 12,000-square-foot site in Memphis, Tenn., that will pay homage to the more than 140 blues luminaries who have been inducted into its hall since 1980. Plans are also underway to develop Americaâ&#x20AC;&#x2122;s Pop Music Hall

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the late folk singer Pete Seeger reportedly asked the Folk Music Hall of Fame to change its name to the Folk Music Hall of Memories. Organizers obliged and have set out to build a permanent hall of memories on Liberty Street in the historic district of Newburgh, N.Y, with the goal of promoting and preserving traditional, contemporary and international folk music. The R&B Music Hall of Fame Museum is also on a mission to honor and preserve R&B and related genres: blues, gospel, jazz, and hip-hop. Organizers are currently taking the midnight train to cities such as Atlanta, Detroit, Cleveland, and Canton, Ohio, to find a permanent location for the hall, which inducted Michael Jackson, Marvin Gaye and Chubby Checker, among others, in its 2014 class.

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Learning Through Music At The GRAMMY Museum By Kait Stuebner

to use music as a gateway to learning. The Museum offers the 30,000 students who visit each year the opportunity to learn English, history, science, math, and politics through music. This is demonstrated through more than 180 workshops per school year; sixweek-long after-school classes focused on building skills to pursue a career in the music industry; a mentoring program; Summer Sessions, which are designed to teach students about music history and innovation; Saturday morning family programs; question-and-answer sessions with artists Courtesy of the GRAMMY Museum and music industry professionals; the Music Revolution Project, month-long programs Jon Batiste speaks to students at an installment of the GRAMMY Museum’s Backstage Pass program on in Kansas City, Mo., and Tampa, Fla., built March 24, 2014 to inspire musical creativity; and annual trips to Washington, D.C., for education programs related to the “In Performance At The White House” concert series. tudents sit anxiously in the GRAMMY These programs not only teach Museum’s Clive Davis Theater, listening to jazz pianist Jon Batiste and his band discuss students about music and challenge them to think critically about the their early days learning about music and creative process, they also encourage the music industry. Heads nod, hands raise, self-discovery and build self-esteem. trumpets play. When Batiste asks the group During the Museum’s first trip to the if anyone would like to join him onstage White House in February 2010 for the for a jam session, students jump at the “In Performance At The White House: A chance, immediately taking turns playing Celebration Of Music From The Civil Rights piano solos and rapping over the band’s Movement” concert, students from 12 U.S. enthusiastic, skilled playing. Before long, cities traveled to Washington, D.C., during a saxophone battle begins between the area’s worst snowstorm in 30 years. a student and a band member. Due to inclement weather, the afternoon This is a typical Monday education program and evening concert were afternoon at the GRAMMY moved up a day, allowing students, many Museum in Los Angeles. of whom had never been on an airplane or A joint venture of The seen snow, to enjoy intimate performances Recording Academy and Anschutz Entertainment Group, by GRAMMY winners Bob Dylan and Smokey Robinson, among others, with President the GRAMMY Museum is dedicated to teaching students Barack Obama and the first family.

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Janelle Monáe performs at the GRAMMY Museum’s Jane Ortner Education Award Luncheon on July 16, 2014 Kevork Djansezian/Getty Images

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THE GRAMMY MUSEUM® PRESENTS

Honoree Sunshine Cavalluzzi speaks at the GRAMMY Museum’s Jane Ortner Education Award Luncheon on July 16, 2014

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Honoree Sunshine Cavalluzzi speaks at the GRAMMY Museum’s Jane Ortner Education Award Luncheon on July 16, 2014

Chip Somodevilla/Getty Images Michelle Obama speaks at “I’m Every Woman: The History Of Women In Soul” on March 6, 2014, in Washington, D.C. Seated onstage (from left) are Bob Santelli and GRAMMY winner Melissa Etheridge

“The White House trip was the highlight of those students’ lives and the highlight of my career,” says Lakewood High School educator Joe Lobozzo, whose Clevelandarea students attended the program. “Students from all the different cities still touch base now and then to see how each other are doing and to reminisce. When things are rough in school for me, I just think back to those trips and all becomes good. I am so grateful for that opportunity.” The GRAMMY Museum’s educational focus isn’t just on students, but also educators. Each permanent and traveling exhibit the Museum curates comes with a series of lesson plans for middle and high school educators, available for free at www.grammymuseum.org. “With music education leaving our schools, it’s so important for the GRAMMY Museum to be a place of discovery, research and enjoyment for students of all ages,” says GRAMMY Museum Executive Director Bob Santelli. “We’re not trying to replace music teachers or music programs, we’re trying to be an educational and creative hub for students and educators in Los Angeles and throughout the country.” Additionally, for the past four years the Museum has recognized outstanding teachers with the Jane Ortner Education Award, a collaboration with entertainment attorney Chuck Ortner’s family to honor educators who use music in their classrooms. To apply, teachers create original lessons, submit them to the Museum’s education team and the educator whose curriculum is chosen is invited to

the annual GRAMMY Awards and given a Museum admission scholarship for his or her class. The 2014 honoree, Southern California educator Sunshine Cavalluzzi, was recognized at the inaugural awards luncheon in Los Angeles in July. Cavalluzzi, who developed a curriculum titled “Money, Money Money — Musiconomics” for her economics class at El Dorado High School in Placentia, Calif., now has her lesson included in a collection of education materials available at the GRAMMY Museum to all teachers. “As teachers we strive to build connections with students who might otherwise be disengaged with conventional content,” said Cavalluzzi while accepting her award at the luncheon. “We try to inspire higher-level thinking and we do all of that better when we do it through the arts.” The event also featured a keynote address from first lady Michelle Obama and GRAMMY-nominated artist Janelle Monáe, who, upon accepting the Jane Ortner Artist Award for her dedication to education through the arts, said that music helped her escape a difficult childhood in Kansas City, Kan. “Statistics would say that I wouldn’t even be standing here right now because of my environment,” Monáe said. “But all because of music, and music being my outlet, I stand here before you right now.” Since 2009, Obama has collaborated with the Museum to host several educational events, including “I’m Every Woman: The History Of Women In Soul,” a workshop for more than

Rebecca Sapp/WireImage.com

120 students that took place at the White House on March 6, 2014. During her remarks at the awards luncheon, Obama emphasized the importance of integrating the arts and education. “Thanks to your generosity the GRAMMY Museum has flown nearly 1,000 students to Washington to visit the White House and take part in these programs,” she said. “These young people have had so many once-in-a-lifetime experiences.” The GRAMMY Museum plans to keep building on these experiences with expanded education programs in 2015 such as the opening of GRAMMY Museum Mississippi, continued affiliations with colleges and universities across the United States and national outreach to schools in Recording Academy Chapter regions for programming focused on music and environmental conservation. “Every arts organization in this country should be embracing the mission of the GRAMMY Museum,” said Obama. “Because we cannot be satisfied until every child in America has some kind of exposure to the arts — every child.” The GRAMMY Museum couldn’t agree more. Kait Stuebner is the Director of Education at the GRAMMY Museum in Los Angeles.

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10 Years Of Teamwork

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A decade in, GRAMMY Camp’s impact on high school students is only getting stronger

By Steve Baltin

ummer 2014 marked a very special birthday for the GRAMMY Foundation as it celebrated its 10th year of bringing a unique brand of music education to the world of high school students through GRAMMY Camp. “Ten years ago we were trying to think of a program we could develop that would give us more substantive engagement with high school students — at the time our longest duration program for students interested in careers in music was about a day — and we had this idea of GRAMMY Camp,” recalls Kristen Madsen, Senior Vice President of the GRAMMY Foundation. “And pretty quickly we hit on the idea that it should be integrated. The kids should learn about the variety of careers in music and how they interrelate, because The Recording Academy is made up of members from all different aspects of the industry who make their living in music. We knew it would involve students working with professionals, that it would be focused on careers in music and that it would be a more immersive experience than what we were able to do in our half-day or daylong sessions. And that’s how we got started.” The program started in 2004 at Citrus College in Glendora, Calif. Guitarist Matthew Von Doran participated as a guest instructor before he was brought on as full-time faculty in 2006. “It was interesting,” says Von Doran, who noted a strong element of freedom in the curriculum in recalling GRAMMY Camp’s early beginnings. “We would have our faculty meetings at the end of the day and say, ‘OK, what are we going to do with [the students] tomorrow?’” Having been with the Los Angeles edition of GRAMMY Camp since its inaugural year, Von Doran has witnessed its evolution. “The big change came after three Camps, [when GRAMMY Foundation Executive Education Director] David Sears came in and we moved it to USC,” Von Doran says. “That changed the dynamics significantly and it grew into the awesome thing it is because we made it equally about the music business, if not more so.” Since 2004 GRAMMY Camp has evolved at an accelerated speed, with 10th anniversary installments taking place in four

(from left) Mark Price, Emmie Wade, Wes Salton, and Ethan Phillips collaborate at GRAMMY Camp in Nashville, Tenn., in 2014

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A Day In The Life At GRAMMY Camp L.A.

Valentina Rico and Hanani Taylor perform at the 2013 GRAMMY Camp New York Launch Party

separate cities in summer 2014: Nashville, Tenn.; St. Paul, Minn.; New York; and Los Angeles. Madsen promises more plans for expansion, including testing weekend programs in fall 2014 in Miami, San Antonio, Minneapolis, and Chicago that, if successful, will allow GRAMMY Camp to reach more students across the United States. While the format of the Camps continues to evolve, with Nashville’s 2014 summer Camp marking the first nonresidential installment, the Los Angeles Camp continues the original format. Held July 12–21, 2014, and hosted by the University of Southern California Thornton School of Music, GRAMMY Camp Los Angeles welcomed 75 students from across the United States. The Camp began as it always does, with the students meeting at an orientation in USC’s Carson Center. Students introduced themselves, offering information such as where they were from and their favorite music professional in their field. Students in the Songwriting track name-checked the likes of Tom Waits, while Music Production and Audio Engineering students cited such luminaries as Dr. Dre and Dillon Francis. As Madsen explains, the idea of the initial Camp was to meld different industry professions. And each residential Camp does so in a tremendous manner, offering individualized tracks in Audio Engineering; Electronic Music Production; Music Business; Music Journalism; Instrumental Performance; Vocal Performance; Songwriting; and Video Production. Though separate from each other, there is some seamless crossover between various tracks. By day two of Camp, songwriters and vocalists have already collaborated with instrumentalists on several original songs

The idea of the initial Camp was to meld different industry professions. And each residential Camp does so in a tremendous manner.

For the past eight years I have taught the Music Journalism track at GRAMMY Camp in Los Angeles. For my first year at Camp in 2006, the program’s third year, I was at Citrus College in Glendora, Calif., but the past seven installments have been held at the University of Southern California. Teaching at GRAMMY Camp has been an amazing experience, one in which I’ve gotten to know dozens of wonderful students, teachers and counselors. During my eight-year tenure I’ve introduced students to Linkin Park, Fergie, My Chemical Romance, Colbie Caillat, and many more. I’ve had students accompany me to GRAMMY Week events, and watched them interview GRAMMY winners Justin Timberlake and Taylor Swift, among others. Watching them develop as writers is the most rewarding experience I’ve had. But with so much packed into a week, GRAMMY Camp is also an exhausting schedule, with up to 16-hour days. It’s difficult to sum up the GRAMMY Camp experience as each day differs from the next. One day might be spent in the studio, while another can start at 5 a.m. when campers are interviewed by an L.A. morning show. Here’s a snapshot of what took place at GRAMMY Camp L.A. on July 15, 2014.

8:40 a.m. I arrive at USC where I stop by the cafeteria to meet with several counselors and students.

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The Recording Academy

9 a.m. Walking with students to class, we discuss the previous night’s panel, “Music For Good,” which offered a look at combining charitable acts with music. We then move on to the day’s guest professional visits and panels. After determining which guest speaker each student was most interested in hearing, I send them off to the respective panels.

9:30 a.m. I disperse students to observe guest lecturers at various GRAMMY Camp classes such as Audio Engineering, Music Business and Songwriting. When they return, the students draft blogs recapping what they learned.

10:30 a.m. I reconvene with students and all Camp participants in USC’s Carson Center for a super panel featuring singer/songwriter Tori Kelly, GRAMMY-winning engineer Al Schmitt and GRAMMY-winning singer/ songwriter Colbie Caillat.

Steve Baltin (right) speaks with Ethan Sapir, a participant on the Music Journalism track, at GRAMMY Camp L.A. in 2014

“I think you really have to build a bond for the whole duration of GRAMMY Camp to make sure you are producing the best outcome possible.”

that are performed during a mini-concert held later that week. That event is a campwide affair, with Music Production and Audio Engineering students helping to man the soundboards, while Music Journalism students interview the performing campers with help from the Video Production students. This interaction continues all week, and into the following weekend when students begin to record their original songs. The students audition for the faculty to have their songs recorded, performed at the GRAMMY Camp Launch Party, or both. Some of the songs performed at the 2014 GRAMMY Camp L.A. Launch Party included “Forget Myself,” written by Naomi Hyman, Jensen McRae and Noah Tauscher; “Beautiful Obstacle,” composed by McRae, Mackin Carroll and Renato Paris; and “Honey Blood,” written by Sage Melcher, Tauscher and Micaiah Sawyer. Two of the Camp’s alumni — Natasha Slayton, now a part of Canadian girl group G.R.L., who have opened for Pitbull, among others; and entrepreneur Stacey Ferreira, co-founder of MySocialCloud — say the collaborative efforts at GRAMMY Camp helped prepare them for their current success. “Having the [launch party] at the end of GRAMMY Camp is … pivotal because you spend your time at GRAMMY Camp working together with your peers,” says Ferreira. “[For example, in] the Concert Promotion [track] we’d learn about concert production and then for the [launch party] we’d make sure a lot of those things would run smoothly and we kind of looked at all

Students perform at the 2014 GRAMMY Camp New York Launch Party

11:25 a.m.

Brad Barket/WireImage.com

I take students to a makeshift red carpet to arrange their interviews with GRAMMY Foundation staff members, including Senior Vice President Kristen Madsen, as well as Caillat, Schmitt and Kelly. I sit in on interviews, introduce students to guests and escort students to be interviewed by media covering GRAMMY Camp.

12:30 p.m. After successful interviews with all of the guests we break for lunch.

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Jesse Grant/WireImage.com Maroon 5’s Adam Levine and Jesse Carmichael speak at GRAMMY Camp Los Angeles in 2010

Mark Sullivan/WireImage.com Nikki Reed speaks at the 2014 GRAMMY Camp Los Angeles Launch Party

the details that went into it. Singers, songwriters [and] musicians all had to work together in order to put on the [launch party]. I think you really have to build a bond with those people for the whole duration of GRAMMY Camp because you have to work with them in order to make sure you are producing the best outcome as possible.” Slayton agrees that her GRAMMY Camp experience has been instrumental to her career. “I’m an only child and I was so into my own solo stuff [and] working with other people besides my small intimate team of producers and my guitar player wasn’t common for me,” says Slayton. “When I branched out and did GRAMMY Camp, which was terrifying for me to put myself in there with a bunch of professionals and peers, [it] made me face my fears. And it also helped me to be able to work with other people and realize, ‘OK, I don’t know everything and I don’t need to do it all myself.’ And that was a huge thing for so long.” At the 2014 GRAMMY Camp L.A. Launch Party, a final night extravaganza produced and performed entirely by the students after a week of working together, actress/singer Nikki Reed was on hand to welcome attendees. Despite her hectic schedule, Reed says there was no way she would have missed it. “They asked me to do this and I said, ‘Of course,’” Reed says, adding that it was important for her to give back. GRAMMY-winning singer/songwriter Colbie Caillat has also participated in GRAMMY Camp, having twice attended Guest Professional Day in Los Angeles. For Caillat, it’s an honor to speak with eager high school students. “To be here just to tell them all the things I’ve learned over the years, [the] mistakes [I’ve made] and all the things I’m proud of that I’ve done, to share that is nice,” says Caillat, who adds that it is nerve-racking for her to speak in front of a roomful of students. “Up there, I don’t know if anyone could see it, but my hand was shaking just because you do want to represent yourself well and you do want to give these wonderful students information. And also, being on the panel with such amazing peers in the industry, I think I learned to share every personal experience because that’s something I can actually speak on.” The chance for students to perform and speak with recording professionals — from emerging artists such as singer/songwriter Tori Kelly to GRAMMY winners such as Adam Levine and Jesse Carmichael of Maroon 5, Robert Glasper, Vince Gill, and Dionne Warwick, and GRAMMY-nominated trio the Band Perry — is a huge benefit for the students, who are always excited to meet their heroes. But the long-term effects are much bigger, as Madsen discovered when the Foundation commissioned the University of Kansas for a study on GRAMMY Camp alumni. “The students are definitely having great musical experiences, expanding their musical palate

“You should be networking with these people and building relationships with them, not only once you meet them, but over the course of the rest of your life.” 88

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1:45 p.m. Mark Sullivan/WireImage.com Tori Kelly, Al Schmitt and Colbie Caillat at GRAMMY Camp Los Angeles in 2014

and understanding the kinds of careers that are available to them,” Madsen says. “But what they also say they are learning are things like problem-solving skills and how to collaborate and be open to new ideas. And they’re gaining confidence. So we’re really thrilled that we’re teaching them life skills that any school or future employer is going to want to see.” Ferreira can attest to the long-term benefits of GRAMMY Camp. “The biggest thing was not being afraid to go out and network, even at a young age,” she says. “I know one of the things GRAMMY Camp really stressed for us was, ‘Hey, you should be networking with these people and building relationships with them, not only once you meet them, but over the course of the rest of your life. You should keep in touch with these people.’ And that’s something I kind of took with me into the business world. I need to be building relationships with people that go deeper than just meeting them once. I need to actually spend time and invest in the relationships that I am building and that’ll pay dividends in the end.” Those bonds ultimately define GRAMMY Camp. Having taught the Music Journalism track for the eight years it has been in existence, I have become friends with faculty, counselors and students, and have been fortunate to watch them develop careers in the music industry and beyond. It’s evident what a profound impact GRAMMY Camp has had on them. Kassie Winchester, a Music Journalism student, posted this on Facebook at the conclusion of the 2014 GRAMMY Camp L.A. installment: “Once upon a time, 75 kids from all over the world gathered together for a week of nothing but music. These last 10 days have seriously been the best of my life! I have met so many amazing, talented people whom I now consider my family. Special thanks to the staff and the counselors for making all of us feel at home and for teaching us more than we could have ever thought there was to learn. I am so blessed to have gotten the opportunity to be a part of GRAMMY Camp 2014! I know now this is what I want to do for the rest of my life. Even as we go our separate ways, music will always be the string that connects us no matter where we end up! I love all of my fellow GRAMMY Campers.” That is what GRAMMY Camp means 10 years on. As for the next 10 years, the possibilities are limitless. Steve Baltin has written about music for Rolling Stone, Los Angeles Times, MOJO, Chicago Tribune, AOL, LA Weekly, Philadelphia Weekly, The Hollywood Reporter, and dozens more publications. Since 2006 Baltin has taught the Music Journalism track at the GRAMMY Foundation’s Los Angeles installment of GRAMMY Camp.

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We come back from lunch as a group and begin a three-and-a-half-hour block of instruction during which students draft their interviews from that morning’s panel. We also discuss their views on the morning’s panels, their favorite guests, their excitement over meeting industry figures such as Caillat and Schmitt, and their thoughts on their first red-carpet experience.

3:20 p.m. We take a much-needed break for snacks. Next, we discuss the students’ writing, how they feel about what they’ve done and the articles they are editing from their fellow Music Journalism students.

4:30 p.m. We take a break from writing to prep for the night’s panel and I assign who will write the review for the event and who will take photos. We also prep for the next morning’s guest, Jessica Erskine, senior manager of media and industry relations at StubHub. We look ahead to the rest of week, which includes a field trip to the BuzzFeed headquarters in West Hollywood.

5 p.m. We have dinner and I leave the students in the capable hands of counselors for the night.

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Top GRAMMY Hall Of Famers

A look at the artists with the most recordings inducted into the GRAMMY Hall Of Fame

With reporting by Paul Grein

The GRAMMY Hall Of Fame has inducted nearly 1,000 recordings spanning more than a century since its inception in 1973. Following is a list of artists who have the most recordings inducted into the Hall through 2015.

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First induction: Sgt. Pepper’s Lonely Hearts Club Band (1993) Most recent: “Penny Lane” (2011) Note: George Harrison, John Lennon and Paul McCartney each have one solo recording in the Hall. Including the 15 Beatles recordings inducted into the Hall, these artists have the most entries by any individual or group (16).

Bob Dylan

Albums: 4 Singles or Tracks: 4

First induction: “Blowin’ In The Wind” (1994) Most recent: Blood On The Tracks (2015)

William Gottlieb/Redferns

First induction: “Mood Indigo” (1975) Most recent: “Do Nothin’ Till You Hear From Me” (featuring Al Hibbler) and “Ko-Ko” (2011)

John Coltrane Albums: 8 Singles: 1

First induction: My Favorite Things (1998) Most recent: John Coltrane And Johnny Hartman (2013)

Philadelphia Orchestra Albums: 7 Singles or Tracks: 1

First induction: Rachmaninoff: Piano Concerto No. 2 In C Minor, Sergei Rachmaninoff, piano, Leopold Stokowski, cond. (1976) Most recent: Shostakovich: Cello Concerto No. 1 In E Flat, Op. 107, Eugene Ormandy, cond.; Mstislav Rostropovich, cellist (2008)

Frank Sinatra Albums: 5 Singles: 8

First induction: “I’ll Never Smile Again” (with Tommy Dorsey and the Pied Pipers) (1982) Most recent: “Theme From New York, New York” (2013)

Miles Davis Albums: 9

First induction: Birth Of The Cool (1982) Most recent: Relaxin’ With The Miles Davis Quintet (2014)

New York Philharmonic Albums: 8 Singles: 1

First induction: Berg: Wozzeck, Dimitri Mitropoulos, cond. with Mack Harrell, Eileen Farrell (1990) Most recent: “Copland: Appalachian Spring,” Leonard Bernstein, cond. (2009)

Michael Ochs Archives/Getty Images

Robert W. Kelley/Time Life Pictures/Getty Images

First induction: “I’ve Got A Woman” (1990) Most recent: “Hit The Road Jack” (2013)

Albums: 2 Singles: 11

Jeremy Fletcher/ Redferns

Albums: 4 Singles or Tracks: 6

Gene Lester/Getty Images

Time & Life Pictures/Getty Images

Ray Charles

Duke Ellington & His Orchestra

Charles Ruppmann/NY Daily News Archive via Getty Images

Albums: 7 Singles or Tracks: 8

Michael Ochs Archives/Getty Images

First induction: “West End Blues” (1974) Most recent: “Nobody Knows The Trouble I’ve Seen” (2014)

The Beatles

Michael Ochs Archives/Getty Images

Albums: 2 Singles: 13

NBC/NBCU Photo Bank via Getty Images

John Pratt/Keystone/Getty Images

Michael Ochs Archives/Getty Images

Louis Armstrong

Fred Astaire Albums: 1 Singles: 6

First induction: “The Way You Look Tonight” (1998) Most recent: “Top Hat, White Tie And Tails” (2008)

Boston Symphony Orchestra Albums: 7

First induction: Stravinsky: Le Sacre Du Printemps, Pierre Monteux, cond. (1993) Most recent: Roy Harris Symphony No. 3, Serge Koussevitzky, cond. (2012)

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First induction: Carnegie Hall Jazz Concert (1975) Most recent: “Seven Come Eleven” and “King Porter (Stomp)” (2008)

Judy Garland Albums: 3 Singles: 3

Billie Holiday Albums: 1 Singles: 5

First induction: “God Bless The Child” (1976) Most recent: “Crazy He Calls Me” (2010)

Gems/Redferns

First induction: Beethoven: Concertos For Piano Nos. 1–5, Artur Schnabel, piano & Malcolm Sargent, cond. (1989) Most recent: Copland: Fanfare For The Common Man, Aaron Copland, cond., and Prokofiev: Piano Concerto No. 3 In C Major, Op. 26, Sergei Prokofiev, piano; Piero Coppola, cond. (2009)

Leopold Stokowski Albums: 5 Singles: 1

First induction: Rachmaninoff: Piano Concerto No. 2 In C Minor (with Sergei Rachmaninoff and the Philadelphia Orchestra) (1976) Most recent: Schoenberg: Gurre-Lieder (with the Philadelphia Orchestra soloists, choruses) (2007)

James Brown Albums: 1 Singles: 5

First induction: Live At The Apollo (1998) Most recent: “Get Up — I Feel Like Being Like A Sex Machine” (2014)

Elvis Presley Singles: 6

First induction: “Hound Dog” (1988) Most recent: “Are You Lonesome Tonight?” (2007)

The Rolling Stones Albums: 4 Singles: 2

First induction: “(I Can’t Get No) Satisfaction” (1998) Most recent: “Honky Tonk Women” (2014)

Chris Walter/WireImage.com

Albums: 6 Singles: 1

Michael Ochs Archives/Getty Images

Transcendental Graphics/Getty Images

First induction: “Over The Rainbow” (1981) Most recent: “For Me And My Gal” (with Gene Kelly) (2010)

London Symphony Orchestra

Roger Jackson/Central Press/Getty Images

Albums: 2 Singles: 5

Bill Spilka/Getty Images

Virgil Apger/John Kobal Foundation/Getty Images

First induction: “A-Tisket, A-Tasket” (with Chick Webb And His Orchestra) (1986) Most recent: Ella And Basie! (with Count Basie) (2010)

Benny Goodman

Michael Ochs Archives/Getty Images

Albums: 5 Singles: 2

Ian Showell/Getty Images

Michael Ochs Archives/Getty Images

Keystone/Getty Images

Ella Fitzgerald

Hank Williams Singles: 6

First induction: “Your Cheatin’ Heart” (1983) Most recent: “Honky Tonkin’” (with His Drifting Cowboys) (2015)

Stevie Wonder Albums: 3 Singles: 3

First induction: “Superstition” (1998) Most recent: “For Once In My Life” (2009)

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Hall Of Fame

Does not include 2015 inductees

ABBEY ROAD The Beatles Apple (1969) Album Inducted 1995

ABRAXAS Santana

Columbia (1970) Album Inducted 1999

AC-CENT-TCHU-ATE THE POSITIVE Johnny Mercer And The Pied Pipers Capitol (1945) Single Inducted 1998

ACT NATURALLY Buck Owens Capitol (1963) Single Inducted 2013

AFTER THE GOLD RUSH Neil Young Reprise (1970) Album Inducted 2014

AIN’T IT A SHAME Fats Domino Imperial (1955) Single Inducted 2002

AIN’T MISBEHAVIN’ (PIANO SOLO) Thomas “Fats” Waller Victor (1929) Single Inducted 1984

AIN’T NO MOUNTAIN HIGH ENOUGH Marvin Gaye And Tammi Terrell Tamla (1967) Single Inducted 1999

AIN’T NO SUNSHINE Bill Withers Sussex (1971) Single Inducted 1999

AIN’T NOBODY HERE BUT US CHICKENS Louis Jordan And His Tympany Five Decca (1946) Single Inducted 2013

AJA Steely Dan

ABC (1977) Album Inducted 2003

ALEXANDER’S RAGTIME BAND Arthur Collins & Byron Harlan Victor (1911) Single Inducted 2005

ALFIE Dionne Warwick Scepter (1967) Single Inducted 2008

ALICE’S RESTAURANT Arlo Guthrie Reprise (1967) Single Inducted 2002

ALL ALONG THE WATCHTOWER The Jimi Hendrix Experience Reprise (1968) Single Inducted 2001

ALL I HAVE TO DO IS DREAM The Everly Brothers Cadence (1958) Single Inducted 2004

ALL I WANT FOR CHRISTMAS (IS MY TWO FRONT TEETH) Spike Jones & His City Slickers RCA Victor (1948) Single Inducted 2007

ALL OF ME Louis Armstrong & His Orchestra Columbia (1932) Single Inducted 2005

ALL THINGS MUST PASS George Harrison Apple (1970) Album Inducted 2014

ALLONS À LAFAYETTE (LAFAYETTE) Joe Falcon Columbia (1928) Single Inducted 2013

ALWAYS ON MY MIND Willie Nelson Columbia (1982) Single Inducted 2008

AM I BLUE? Ethel Waters

Columbia (1929) Single Inducted 2007

AMAZING GRACE The Dixie Hummingbirds Apollo (1946) Single Inducted 2000

AMAZING GRACE Aretha Franklin With James Cleveland & The Southern California Comm. Choir Atlantic (1972) Album Inducted 1999

AN AMERICAN IN PARIS — SOUNDTRACK Gene Kelly & Various Artists MGM (1951) Album Inducted 2006

AN EVENING WITH ANDRES SEGOVIA Andres Segovia Decca (1954) Album Inducted 1999

AND THE ANGELS SING Benny Goodman And His Orchestra, Martha Tilton, Vocal And Ziggy Elman, Trumpet RCA Victor (1939) Single Inducted 1987

ANNIE GET YOUR GUN Original Broadway Cast Decca (1946) Album Inducted 1998

ANTHOLOGY OF AMERICAN FOLK MUSIC Various Artists Folkways (1952) Album Inducted 2012

ANY OLD TIME Artie Shaw

Victor Records (1938) Single Inducted 2001

ANYTHING GOES Cole Porter

His Master’s Voice (1934) Single Inducted 2012

APRIL IN PARIS Count Basie & His Orchestra Clef (1955) Single Inducted 1985

AQUARIUS/LET THE SUNSHINE IN (THE FLESH FAILURES) 5th Dimension Soul City (1969) Single Inducted 2004

ARE YOU EXPERIENCED? The Jimi Hendrix Experience Reprise (1967) Album Inducted 1999

ARE YOU LONESOME TONIGHT? Elvis Presley

AMERICA THE BEAUTIFUL Ray Charles

RCA Victor (1960) Single Inducted 2007

AMERICAN PIE Don McLean

Capitol (1945) Single Inducted 1985

ABC/TRC (1972) R&B (Track) Inducted 2005 U.A. (1971) Single Inducted 2002

ARTISTRY IN RHYTHM Stan Kenton And His Orchestra

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AS TIME GOES BY Dooley Wilson

BACK IN BLACK AC/DC

BE-BOP-A-LULA Gene Vincent And His Blue Caps

THE ASTAIRE STORY Fred Astaire & The Oscar Peterson Quintet

BACK IN THE SADDLE AGAIN Gene Autry

BEETHOVEN: CONCERTO IN D MAJOR FOR VIOLIN AND ORCHESTRA Jascha Heifetz; Arturo Toscanini, cond. NBC Symphony Orchestra

Decca (1944) Single Inducted 2010

Mercury (1953) Album Inducted 1999

ASTRAL WEEKS Van Morrison

Warner Bros. (1968) Album Inducted 1999

AT FILLMORE EAST The Allman Brothers Band Capricorn (1971) Album Inducted 1999

AT LAST Etta James

Argo (1961) Single Inducted 1999

AT SEVENTEEN Janis Ian Columbia (1975) Single Inducted 2008

A-TISKET, A-TASKET Chick Webb And His Orchestra With Ella Fitzgerald Decca (1938) Single Inducted 1986

AXIS: BOLD AS LOVE The Jimi Hendrix Experience Reprise (1968) Album Inducted 2006

BACH: GOLDBERG VARIATIONS Glenn Gould Columbia (1956) Album Inducted 1983

BACH: GOLDBERG VARIATIONS FOR HARPSICHORD Wanda Landowska RCA Victor (1945) Album Inducted 1986

BACH: SONATA NO. 1 FOR UNACCOMPANIED VIOLIN, BWV 1001 Joseph Szigeti Columbia (1931) Album Inducted 1998

BACH: SUITES FOR UNACCOMPANIED CELLO (6) Pablo Casals RCA Victor (1936–39) Album Inducted 1985

BACH: THE WELL-TEMPERED CLAVIER (COMPLETE) Wanda Landowska RCA Victor (1949–54) Album Inducted 1977

BACH-STOKOWSKI: TOCCATA & FUGUE IN D MINOR Leopold Stokowski, cond. The Philadelphia Orchestra Victrola (1927) Single Inducted 1978

Albert/Atlantic (1980) Album Inducted 2013 Vocalion (1939) Single Inducted 1997

BALLAD FOR AMERICANS Paul Robeson Victor (1940) Album Inducted 1980

BALLADS John Coltrane Quartet Impulse/MCA (1962) Album Inducted 2008

BANANA BOAT (DAY-O) Harry Belafonte RCA (1956) Single Inducted 2009

THE BAND The Band

Capitol (1969) Album Inducted 1999

Capitol (1956) Single Inducted 1999

Victor (1940) Album Inducted 1996

BEETHOVEN: CONCERTOS FOR PIANO NOS. 1–5 Artur Schnabel, piano & Malcolm Sargent, cond. London Symphony (1, 5) & London Philharmonic (2, 3, 4) Victor (1955) Album Inducted 1989

BEETHOVEN: THE FIVE PIANO CONCERTI (COMPLETE) George Szell, cond. Cleveland Orchestra; Leon Fleisher, piano Columbia (1959–61) Album Inducted 2008

BAND ON THE RUN Paul McCartney & Wings

BEETHOVEN: PIANO SONATAS (32) Artur Schnabel

BARBER: VIOLIN CONCERTO Leonard Bernstein, cond. New York Philharmonic with Isaac Stern

BEETHOVEN: QUARTETS FOR STRINGS Budapest String Quartet

THE BARBRA STREISAND ALBUM Barbra Streisand

BEETHOVEN: SYMPHONIES Arturo Toscanini, cond. NBC Symphony Orchestra

Apple (1973) Album Inducted 2013

Columbia (1964) Album Inducted 2007 Columbia (1963) Album Inducted 2006

BARTÓK: CONCERTO FOR ORCHESTRA Fritz Reiner, cond. Chicago Symphony Orchestra RCA Victor (1956) Album Inducted 1998

Beethoven Sonata Society/HMV (1932–38) Album Inducted 1975

Columbia (1952) Album Inducted 1981

RCA Victor (1950–53) Album Inducted 1977

BEETHOVEN: SYMPHONY NO. 5 Arthur Nikisch, cond. Berlin Philharmonic Grammophon/Polydor (1914) Album Inducted 2008

BARTÓK: CONTRASTS FOR VIOLIN, CLARINET & PIANO Béla Bartók, Piano; Joseph Szigeti, Violin; Benny Goodman, Clarinet

BEETHOVEN: SYMPHONY NO. 7 IN A MAJ. OP. 92 Arturo Toscanini, cond. New York Philharmonic Symphony Orchestra

BARTÓK: QUARTETS Juilliard Quartet

BEGGARS BANQUET The Rolling Stones

THE BATTLE OF NEW ORLEANS Johnny Horton

BEGIN THE BEGUINE Artie Shaw And His Orchestra

BE MY BABY The Ronettes

BEHIND CLOSED DOORS Charlie Rich

THE BEATLES (WHITE ALBUM) The Beatles

BEI MIR BIST DU SCHON The Andrews Sisters

Columbia (1940) Album Inducted 1989 Columbia (1950) Album Inducted 1987 Columbia (1959) Single Inducted 2002 Philles (1963) Single Inducted 1999 Apple (1968) Album Inducted 2000

RCA Victor (1936) Album Inducted 2007 London (1968) Album Inducted 1999

Bluebird (1938) Single Inducted 1977 Epic (1973) Single Inducted 1999 Decca (1938) Single Inducted 1996

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BELAFONTE AT CARNEGIE HALL Harry Belafonte RCA Victor (1959) Album Inducted 1999

BELLINI: CASTA DIVA (FROM NORMA) Rosa Ponselle; Giulio Setti, cond. The Metropolitan Opera Orchestra and Chorus Victor (1929) Single Inducted 2008

BELLS ARE RINGING Original Broadway Cast Columbia (1958) Album Inducted 2000

BERG: WOZZECK Dimitri Mitropoulos, cond. New York Philharmonic Orchestra, Mack Harrell, Eileen Farrell Columbia (1952) Album Inducted 1990

BILL Helen Morgan Victor (1928) Single Inducted 1998

BILLIE’S BOUNCE Charlie Parker And His Re-Boppers

BLOCH: SCHELOMO Emanuel Feuermann, Leopold Stokowski, cond. Philadelphia Orchestra RCA Victor (1940) Album Inducted 1999

BLONDE ON BLONDE Bob Dylan Columbia (1966) Album Inducted 1999

BLOOD, SWEAT & TEARS Blood, Sweat & Tears Columbia (1969) Album Inducted 2002

BLOWIN’ IN THE WIND Bob Dylan Columbia (1963) Single Inducted 1994

BLOWIN’ IN THE WIND Peter, Paul & Mary Warner Bros. (1963) Single Inducted 2003

BLUE Joni Mitchell Reprise (1971) Album Inducted 1999

Savoy (1945) Single Inducted 2002

BLUE MOON OF KENTUCKY Bill Monroe And His Blue Grass Boys

Columbia (1977) Single Inducted 2010

BLUE SUEDE SHOES Carl Perkins

BIRDLAND Weather Report BIRTH OF THE COOL Miles Davis Capitol (1957) Album Inducted 1982

BITCHES BREW Miles Davis Columbia (1969) Album Inducted 1999

BIZET: CARMEN Rise Stevens, Jan Peerce, Licia Albanese, and Robert Merrill; Fritz Reiner, conductor; Robert Shaw, choral director; RCA Victor Orchestra; Robert Shaw Chorale RCA (1951) Album Inducted 2008

BLACK AND TAN FANTASY Duke Ellington & His Orchestra Victor (1928) Single Inducted 1981

BLACK, BROWN AND BEIGE Duke Ellington & His Famous Orchestra RCA Victor (1944) Single Inducted 1990

Columbia (1945) Single Inducted 1998 Sun (1956) Single Inducted 1986

BLUE TRAIN John Coltrane

Blue Note (1957) Album Inducted 1999

BLUE YODEL #9 (STANDING ON THE CORNER) Jimmie Rodgers (Featuring Louis Armstrong) Victor (1930) Single Inducted 2007

BLUE YODEL (T FOR TEXAS) Jimmie Rodgers Victor (1928) Single Inducted 1985

BLUEBERRY HILL Fats Domino Imperial (1956) Single Inducted 1987

BLUES STAY AWAY FROM ME The Delmore Brothers King (1949) Single Inducted 2007

BO DIDDLEY Bo Diddley Checker (1955) Single Inducted 1998

BODY AND SOUL Coleman Hawkins Bluebird (1939) Single Inducted 1974

BOGALUSA BOOGIE Clifton Chenier Arhoolie (1976) Album Inducted 2011

BOHEMIAN RHAPSODY Queen Elektra (1976) Single Inducted 2004

BONAPARTE’S RETREAT W.H. Stepp Library of Congress (1937) Single Inducted 2013

BOOGIE CHILLUN John Lee Hooker Modern (1948) Single Inducted 1999

BOOGIE WOOGIE BUGLE BOY The Andrews Sisters Decca (1941) Single Inducted 2000

BORN IN THE U.S.A. Bruce Springsteen Columbia (1984) Album Inducted 2012

BORN TO BE WILD Steppenwolf Dunhill (1968) Single Inducted 2002

BORN TO RUN Bruce Springsteen Columbia (1975) Album Inducted 2003

BORN UNDER A BAD SIGN Albert King Stax (1967) Album Inducted 1999

BOTH SIDES NOW Judy Collins Elektra (1968) Single Inducted 2003

BRAHMS: TRIO NO. 1 IN B MAJOR Jascha Heifetz, Emanuel Feuermann, Artur Rubinstein Victor (1942) Album Inducted 1999

BLACK MOUNTAIN RAG Doc Watson Vanguard (1964) Single Inducted 2006

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BRAZIL (AQUARELA DO BRASIL) Jimmy Dorsey & His Orchestra Decca (1942) Single Inducted 2009

BREEZIN’ George Benson

Warner Bros. (1976) Album Inducted 2008

BRIDGE OVER TROUBLED WATER Simon & Garfunkel Columbia (1970) Single Inducted 1998

BRIGADOON Original Broadway Cast RCA Victor (1947) Album Inducted 2011

BRILLIANT CORNERS Thelonious Monk Quintet Riverside (1956) Album Inducted 1999

BRINGING IT ALL BACK HOME Bob Dylan Columbia (1965) Album Inducted 2006

BRITTEN: WAR REQUIEM OP. 66 Benjamin Britten, cond. London Symphony Chorus & Orchestra, Highgate School Choir, Melos Ensemble; Vishnevskaya, Pears, Fischer-Dieskau London (1963) Album Inducted 1998

BROTHER, CAN YOU SPARE A DIME? Bing Crosby Brunswick (1932) Single Inducted 2005

BROWN EYED GIRL Van Morrison Bang (1967) Single Inducted 2007

THE BUTTON-DOWN MIND OF BOB NEWHART Bob Newhart Warner Bros. (1960) Album Inducted 2007

BY THE TIME I GET TO PHOENIX Glen Campbell Capitol (1967) Single Inducted 2004

BYE BYE BLACKBIRD Gene Austin Victor (1926) Single Inducted 2005

BYE BYE LOVE The Everly Brothers Cadence (1957) Single Inducted 1998

CABARET Original Motion Picture Soundtrack ABC (1972) Album Inducted 2008

CALDONIA BOOGIE Louis Jordan And His Tympany Five Decca (1945) Single Inducted 1998

CALIFORNIA DREAMIN’ The Mamas And The Papas Dunhill (1966) Single Inducted 2001

CALIFORNIA GIRLS The Beach Boys Capitol (1965) Single Inducted 2010

CALIFORNIA, HERE I COME Al Jolson With The Isham Jones Orchestra Brunswick (1924) Single Inducted 2005

CATCH A FIRE Bob Marley & The Wailers Island (1973) Album Inducted 2010

CAT’S IN THE CRADLE Harry Chapin Elektra (1974) Single Inducted 2011

CHAIN OF FOOLS Aretha Franklin Atlantic (1967) Single Inducted 2001

CHANCES ARE Johnny Mathis Columbia (1957) Single Inducted 1998

A CHANGE IS GONNA COME Sam Cooke RCA Victor (1965) Single Inducted 2000

A CHARLIE BROWN CHRISTMAS Vince Guaraldi Trio Fantasy (1965) Album Inducted 2007

CALL IT STORMY MONDAY T-Bone Walker

CHARLIE PARKER WITH STRINGS Charlie Parker

CAMELOT Original Broadway Cast

CHATTANOOGA CHOO CHOO Glenn Miller Orchestra With Tex Beneke And The Modernaires

Black & White (1948) Single Inducted 1991 Columbia (1960) Album Inducted 2006

CAN THE CIRCLE BE UNBROKEN (BYE AND BYE) The Carter Family ARC (1935) Single Inducted 1998

CANDIDE Original Broadway Cast Columbia (1956) Album Inducted 1998

CANDY Big Maybelle Savoy (1956) Single Inducted 1999

CARAVAN Duke Ellington & His Famous Orchestra Master (1937) Single Inducted 2009

CARNEGIE HALL JAZZ CONCERT Benny Goodman Columbia (1950) Album Inducted 1975

CAROUSEL Original Broadway Cast

Mercury (1950) Album Inducted 1988

Bluebird (1941) Single Inducted 1996

CHEAP THRILLS Big Brother & The Holding Company Columbia (1968) Album Inducted 2007

CHEEK TO CHEEK Fred Astaire With Leo Reisman And His Orchestra Brunswick (1935) Single Inducted 2000

CHEGA DE SAUDADE João Gilberto Odeon (1958) Single Inducted 2000

CHEROKEE Charlie Barnet & His Orchestra Bluebird (1939) Single Inducted 1998

CHET BAKER SINGS Chet Baker Pacific Jazz (1956) Album Inducted 2001

Decca (1945) Album Inducted 1998

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THE CHICAGO TRANSIT AUTHORITY Chicago Columbia (1969) Album Inducted 2014

CHILD IS FATHER TO THE MAN Blood, Sweat & Tears Columbia (1968) Album Inducted 1999

CHIMES BLUES King Oliver’s Creole Jazz Band Gennett (1923) Single Inducted 1996

CHOO CHOO CH’BOOGIE Louis Jordan And His Tympany Five Decca (1946) Single Inducted 2008

CHOPIN: 14 WALTZES Dinu Lipatti Columbia (1952) Album Inducted 1998

CHOPIN: MAZURKAS (COMPLETE) Artur Rubinstein RCA Red Seal (1967) Album Inducted 2003

CHOPIN: THE COMPLETE NOCTURNES Artur Rubinstein RCA Red Seal (1965) Album Inducted 2004

CHOPIN WALTZES Artur Rubinstein RCA Victor (1965) Album Inducted 2006

A CHORUS LINE Original Broadway Cast Columbia (1975) Album Inducted 2007

A CHRISTMAS GIFT FOR YOU FROM PHIL SPECTOR Phil Spector And Various Artists Philles (1963) Album Inducted 1999

THE CHRISTMAS SONG Nat “King” Cole Capitol (1946) Single Inducted 1974

CISSY STRUT The Meters

COCKTAILS FOR TWO Duke Ellington & His Orchestra

CRAZY ARMS Ray Price

COCKTAILS FOR TWO Spike Jones And His City Slickers

CRAZY BLUES Mamie Smith & Her Jazz Hounds

Victor (1934) Single Inducted 2007

RCA Victor (1945) Single Inducted 1995

COME FLY WITH ME Frank Sinatra Capitol (1958) Album Inducted 2004

COMPANY Original Broadway Cast Columbia (1970) Album Inducted 2008

CONCERT BY THE SEA Erroll Garner Trio Columbia (1956) Album Inducted 1999

CONVERSATIONS WITH MYSELF Bill Evans Verve (1963) Album Inducted 2000

COOL WATER Sons Of The Pioneers Decca (1941) Single Inducted 1986

COPLAND: APPALACHIAN SPRING Aaron Copland, cond. The Boston Symphony RCA Victor (1959) Album Inducted 2000

COPLAND: APPALACHIAN SPRING Leonard Bernstein, cond. New York Philharmonic Columbia (1961) Single Inducted 2009

COPLAND: FANFARE FOR THE COMMON MAN Aaron Copland, cond. The London Symphony Orchestra Columbia (1968) Single Inducted 2009

COPLAND: SYMPHONY NO. 3 Antal Dorati, cond. Minneapolis Symphony Orchestra Mercury (1951) Album Inducted 2007

Josie (1969) Single Inducted 2011

COSMO’S FACTORY Creedence Clearwater Revival

Little David (1972) Album Inducted 2010

COURT AND SPARK Joni Mitchell

CLASS CLOWN George Carlin CLIFFORD BROWN & MAX ROACH Clifford Brown, Max Roach Emarcy (1954) Album Inducted 1999

COAL MINER’S DAUGHTER Loretta Lynn Decca (1970) Single Inducted 1998

Fantasy (1970) Album Inducted 2014 Asylum (1974) Album Inducted 2004

THE CRADLE WILL ROCK Original Broadway Cast Musicraft (1938) Album Inducted 1998

CRAZY Patsy Cline

Columbia (1956) Single Inducted 1999 Okeh (1920) Jazz (Single) Inducted 1994

CRAZY HE CALLS ME Billie Holiday Decca (1949) Single Inducted 2010

CROSBY, STILLS & NASH Crosby, Stills & Nash Atlantic (1969) Album Inducted 1999

CROSSCURRENTS Lennie Tristano Sextet Capitol (1949) Album Inducted 2013

CROSS ROAD BLUES Robert Johnson Vocalion (1936) Single Inducted 1998

CRY Johnnie Ray Okeh (1951) Single Inducted 1998

CRY ME A RIVER Julie London Liberty (1955) Single Inducted 2001

CRYING Roy Orbison

Monument (1961) Single Inducted 2002

CRYING IN THE CHAPEL The Orioles Jubilee (1953) Single Inducted 2008

DANCE TO THE MUSIC Sly & The Family Stone Epic (1968) Single Inducted 1998

DANCING IN THE STREET Martha And The Vandellas Gordy (1964) Single Inducted 1999

DANG ME Roger Miller Smash (1964) Single Inducted 1998

THE DARK SIDE OF THE MOON Pink Floyd Harvest (1973) Album Inducted 1999

DARK WAS THE NIGHT — COLD WAS THE GROUND Blind Willie Johnson Columbia/Vocalion (1927) Single Inducted 2011

Decca (1962) Single Inducted 1992

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DARKTOWN STRUTTERS’ BALL Original Dixieland Jazz Band

DO YOU BELIEVE IN MAGIC The Lovin’ Spoonful

DAYS OF WINE AND ROSES Henry Mancini

DOC WATSON Doc Watson

Columbia (1917) Single Inducted 2006 RCA (1963) Single Inducted 2003

DEAD MAN’S CURVE Jan & Dean Liberty (1964) Single Inducted 2008

(DEAR MR. GABLE) YOU MADE ME LOVE YOU Judy Garland Decca (1937) Single Inducted 1998

DEBUSSY: PRELUDES, BOOK I AND II Walter Gieseking Columbia (1953–55) Album Inducted 1998

DEEP IN THE HEART OF TEXAS Gene Autry Columbia (1942) Single Inducted 2012

DÉJÀ VU Crosby, Stills, Nash & Young Atlantic (1970) Album Inducted 2012

DESAFINADO Stan Getz & Charlie Byrd

Vanguard (1964) Album Inducted 2014

DON’T BE CRUEL Elvis Presley RCA Victor (1956) Single Inducted 2002

DON’T FENCE ME IN Bing Crosby And The Andrews Sisters Decca (1944) Single Inducted 1998

DON’T GET AROUND MUCH ANYMORE (NEVER NO LAMENT) Duke Ellington & His Famous Orchestra Victor (1940) Single Inducted 2010

Columbia (1925) Single Inducted 1998

DIPPER MOUTH BLUES King Oliver & His Jazz Band Okeh (1923) Single Inducted 2010

DISRAELI GEARS Cream Atco (1967) Album Inducted 1999

DJANGOLOGY Quintet Of The Hot Club Of France Featuring Django Reinhardt And Stephane Grappelli Decca (1935) Single Inducted 1999

DO NOTHIN’ TILL YOU HEAR FROM ME Duke Ellington & His Orchestra Featuring Al Hibbler Victor (1944) Single Inducted 2011

Capitol (1949) Single Inducted 2000

EARTH ANGEL (WILL YOU BE MINE) Penguins Dootone (1954) Single Inducted 1998

EAST-WEST The Paul Butterfield Blues Band Elektra (1966) Single Inducted 1999

EL DÍA QUE ME QUIERAS Carlos Gardel

Columbia Records (1925) Single Inducted 2007

THE DOORS The Doors

DINAH Ethel Waters

EARLY AUTUMN Woody Herman And His Orchestra

DON’T LET YOUR DEAL GO DOWN BLUES Charlie Poole

Prestige (1960) Album Inducted 2008

Asylum (1972) Album Inducted 2000

Columbia (1956) Single Inducted 1999

EIGHT MILES HIGH The Byrds

DON’T MAKE ME OVER Dionne Warwick

DIMINUENDO AND CRESCENDO IN BLUE Duke Ellington & His Orchestra

Victor (1938) Album Inducted 1998

DON’T GO TO STRANGERS Etta Jones

Verve (1962) Single Inducted 2000

DESPERADO Eagles

Kama Sutra (1965) Single Inducted 2002

DVORÁK: CONCERTO IN B MINOR FOR CELLO AND ORCHESTRA Pablo Casals, George Szell, cond. Czech Philharmonic Orchestra

Scepter (1962) Single Inducted 2000 Elektra (1967) Album Inducted 2002

DOWNHEARTED BLUES Bessie Smith Columbia (1923) Single Inducted 2006

DOWNTOWN Petula Clark

Warner Bros. (1964) Single Inducted 2003

DUKE OF EARL Gene Chandler Vee Jay (1961) Single Inducted 2002

DUST BOWL BALLADS, VOLUMES 1 & 2 Woody Guthrie Victor (1940) Album Inducted 1998

DUST MY BROOM Elmore James

Columbia (1966) Single Inducted 1999

Paramount (1935) Single Inducted 2013

EL PASO Marty Robbins Columbia (1959) Single Inducted 1998

ELEANOR RIGBY The Beatles Capitol (1966) Track Inducted 2002

ELECTRIC LADYLAND Jimi Hendrix Reprise (1968) Album Inducted 1999

ELGAR: VIOLIN CONCERTO Yehudi Menuhin with Sir Edward Elgar, cond. London Symphony Orchestra Victor (1932) Album Inducted 2007

ELLA AND BASIE! Ella Fitzgerald/Count Basie Verve (1963) Album Inducted 2010

ELLA FITZGERALD SINGS THE COLE PORTER SONG BOOK Ella Fitzgerald Verve (1956) Album Inducted 2000

Trumpet (1952) Single Inducted 1998

ELLA FITZGERALD SINGS THE RODGERS AND HART SONG BOOK Ella Fitzgerald

Atlantic (1969) Album Inducted 2001

ELLA IN BERLIN Ella Fitzgerald

DUSTY IN MEMPHIS Dusty Springfield

Verve (1957) Album Inducted 1999 Verve (1960) Album Inducted 1999

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ELLINGTON AT NEWPORT Duke Ellington & His Orchestra

FELIZ NAVIDAD Jose Feliciano

FOR ME AND MY GAL Judy Garland & Gene Kelly

ELTON JOHN Elton John

FEVER Peggy Lee

FOR ONCE IN MY LIFE Stevie Wonder

Columbia (1957) Album Inducted 2004 Uni (1970) Album Inducted 2013

EMBRACEABLE YOU Billie Holiday Commodore (1944) Single Inducted 2005

EMPTY BED BLUES Bessie Smith Columbia (1928) Single Inducted 1983

EVERYBODY LOVES SOMEBODY Dean Martin Reprise (1964) Single Inducted 1999

EVERYBODY’S TALKIN’ Harry Nilsson RCA Victor (1969) Single Inducted 1999

EVERYDAY I HAVE THE BLUES Count Basie Orchestra, Joe Williams, Vocal Clef (1955) Single Inducted 1992

EVERYDAY I HAVE THE BLUES B.B. King RPM (1955) Single Inducted 2004

EXILE ON MAIN ST. The Rolling Stones

Rolling Stones/Atlantic (1972) Album Inducted 2012

EXODUS Bob Marley & The Wailers Island/Tuff Gong (1977) Album Inducted 2006

FAR EAST SUITE Duke Ellington & His Orchestra RCA (1967) Album Inducted 1999

FASCINATING RHYTHM Fred & Adele Astaire accompanied by George Gershwin English Columbia (1926) Single Inducted 2006

FAVORITE GOSPEL SONGS AND SPIRITUALS The Blackwood Brothers Quartet RCA (1951) Album Inducted 1999

RCA Victor (1970) Single Inducted 2010 Capitol (1958) Single Inducted 1998

FIDDLER ON THE ROOF Original Broadway Cast RCA Victor (1964) Album Inducted 1998

FINIAN’S RAINBOW Original Broadway Cast Columbia (1947) Album Inducted 1998

FIRE AND RAIN James Taylor

Warner Bros. (1970) Single Inducted 1998

FIXIN’ TO DIE Bukka White Okeh (1940) Single Inducted 2012

FLYING HOME Lionel Hampton And His Orchestra Decca (1942) Single Inducted 1996

FOCUS Stan Getz

Verve (1961) Album Inducted 1999

FOGGY MOUNTAIN BANJO Lester Flatt And Earl Scruggs And The Foggy Mountain Boys Columbia (1961) Album Inducted 2013

FOGGY MOUNTAIN BREAKDOWN Lester Flatt And Earl Scruggs Mercury (1950) Single Inducted 1999

FOGGY MOUNTAIN JAMBOREE Lester Flatt And Earl Scruggs Columbia (1957) Album Inducted 2012

FOLSOM PRISON BLUES Johnny Cash Sun (1956) Single Inducted 2001

FOR DANCERS ONLY Jimmie Lunceford And His Orchestra Decca (1937) Single Inducted 1999

Decca (1942) Single Inducted 2010 Tamla (1968) Single Inducted 2009

FOR WHAT IT’S WORTH Buffalo Springfield Atco (1967) Single Inducted 2000

FOREVER CHANGES Love Elektra (1967) Album Inducted 2008

FORTUNATE SON Creedence Clearwater Revival Fantasy (1969) Single Inducted 2014

FOUR BROTHERS Woody Herman And His Orchestra Columbia (1948) Single Inducted 1984

FRANK SINATRA SINGS FOR ONLY THE LONELY Frank Sinatra Capitol (1958) Album Inducted 1999

FRANKIE Mississippi John Hurt Okeh (1928) Single Inducted 2011

FREAK OUT! Mothers Of Invention Verve (1967) Album Inducted 1999

FREE BIRD Lynyrd Skynyrd MCA (1973) Single Inducted 2008

FRENESI Artie Shaw And His Orchestra Victor (1940) Single Inducted 2000

FUNNY GIRL Original Broadway Cast Capitol (1964) Album Inducted 2004

GADE: JALOUSIE Arthur Fiedler, cond. Boston Pops Orchestra RCA Victor (1935) Single Inducted 2008

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THE GENIUS OF ART TATUM, VOLS. 1–13 Art Tatum Clef (1954–55) Album Inducted 1978

THE GENIUS OF MODERN MUSIC, VOLS. 1 & 2 Thelonious Monk Blue Note (1949) Album Inducted 2003

THE GENIUS OF RAY CHARLES Ray Charles Atlantic (1960) Album Inducted 1997

GENIUS + SOUL = JAZZ Ray Charles Impulse (1961) Album Inducted 2011

GENTLE ON MY MIND Glen Campbell Capitol (1967) Single Inducted 2008

GEORGIA (ON MY MIND) Hoagy Carmichael And His Orchestra Victor (1930) Single Inducted 2014

GEORGIA ON MY MIND Ray Charles ABC-Paramount (1960) Single Inducted 1993

GERSHWIN: AN AMERICAN IN PARIS George Gershwin, Celesta; Nathaniel Shilkret, cond. Victor Symphony Orchestra Victor (1929) Single Inducted 1997

GERSHWIN: PORGY & BESS (OPERA VERSION) Lehman Engel, cond. (Lawrence Winters, Camilla Williams) Columbia (1951) Album Inducted 1976

GERSHWIN: RHAPSODY IN BLUE George Gershwin, Piano With Paul Whiteman, cond. Victor (1927) Single Inducted 1974

GERSHWIN: RHAPSODY IN BLUE Oscar Levant, Eugene Ormandy, cond. Philadelphia Orchestra Columbia (1945) Album Inducted 1990

GET UP — I FEEL LIKE BEING LIKE A SEX MACHINE James Brown King (1970) Single Inducted 2014

GET UP, STAND UP Bob Marley & The Wailers Island (1973) Single Inducted 1999

(GET YOUR KICKS ON) ROUTE 66 The King Cole Trio Capitol (1946) Single Inducted 2002

GETZ/GILBERTO Stan Getz & João Gilberto Verve (1964) Album Inducted 1999

GIANT STEPS John Coltrane

GONE WITH THE WIND — SOUNDTRACK Max Steiner, conductor MGM (1967) Album Inducted 2006

GOOD ROCKIN’ TONIGHT Wynonie Harris King (1948) Single Inducted 2009

THE GOOD, THE BAD AND THE UGLY Ennio Morricone United Artists (1967) Album Inducted 2009

Atlantic (1960) Album Inducted 2001

GOOD VIBRATIONS The Beach Boys

MGM (1958) Album Inducted 1998

GOODBYE YELLOW BRICK ROAD Elton John

United Artists (1966) Single Inducted 1999

GOODNIGHT IRENE Gordon Jenkins And His Orchestra And The Weavers

GIGI — SOUNDTRACK Various Artists GIMME SOME LOVIN’ Spencer Davis Group THE GIRL FROM IPANEMA Stan Getz & Astrud Gilberto Verve (1964) Single Inducted 2000

GIVE MY REGARDS TO BROADWAY Billy Murray

Capitol (1966) Single Inducted 1994 MCA (1973) Album Inducted 2003

Decca (1950) Single Inducted 2006

GOODNIGHT IRENE Huddie “Leadbelly” Ledbetter Library of Congress (1936) Single Inducted 2002

Columbia (1905) Single Inducted 2008

GOT MY MOJO WORKING Muddy Waters

Parrot (1965) Single Inducted 1999

GRACELAND Paul Simon

Victor (1939) Single Inducted 1982

GREAT BALLS OF FIRE Jerry Lee Lewis

Okeh (1941) Single Inducted 1976

THE GREAT PRETENDER The Platters

GLORIA Them

GOD BLESS AMERICA Kate Smith GOD BLESS THE CHILD Billie Holiday GOLDEN JUBILEE CONCERT: RACHMANINOFF CONCERTO NO. 3 Vladimir Horowitz With Eugene Ormandy, cond. New York Philharmonic Orchestra RCA Red Seal (1978) Album Inducted 2004

GOLDFINGER Shirley Bassey

United Artists (1964) Single Inducted 2008

Chess (1957) Single Inducted 1999

Warner Bros. (1986) Album Inducted 2012 Sun (1957) Single Inducted 1998

Mercury (1956) Single Inducted 2002

GREAT SPECKLED BIRD Roy Acuff & The Crazy Tennesseans Vocalion (1936) Single Inducted 2009

GREEN ONIONS Booker T. & The MG’s Stax (1962) Single Inducted 1999

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GROOVIN’ The Young Rascals

HEAVY WEATHER Weather Report

HEY JUDE The Beatles

GROOVIN’ HIGH Dizzy Gillespie & His Sextet

HEEBIE JEEBIES Louis Armstrong & His Hot Five

HEY THERE Rosemary Clooney

Atlantic (1967) Single Inducted 1999 Guild (1945) Single Inducted 2000

GUYS AND DOLLS Original Broadway Cast Decca (1950) Album Inducted 1998

GYPSY Original Broadway Cast Columbia (1959) Album Inducted 1998

HAIR Original Broadway Cast RCA Victor (1968) Album Inducted 2006

Columbia (1977) Album Inducted 2011 Okeh (1926) Single Inducted 1999

HE’LL HAVE TO GO Jim Reeves RCA (1959) Single Inducted 1999

HELLO DARLIN’ Conway Twitty Decca (1970) Single Inducted 1999

HELLO, DOLLY! Louis Armstrong Kapp (1964) Single Inducted 2001

HELLO, DOLLY! Original Cast

HAPPY DAYS ARE HERE AGAIN Ben Selvin & His Orchestra

RCA Victor (1964) Album Inducted 2002

HAPPY TOGETHER The Turtles

Capitol (1961) Single Inducted 2000

HAPPY TRAILS Roy Rogers & Dale Evans

Capitol (1965) Single Inducted 2008

Columbia (1930) Single Inducted 2007

White Whale (1967) Single Inducted 2007 RCA Victor (1952) Single Inducted 2009

A HARD DAY’S NIGHT The Beatles United Artists (1964) Album Inducted 2000

THE HARDER THEY COME Jimmy Cliff With Toots & The Maytals, Desmond Dekker, The Melodians, Scotty, And The Slickers Island (1973) Album Inducted 2008

HE STOPPED LOVING HER TODAY George Jones Epic (1980) Single Inducted 2007

HEAD HUNTERS Herbie Hancock Columbia (1973) Album Inducted 2009

HEARTBREAK HOTEL Elvis Presley RCA Victor (1956) Single Inducted 1995

HELLO WALLS Faron Young HELP! The Beatles

HELP ME MAKE IT THROUGH THE NIGHT Sammi Smith Mega (1970) Single Inducted 1998

HERB ALPERT PRESENTS SERGIO MENDES & BRASIL ’66 Sergio Mendes & Brasil ’66 A&M (1966) Album Inducted 2012

HERE’S LITTLE RICHARD Little Richard Specialty (1957) Album Inducted 2013

HE’S A REBEL The Crystals Philles (1962) Single Inducted 2004

HE’S GOT THE WHOLE WORLD IN HIS HANDS Marian Anderson RCA Victor (1936) Single Inducted 2008

HEY GOOD LOOKIN’ Hank Williams MGM (1951) Single Inducted 2001

Apple (1968) Single Inducted 2001

Columbia (1954) Single Inducted 1999

HIDE AWAY Freddy King Federal (1961) Single Inducted 1999

HIGHWAY 61 REVISITED Bob Dylan Columbia (1965) Album Inducted 2002

THE HI-LO’S AND ALL THAT JAZZ The Hi-Lo’s Columbia (1958) Album Inducted 1998

HIS EYE IS ON THE SPARROW Mahalia Jackson Columbia (1958) Single Inducted 2010

HIT THE ROAD JACK Ray Charles ABC-Paramount (1961) Single Inducted 2013

HOLIDAY FOR STRINGS David Rose And His Orchestra RCA Victor (1943) Single Inducted 2004

HONEYSUCKLE ROSE Thomas “Fats” Waller Victor (1934) Single Inducted 1999

HONKY TONK (PARTS 1 & 2) Bill Doggett King (1956) Single Inducted 1998

HONKY TONK WOMEN The Rolling Stones London (1969) Single Inducted 2014

HOODOO MAN BLUES Junior Wells Delmark (1966) Album Inducted 2008

HOROWITZ AT CARNEGIE HALL — AN HISTORIC RETURN Vladimir Horowitz Columbia (1965) Album Inducted 2002

HOTEL CALIFORNIA Eagles Asylum (1977) Single Inducted 2003

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HOTEL CALIFORNIA Eagles

I HAVE A DREAM Dr. Martin Luther King Jr.

I WILL SURVIVE Gloria Gaynor

HOUND DOG Elvis Presley

I HEARD IT THROUGH THE GRAPEVINE Marvin Gaye

I WONDER WHY Dion And The Belmonts

Asylum (1976) Album Inducted 2008

RCA Victor (1956) Single Inducted 1988

HOUND DOG Willie Mae “Big Mama” Thornton Peacock (1953) Single Inducted 2013

THE HOUSE I LIVE IN Frank Sinatra

20th Century Fox (1963) Track Inducted 2012

Tamla (1968) Single Inducted 1998

I LEFT MY HEART IN SAN FRANCISCO Tony Bennett Columbia (1962) Single Inducted 1994

Columbia (1946) Single Inducted 1998

I LOVES YOU, PORGY Nina Simone

MGM (1964) Single Inducted 1999

I MISS YOU SO The Cats And The Fiddle

Decca (1947) Single Inducted 2002

I NEVER LOVED A MAN THE WAY I LOVE YOU Aretha Franklin

THE HOUSE OF THE RISING SUN The Animals HOW HIGH THE MOON Ella Fitzgerald HOW HIGH THE MOON Les Paul And Mary Ford Capitol (1951) Single Inducted 1979

HOW LONG, HOW LONG BLUES Leroy Carr Vocalion (1928) Single Inducted 2012

I APOLOGIZE Billy Eckstine MGM (1949) Single Inducted 1999

I CAN HEAR IT NOW, VOLS. 1–3 Edward R. Murrow Columbia (1948–50) Album Inducted 1978

(I CAN’T GET NO) SATISFACTION The Rolling Stones London (1965) Single Inducted 1998

I CAN’T GET STARTED Bunny Berigan Victor (1937) Single Inducted 1975

I CAN’T STOP LOVING YOU Ray Charles ABC-Paramount (1962) Single Inducted 2001

I FALL TO PIECES Patsy Cline Decca (1961) Single Inducted 2001

I FEEL LIKE GOING HOME Muddy Waters Aristocrat (1948) Single Inducted 2010

I GOT YOU (I FEEL GOOD) James Brown King (1965) Single Inducted 2013

Bethlehem (1959) Single Inducted 2000 Bluebird (1939) Single Inducted 1999

Atlantic (1967) Album Inducted 2009

I ONLY HAVE EYES FOR YOU The Flamingos End (1959) Single Inducted 2003

I SHOT THE SHERIFF Eric Clapton RSO (1974) Single Inducted 2003

I STARTED OUT AS A CHILD Bill Cosby Warner Bros. (1964) Album Inducted 2012

Polydor (1978) Single Inducted 2012 Laurie (1958) Single Inducted 1999

IF I DIDN’T CARE The Ink Spots Decca (1939) Single Inducted 1987

IF YOU COULD SEE ME NOW Sarah Vaughan Musicraft (1946) Single Inducted 1998

IF YOU’VE GOT THE MONEY, I’VE GOT THE TIME Lefty Frizzell Columbia (1950) Single Inducted 1999

I’LL BE THERE The Jackson 5 Motown (1970) Single Inducted 2011

I’LL NEVER SMILE AGAIN Tommy Dorsey With Frank Sinatra & The Pied Pipers Victor (1940) Single Inducted 1982

I’LL TAKE YOU THERE The Staple Singers Stax (1972) Single Inducted 1999

I’M A KING BEE Slim Harpo Excello (1957) Single Inducted 2008

I WALK THE LINE Johnny Cash

I’M GETTING SENTIMENTAL OVER YOU Tommy Dorsey And His Orchestra

I WANNA BE LOVED BY YOU Helen Kane

I’M MOVIN’ ON Hank Snow

Sun (1956) Single Inducted 1998 Victor (1928) Single Inducted 2009

I WANT TO BE A COWBOY’S SWEETHEART Patsy Montana & The Prairie Ramblers Vocalion (1935) Single Inducted 2007

I WANT TO HOLD YOUR HAND The Beatles Capitol (1964) Single Inducted 1998

I WANT YOU BACK The Jackson 5 Motown (1969) Single Inducted 1999

I WILL ALWAYS LOVE YOU Dolly Parton RCA (1974) Single Inducted 2007

Victor (1936) Single Inducted 1998

RCA Victor (1950) Single Inducted 2000

I’M SO LONESOME I COULD CRY Hank Williams MGM (1949) Single Inducted 1999

I’M SORRY Brenda Lee

Decca (1960) Single Inducted 1999

(I’M YOUR) HOOCHIE COOCHE MAN Muddy Waters Chess (1954) Single Inducted 1998

IMAGINE John Lennon Plastic Ono Band Apple (1971) Single Inducted 1999

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IN A MIST Bix Beiderbecke

IT DON’T MEAN A THING (IF IT AIN’T GOT THAT SWING) Duke Ellington & His Famous Orchestra

JAZZ AT MASSEY HALL Charlie Parker, Dizzy Gillespie, Bud Powell, Max Roach, Charles Mingus

Columbia (1969) Album Inducted 2001

IT HAD TO BE YOU Isham Jones & His Orchestra

JAZZ SAMBA Stan Getz/Charlie Byrd

Argo (1965) Single Inducted 2009

IT WASN’T GOD WHO MADE HONKY TONK ANGELS Kitty Wells

Okeh (1927) Single Inducted 1980

IN A SILENT WAY Miles Davis THE “IN” CROWD The Ramsey Lewis Trio IN MY ROOM The Beach Boys Capitol (1963) Single Inducted 1999

IN SAN FRANCISCO Cannonball Adderley Quintet Riverside (1959) Album Inducted 1999

IN THE JAILHOUSE NOW Jimmie Rodgers Victor (1928) Single Inducted 2007

IN THE MIDNIGHT HOUR Wilson Pickett Atlantic (1965) Single Inducted 1999

Brunswick (1932) Single Inducted 2008 Brunswick (1924) Single Inducted 2007

Decca (1952) Single Inducted 1998

IT’S A MAN’S MAN’S MAN’S WORLD James Brown King (1966) Single Inducted 2010

IT’S NOT FOR ME TO SAY Johnny Mathis Columbia (1957) Single Inducted 2008

IT’S TOO LATE Carole King Ode (1971) Single Inducted 2003

IN THE MOOD Glenn Miller And His Orchestra

I’VE BEEN LOVING YOU TOO LONG Otis Redding

IN THE STILL OF THE NIGHT The Five Satins

I’VE GOT A TIGER BY THE TAIL Buck Owens

IN THE WEE SMALL HOURS Frank Sinatra

I’VE GOT A WOMAN Ray Charles

THE INCREDIBLE JAZZ GUITAR OF WES MONTGOMERY Wes Montgomery

I’VE GOT THE WORLD ON A STRING Frank Sinatra

Bluebird (1939) Single Inducted 1983 Ember (1956) Single Inducted 1998 Capitol (1955) Album Inducted 1984

Riverside (1960) Album Inducted 1999

INDIAN LOVE CALL Jeanette MacDonald & Nelson Eddy Victor (Red Seal) (1936) Single Inducted 2008

INNERVISIONS Stevie Wonder Tamla (1973) Album Inducted 1999

IS THAT ALL THERE IS? Peggy Lee Capitol (1969) Single Inducted 1999

ISRAELITES Desmond Dekker & The Aces Uni (1969) Single Inducted 2007

Volt (1965) Single Inducted 2011

Debut (1953) Album Inducted 1995 Verve (1962) Album Inducted 2010

JELLY ROLL MORTON: THE SAGA OF MR. JELLY LORD (LIBRARY OF CONGRESS RECORDING) Jelly Roll Morton Circle Sound (1949–50) Album Inducted 1980

JOAN BAEZ Joan Baez

Vanguard (1960) Album Inducted 2011

JOHN COLTRANE AND JOHNNY HARTMAN John Coltrane And Johnny Hartman Impulse! (1963) Album Inducted 2013

JOHNNY B. GOODE Chuck Berry Chess (1958) Single Inducted 1999

JOHNNY CASH AT SAN QUENTIN Johnny Cash Columbia (1969) Album Inducted 2004

Capitol (1965) Single Inducted 1999

JOLENE Dolly Parton

Atlantic (1954) Single Inducted 1990

THE JOSHUA TREE U2

Capitol (1953) Single Inducted 2004

I’VE GOT YOU UNDER MY SKIN Frank Sinatra Capitol (1956) Single Inducted 1998

IVES: SYMPHONY NO. 2 Leonard Bernstein, cond. New York Philharmonic Columbia (1958) Album Inducted 2008

JAMBALAYA (ON THE BAYOU) Hank Williams MGM (1952) Single Inducted 2002

THE JAMES BOND THEME The John Barry Seven And Orchestra

RCA (1973) Single Inducted 2014 Island (1987) Album Inducted 2014

JUDY AT CARNEGIE HALL Judy Garland Capitol (1961) Album Inducted 1998

JUKE Little Walter

Checker (1952) Single Inducted 2008

JUST BECAUSE Frankie Yankovic And His Yanks Columbia (1948) Single Inducted 1999

JUST THE WAY YOU ARE Billy Joel Columbia (1978) Single Inducted 2004

JUST YOU, JUST ME Lester Young Quartet Keynote (1944) Single Inducted 1999

United Artists (1962) Single Inducted 2008

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KANSAS CITY Wilbert Harrison Fury (1959) Single Inducted 2001

KANSAS CITY STOMPS Jelly Roll Morton Victor (1928) Single Inducted 2010

KO-KO Duke Ellington & His Famous Orchestra Victor (1940) Single Inducted 2011

THE KÖLN CONCERT Keith Jarrett ECM (1975) Album Inducted 2011

KASSIE JONES Furry Lewis

KORNGOLD: VIOLIN CONCERTO Jascha Heifetz with Alfred Wallenstein, cond. Los Angeles Philharmonic

KEEP MY SKILLET GOOD AND GREASY Uncle Dave Macon

KRISTOFFERSON Kris Kristofferson

Victor (1928) Single Inducted 2012

Vocalion Records (1924) Single Inducted 2007

RCA Victor (1949) Album Inducted 2008

Monument (1970) Album Inducted 2014

KEEP ON THE SUNNY SIDE The Carter Family

KEY TO THE HIGHWAY Big Bill Broonzy

Del-Fi (1958) Single Inducted 2000

Victor (1928) Single Inducted 2006 Okeh (1941) Single Inducted 2012

KHACHATURIAN: CONCERTO FOR PIANO & ORCHESTRA William Kapell With Serge Koussevitzky, cond. Boston Symphony Orchestra RCA (1943) Album Inducted 1999

KILLING ME SOFTLY WITH HIS SONG Roberta Flack Atlantic (1973) Single Inducted 1999

KIND OF BLUE Miles Davis Columbia (1959) Album Inducted 1992

THE KING AND I Original Broadway Cast Decca (1951) Album Inducted 2000

KING OF THE ROAD Roger Miller Smash (1965) Single Inducted 1999

KING PORTER (STOMP) Benny Goodman And His Orchestra Victor (1935) Single Inducted 2008

KISS ME, KATE Original Broadway Cast Columbia (1949) Album Inducted 1998

LA BAMBA Ritchie Valens LA VIE EN ROSE Edith Piaf Columbia (1950) Single Inducted 1998

LADY IN SATIN Billie Holiday Columbia (1958) Album Inducted 2000

LADY MARMALADE LaBelle

LEAN ON ME Bill Withers Sussex (1972) Single Inducted 2007

LED ZEPPELIN Led Zeppelin Atlantic (1969) Album Inducted 2004

LED ZEPPELIN IV Led Zeppelin Atlantic (1971) Album Inducted 1999

LEONCAVALLO: PAGLIACCI, ACT I: VESTI LA GIUBBA Enrico Caruso Victrola (1907) Single Inducted 1975

LESTER LEAPS IN Count Basie’s Kansas City 7 Featuring Lester Young Vocalion (1939) Single Inducted 2005

LET IT BE The Beatles

Apple (1970) Single Inducted 2004

LET IT BLEED The Rolling Stones London (1969) Album Inducted 2005

LET THE GOOD TIMES ROLL Louis Jordan And His Tympany Five Decca (1946) Single Inducted 2009

Epic (1975) Single Inducted 2003

LET’S GET IT ON Marvin Gaye

RCA (1960) Single Inducted 2004

LET’S STAY TOGETHER Al Green

Verve (1966) Album Inducted 1999

THE LETTER The Box Tops

Atco (1971) Single Inducted 1998

LIGHT MY FIRE The Doors

LAST DATE Floyd Cramer LAURA NYRO Laura Nyro LAYLA Derek And The Dominos LAYLA AND OTHER ASSORTED LOVE SONGS Derek And The Dominos Atco (1970) Album Inducted 2000

LAZY RIVER Louis Armstrong

Tamla (1973) Album Inducted 2004 Hi (1971) Single Inducted 1999 Mala (1967) Single Inducted 2011 Elektra (1967) Track Inducted 1998

LIKE A ROLLING STONE Bob Dylan Columbia (1965) Single Inducted 1998

Okeh (1931) Single Inducted 2010

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LISZT: SONATA IN B MINOR Vladimir Horowitz RCA Victor (1932) Album Inducted 2008

THE LITTLE OLD LOG CABIN IN THE LANE Fiddlin’ John Carson Okeh (1923) Single Inducted 1998

LIVE AT THE APOLLO James Brown King (1962) Album Inducted 1998

LIVE AT THE REGAL B.B. King ABC Paramount (1965) Album Inducted 2006

LONDON CALLING The Clash

LOVE THEME FROM THE GODFATHER Carlo Savina

MAHLER: SYMPHONY NO. 2 Otto Klemperer, cond. Philharmonia Orchestra

LOVE TRAIN The O’Jays

MAHLER: SYMPHONY NO. 8 IN E FLAT MAJOR (THE SYMPHONY OF A THOUSAND) Georg Solti, cond. Chicago Symphony; Balatsch, dir. Chorus Of The Vienna State Opera; Froschauer, dir. Vienna Singverein

Paramount (1972) Track Inducted 2009

Philadelphia International (1973) Single Inducted 2006

LOVER MAN (OH, WHERE CAN YOU BE?) Billie Holiday Decca (1945) Single Inducted 1989

LOVESICK BLUES Emmett Miller & His Georgia Crackers Okeh (1928) Single Inducted 2007

EMI-Angel (1963) Album Inducted 2008

London (1972) Album Inducted 1998

MAHLER: THE COMPLETE SYMPHONIES Leonard Bernstein, cond. New York Philharmonic, London Symphony Columbia (1967) Album Inducted 2002

Epic (1979) Album Inducted 2007

LOVESICK BLUES Hank Williams With His Drifting Cowboys

A&M (1962) Single Inducted 1998

LOW RIDER War

MAKE THE WORLD GO AWAY Eddy Arnold

Brunswick (1958) Single Inducted 1999

LUCILLE Little Richard

MAMA TRIED Merle Haggard

Specialty (1956) Single Inducted 1999

LULLABY OF BROADWAY Dick Powell

MAN OF LA MANCHA Original Broadway Cast

RCA (1967) Single Inducted 2008

LUSH LIFE John Coltrane And Johnny Hartman

MANHATTAN TOWER Gordon Jenkins & His Orchestra

THE LONELY BULL The Tijuana Brass Featuring Herb Alpert LONELY TEARDROPS Jackie Wilson LONG TALL SALLY Little Richard THE LOOK OF LOVE Dusty Springfield LOST IN THE STARS Original Broadway Cast Decca (1949) Album Inducted 2013

LOUIE LOUIE The Kingsmen Wand (1963) Single Inducted 1999

LOUIS ARMSTRONG PLAYS W. C. HANDY Louis Armstrong & His All-Stars Columbia (1954) Album Inducted 2010

LOVE IS STRANGE Mickey And Sylvia Groove/RCA (1957) Single Inducted 2004

LOVE ME OR LEAVE ME Ruth Etting Columbia (1928) Single Inducted 2005

A LOVE SUPREME John Coltrane Impulse (1964) Album Inducted 1999

MGM (1949) Single Inducted 2011

United Artists (1975) Single Inducted 2014 Specialty (1957) Single Inducted 2002

Brunswick (1935) Single Inducted 2005

Impulse (1963) Single Inducted 2000

MACK THE KNIFE Louis Armstrong & The All-Stars Columbia (1955) Single Inducted 1997

MACK THE KNIFE Bobby Darin Atco (1959) Single Inducted 1999

MAHLER: DAS LIED VON DER ERDE Bruno Walter, cond. Vienna Philharmonic Orchestra With Kathleen Ferrier & Julius Patzak

MAIDEN VOYAGE Herbie Hancock Blue Note (1965) Album Inducted 1999 RCA (1965) Single Inducted 1999 Capitol (1968) Single Inducted 1999 Kapp (1965) Album Inducted 2009 Capitol (1956) Album Inducted 1998

MANTECA Dizzy Gillespie & His Orchestra Victor (1947) Single Inducted 1999

MANY RIVERS TO CROSS Jimmy Cliff A&M (1969) Single Inducted 2011

MARIE Tommy Dorsey And His Orchestra; Jack Leonard, Vocal Victor (1937) Single Inducted 1998

London (1952) Album Inducted 1981

MAHLER: SYMPHONY NO. 1 IN D MAJOR “TITAN” Dimitri Mitropoulos, cond. Minneapolis Symphony Orchestra Columbia (1941) Album Inducted 1999

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MARY POPPINS — ORIGINAL CAST SOUND TRACK Julie Andrews, Dick Van Dyke & Various Artists Buena Vista (1964) Album Inducted 2014

MATCH BOX BLUES Blind Lemon Jefferson Okeh (1927) Single Inducted 1999

MAYBELLENE Chuck Berry Chess (1955) Single Inducted 1988

MBUBE Solomon Linda & The Evening Birds Singer (1939) Single Inducted 2007

ME AND BOBBY MCGEE Janis Joplin Columbia (1971) Single Inducted 2002

MEET ME IN ST. LOUIS — SOUNDTRACK Judy Garland & Various Artists Decca (1944) Album Inducted 2005

MEET THE BEATLES! The Beatles Capitol (1964) Album Inducted 2001

MENDELSSOHN: CONCERTO FOR VIOLIN IN E MINOR Fritz Kreisler; Leo Blech, cond. Berlin State Opera Orchestra RCA Victor (1926) Album Inducted 1998

MERCY MERCY ME (THE ECOLOGY) Marvin Gaye Tamla (1971) Single Inducted 2002

THE MESSAGE Grandmaster Flash & The Furious Five Featuring Melle Mel & Duke Bootee Sugar Hill (1982) Single Inducted 2012

MEXICANTOS Los Panchos Coda (1945) Album Inducted 2012

MIDNIGHT SPECIAL Huddie “Leadbelly” Ledbetter With The Golden Gate Quartet

MIDNIGHT TRAIN TO GEORGIA Gladys Knight And The Pips

MONDAY, MONDAY The Mamas And The Papas

MILES AHEAD Miles Davis +19, Gil Evans, cond.

MONEY HONEY Clyde McPhatter And The Drifters

Buddah (1973) Single Inducted 1999

Columbia (1957) Album Inducted 1994

MILESTONES Miles Davis Sextet Columbia (1958) Album Inducted 2004

MINGUS AH UM Charles Mingus

Dunhill (1966) Single Inducted 2008 Atlantic (1953) Single Inducted 1999

MONK’S MUSIC Thelonious Monk Featuring Coleman Hawkins & John Coltrane Riverside (1957) Album Inducted 2001

Columbia (1959) Album Inducted 2013

MOOD INDIGO Duke Ellington

Columbia (1959) Album Inducted 1999

MOODY’S MOOD FOR LOVE James Moody

Brunswick (1931) Single Inducted 1999

MOON RIVER Henry Mancini

Mercury (1954) Single Inducted 1991

MOONDANCE Van Morrison

Columbia (1959) Single Inducted 2002

MOONGLOW Benny Goodman Quartet

MINGUS DYNASTY Charles Mingus MINNIE THE MOOCHER Cab Calloway & His Orchestra MISTY Erroll Garner Trio MISTY Johnny Mathis MOANIN’ Art Blakey & The Jazz Messengers Blue Note (1957) Album Inducted 2001

MOANIN’ Art Blakey & The Jazz Messengers Blue Note (1958) Single Inducted 1998

MODERN SOUNDS IN COUNTRY AND WESTERN MUSIC Ray Charles ABC-Paramount (1962) Album Inducted 1999

MONA LISA Nat “King” Cole Capitol (1950) Single Inducted 1992

Brunswick (1931) Single Inducted 1975 Prestige (1952) Single Inducted 2001 RCA (1961) Single Inducted 1999

Warner Bros. (1970) Album Inducted 1999 Victor (1936) Single Inducted 1998

MOONLIGHT SERENADE Glenn Miller And His Orchestra Bluebird (1939) Single Inducted 1991

MOVE ON UP A LITTLE HIGHER Mahalia Jackson Apollo (1948) Single Inducted 1998

MOZART: DIE ZAUBERFLÖTE Sir Thomas Beecham, cond. Berlin Philharmonic Orchestra; Berger, Lemnitz, Roswaenge, Strienz & Others RCA Victor (1938) Album Inducted 1999

MR. BOJANGLES Nitty Gritty Dirt Band Liberty (1970) Single Inducted 2010

Victor (1940) Album Inducted 2002

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MR. FANTASY Traffic

MUSTANG SALLY Wilson Pickett

MR. SANDMAN The Chordettes

MY AIM IS TRUE Elvis Costello

United (1968) Album Inducted 1999

Cadence (1954) Single Inducted 2002

MR. TAMBOURINE MAN The Byrds Columbia (1965) Single Inducted 1998

MR. TAMBOURINE MAN Bob Dylan Columbia (1965) Track Inducted 2002

MRS. ROBINSON Simon & Garfunkel Columbia (1968) Single Inducted 1999

MULE SKINNER BLUES Bill Monroe And His Blue Grass Boys Bluebird (1940) Single Inducted 2009

MUSIC FROM BIG PINK The Band Capitol (1968) Album Inducted 1998

THE MUSIC FROM PETER GUNN Henry Mancini, Conductor RCA Victor (1959) Album Inducted 1998

THE MUSIC MAN Original Broadway Cast Capitol (1958) Album Inducted 1998

MUSIC OF ALBÉNIZ & GRANADOS Andres Segovia Decca (1944) Album Inducted 1998

MUSSORGSKY: PICTURES AT AN EXHIBITION Vladimir Horowitz RCA (1951) Album Inducted 1999

MUSSORGSKY: PICTURES AT AN EXHIBITION Rafael Kubelik, cond. Chicago Symphony Orchestra Mercury (1951) Album Inducted 1998

MUSSORGSKY: SONG OF THE FLEA Feodor Chaliapin Victor (1926) Single Inducted 1999

Atlantic (1967) Single Inducted 2000

Columbia (1977) Album Inducted 2007

MY BLACK MAMA (PARTS 1 & 2) Son House Paramount (1930) Single Inducted 2013

MY BLUE HEAVEN Gene Austin Victor (1928) Single Inducted 1978

MY COUNTRY ’TIS OF THEE Marian Anderson Victor (1939) Single Inducted 2009

MY FAIR LADY Original Broadway Cast Columbia (1956) Album Inducted 1977

MY FAVORITE THINGS John Coltrane Quartet Atlantic (1961) Album Inducted 1998

MY GENERATION The Who Decca (1965) Single Inducted 1999

MY GIRL The Temptations Gordy (1965) Single Inducted 1998

MY GUY Mary Wells

Motown (1964) Single Inducted 1999

A NATURAL WOMAN (YOU MAKE ME FEEL LIKE) Aretha Franklin Atlantic (1967) Single Inducted 1999

NATURE BOY Nat “King” Cole Capitol (1948) Single Inducted 1999

NEAR YOU Francis Craig And His Orchestra Bullet (1947) Single Inducted 2013

NEGRO SINFUL SONGS Huddie “Leadbelly” Ledbetter Musicraft (1939) Album Inducted 1998

NEW SAN ANTONIO ROSE Bob Wills And His Texas Playboys Okeh (1940) Single Inducted 1998

NIGHT AND DAY Leo Reisman And His Orchestra; Vocal Refrain By Fred Astaire RCA Victor (1932) Single Inducted 2004

A NIGHT AT BIRDLAND Art Blakey Quintet Blue Note (1954) Album Inducted 2000

A NIGHT IN TUNISIA Dizzy Gillespie & His Sextet Victor (1946) Single Inducted 2004

NIGHT TRAIN Jimmy Forrest United (1952) Single Inducted 2006

MY HEART BELONGS TO DADDY Mary Martin

NIGHTS IN WHITE SATIN The Moody Blues

MY MAMMY Al Jolson

1999 Prince

MY MAN (FROM ZIEGFELD FOLLIES OF 1921) Fanny Brice

NO WOMAN, NO CRY Bob Marley & The Wailers

Decca (1938) Single Inducted 2007

Brunswick (1927) Single Inducted 2011

Victor (1922) Single Inducted 1999

MY WAY Frank Sinatra Reprise (1969) Single Inducted 2000

Deram (1972) Single Inducted 1999

Warner Bros. (1982) Album Inducted 2008 Island (1975) Single Inducted 2005

NOBODY Bert Williams

Columbia (1906) Single Inducted 1981

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NOBODY KNOWS THE TROUBLE I’VE SEEN Louis Armstrong

ONE O’CLOCK JUMP Count Basie

PEG O’ MY HEART The Harmonicats

NOW HE SINGS, NOW HE SOBS Chick Corea

ONLY THE LONELY (KNOW HOW I FEEL) Roy Orbison

PEGGY SUE Buddy Holly

Decca (1938) Single Inducted 2014

Blue Note (1968) Single Inducted 1999

NUAGES Django Reinhardt And Stephane Grappelli With The Quintet Of The Hot Club Of France Decca (1946) Single Inducted 2000

ODE TO BILLIE JOE Bobbie Gentry Capitol (1967) Single Inducted 1999

OFF THE WALL Michael Jackson Epic (1979) Album Inducted 2008

OH HAPPY DAY Edwin Hawkins Singers Buddah (1969) Single Inducted 1999

OH, PRETTY WOMAN Roy Orbison Monument (1964) Single Inducted 1999

OHIO Crosby, Stills, Nash & Young Atlantic (1970) Single Inducted 2009

OKLAHOMA! Original Broadway Cast Decca (1943) Album Inducted 1976

OL’ MAN RIVER Paul Robeson With Paul Whiteman & His Concert Orchestra Victor (1928) Single Inducted 2006

OLIVER! Original Broadway Cast RCA Victor (1962) Album Inducted 2008

ON BROADWAY The Drifters Atlantic (1963) Single Inducted 2013

ON THE ROAD AGAIN Willie Nelson CBS (1980) Single Inducted 2011

ONE FOR MY BABY Frank Sinatra Capitol (1958) Single Inducted 2005

ONE LOVE Bob Marley & The Wailers Coxsone (1965) Single Inducted 2007

Decca (1937) Single Inducted 1979

Monument (1960) Single Inducted 1999

ONLY YOU (AND YOU ALONE) The Platters Mercury (1955) Single Inducted 1999

ORNITHOLOGY Charlie Parker Sextet Dial (1946) Single Inducted 1989

OVER THE RAINBOW Judy Garland Decca (1939) Single Inducted 1981

OVER THERE Nora Bayes Victor (1917) Single Inducted 2008

OYE COMO VA Tito Puente Tico (1953) Single Inducted 2002

PAN AMERICAN BLUES DeFord Bailey Brunswick (1927) Single Inducted 2007

PAPA WAS A ROLLIN’ STONE The Temptations Gordy (1972) Single Inducted 1999

PAPA’S GOT A BRAND NEW BAG (PART I) James Brown King (1965) Single Inducted 1999

PAPER DOLL Mills Brothers Decca (1943) Single Inducted 1998

PARSLEY, SAGE, ROSEMARY & THYME Simon & Garfunkel Columbia (1966) Album Inducted 1999

PEACE BE STILL Rev. James Cleveland Savoy (1962) Album Inducted 1999

PEARL Janis Joplin

Columbia (1971) Album Inducted 2010

Vitacoustic (1947) Single Inducted 1999 Coral (1957) Single Inducted 1999

PENNIES FROM HEAVEN Bing Crosby Decca (1936) Single Inducted 2004

PENNY LANE The Beatles Capitol (1967) Single Inducted 2011

PEOPLE Barbra Streisand Columbia (1964) Single Inducted 1998

PEOPLE GET READY The Impressions ABC-Paramount (1965) Single Inducted 1998

PET SOUNDS The Beach Boys Capitol (1966) Album Inducted 1998

PETER GUNN Henry Mancini RCA (1959) Track Inducted 2005

PIANO MAN Billy Joel

Columbia (1973) Single Inducted 2013

PIECE OF MY HEART Big Brother & The Holding Company (Featuring Janis Joplin) Columbia (1968) Single Inducted 1999

PINE TOP’S BOOGIE WOOGIE Pine Top Smith Vocalion (1928) Single Inducted 1983

THE PINK PANTHER Henry Mancini RCA (1964) Album Inducted 2001

PINOCCHIO — SOUNDTRACK Various Artists Victor (1940) Album Inducted 2002

PISTOL PACKIN’ MAMA Al Dexter Okeh (1943) Single Inducted 2000

THE PLAY OF DANIEL New York Pro Musica, Noah Greenberg, Director Decca (1958) Album Inducted 1998

PLEASE MR. POSTMAN The Marvelettes Tamla (1961) Single Inducted 2011

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PLEASE, PLEASE, PLEASE James Brown & The Famous Flames

PROUD MARY Ike & Tina Turner

RAUNCHY Bill Justis And His Orchestra

PLEASE SEND ME SOMEONE TO LOVE Percy Mayfield

PUCCINI: LA BOHÈME Sir Thomas Beecham, cond., Soloists: de Los Angeles, Bjöerling, Merrill, Tozzi, Amara

RAVEL: BOLERO Maurice Ravel, cond. Lamoureux Orchestra

Federal (1956) Single Inducted 2001

Specialty (1950) Single Inducted 1999

PONY BLUES Charley Patton Paramount (1929) Single Inducted 1999

PORGY AND BESS Louis Armstrong & Ella Fitzgerald Verve (1958) Album Inducted 2001

PORGY AND BESS Miles Davis & Gil Evans Columbia (1958) Album Inducted 2000

PORGY AND BESS Alexander Smallens, cond. (Lawrence Tibbett, Helen Jepson, The Original Orchestra And Chorus; “Under The Supervision Of The Composer”) Victor (1935) Album Inducted 2002

PORGY & BESS, SELECTIONS FROM GEORGE GERSHWIN’S FOLK OPERA Original Broadway Cast Decca (1940–42) Album Inducted 1990

PORTRAIT IN JAZZ Bill Evans Trio Riverside (1960) Album Inducted 2007

PRECIOUS LORD, TAKE MY HAND Mahalia Jackson Columbia (1956) Single Inducted 2012

THE PRISONER’S SONG Vernon Dalhart Victor (1925) Single Inducted 1998

PROKOFIEV: PETER AND THE WOLF (OPUS 67) Serge Koussevitzky, cond. Boston Symphony Orchestra; Richard Hale, narrator Victor (Red Seal) (1939) Album Inducted 2008

PROKOFIEV: PIANO CONCERTO NO. 3 IN C MAJOR, OP. 26 Sergei Prokofiev, piano; Piero Coppola, cond. The London Symphony Orchestra His Master’s Voice (1932) Album Inducted 2009

PROUD MARY Creedence Clearwater Revival Fantasy (1969) Single Inducted 1998

Liberty (1971) Single Inducted 2003

RCA Victor (1956) Album Inducted 2000

PUCCINI: TOSCA Victor DeSabata, cond. Orchestra & Chorus Of Teatro Alla Scala, Milan; Maria Callas, Giuseppe DiStefano, Tito Gobbi Angel (1953) Album Inducted 1987

PURPLE HAZE The Jimi Hendrix Experience Reprise (1967) Single Inducted 2000

PURPLE RAIN Prince & The Revolution Warner Bros. (1984) Album Inducted 2011

PUTTIN’ ON THE RITZ Harry Richman With Earl Burtnett And His Los Angeles Biltmore Hotel Orchestra Brunswick (1930) Single Inducted 2005

QUE SERA, SERA (WHATEVER WILL BE, WILL BE) Doris Day Columbia (1956) Single Inducted 2012

RACHMANINOFF: PIANO CONCERTO NO. 2 IN C MINOR Sergei Rachmaninoff (Piano), Leopold Stokowski, cond. Philadelphia Orchestra RCA Victor (1929) Album Inducted 1976

RACHMANINOFF: RHAPSODY ON A THEME OF PAGANINI Sergei Rachmaninoff (Piano), Leopold Stokowski, cond. Philadelphia Orchestra RCA Victor (1934) Album Inducted 1979

RAINDROPS KEEP FALLIN’ ON MY HEAD B.J. Thomas Scepter (1969) Single Inducted 2014

RAMONES Ramones

Sire (1976) Album Inducted 2007

RAPPER’S DELIGHT Sugarhill Gang Sugarhill (1979) Single Inducted 2014

Phillips (1957) Single Inducted 1998

Brunswick (1937) Album Inducted 1992

RAVEL: DAPHNIS ET CHLOE (COMPLETE BALLET) Charles Munch, cond. Boston Symphony Orchestra RCA Victor (1955) Album Inducted 2008

RAY CHARLES IN PERSON Ray Charles Atlantic (1959) Album Inducted 1999

REACH OUT I’LL BE THERE Four Tops Motown (1966) Single Inducted 1998

RED HEADED STRANGER Willie Nelson Columbia (1975) Album Inducted 2002

RELAXIN’ WITH THE MILES DAVIS QUINTET Miles Davis Prestige (1958) Album Inducted 2014

RESPECT Aretha Franklin Atlantic (1967) Single Inducted 1998

RESPECT YOURSELF The Staple Singers Stax (1971) Single Inducted 2002

THE REVOLUTION WILL NOT BE TELEVISED Gil Scott-Heron Flying Dutchman (1970) Single Inducted 2014

REVOLVER The Beatles

Capitol (1966) Album Inducted 1999

RIDERS ON THE STORM The Doors Elektra (1971) Single Inducted 2010

RING OF FIRE Johnny Cash Columbia (1963) Single Inducted 1999

THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS David Bowie RCA (1972) Album Inducted 1999

RIVER DEEP, MOUNTAIN HIGH Ike & Tina Turner Philles (1966) Single Inducted 1999

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ROCK-A-BYE YOUR BABY WITH A DIXIE MELODY Al Jolson Columbia (1918) Single Inducted 2004

ROCK AROUND THE CLOCK Bill Haley And The Comets Decca (1955) Single Inducted 1982

ROCKET “88” Jackie Brenston & His Delta Cats

RUNAWAY Del Shannon

SEPTEMBER SONG Walter Huston

SGT. PEPPER’S LONELY HEARTS CLUB BAND The Beatles

Big Top (1961) Single Inducted 2002

SANTANA Santana

Columbia (1969) Album Inducted 2012

Chess (1951) Single Inducted 1998

SARAH VAUGHAN Sarah Vaughan

Vocalion (1937) Single Inducted 2011

SATURDAY NIGHT FEVER — SOUNDTRACK Various Artists

ROCKIN’ CHAIR Mildred Bailey ROLL OVER BEETHOVEN Chuck Berry Chess (1956) Single Inducted 1990

ROLLIN’ STONE Muddy Waters Chess (1950) Single Inducted 2000

’ROUND ABOUT MIDNIGHT Thelonious Monk Quintet Blue Note (1948) Single Inducted 1993

ROXANNE The Police

A&M (1978) Single Inducted 2008

ROY HARRIS SYMPHONY NO. 3 Serge Koussevitzky, cond. Boston Symphony Orchestra RCA Victor (1940) Album Inducted 2012

RUBBER SOUL The Beatles Capitol (1965) Album Inducted 2000

RUDOLPH, THE RED-NOSED REINDEER Gene Autry Columbia (1949) Single Inducted 1985

RUMOURS Fleetwood Mac

Warner Bros. (1977) Album Inducted 2003

RUNAROUND SUE Dion Laurie (1961) Single Inducted 2002

Mercury (1955) Album Inducted 1999

RSO (1977) Album Inducted 2004

SAVE THE LAST DANCE FOR ME The Drifters Atlantic (1960) Single Inducted 2001

SAXOPHONE COLOSSUS Sonny Rollins Quartet Prestige (1956) Album Inducted 1999

SCHOENBERG: GURRE-LIEDER Leopold Stokowski, cond. Philadelphia Orchestra, Soloists, Choruses Victor (1932) Album Inducted 2007

SCHUBERT: AVE MARIA Marian Anderson RCA Victor (1936) Single Inducted 1999

SCHUMANN: CARNAVAL OP. 9 Sergei Rachmaninoff RCA Victor (1929) Album Inducted 2011

SECRET LOVE Doris Day Columbia (1953) Single Inducted 1999

SEE SEE RIDER BLUES Ma Rainey Paramount (1925) Single Inducted 2004

SENTIMENTAL JOURNEY Les Brown & His Orchestra; Doris Day, Vocal Columbia (1945) Single Inducted 1998

SEPTEMBER OF MY YEARS Frank Sinatra Reprise (1965) Album Inducted 1999

Brunswick (1938) Single Inducted 1984

Capitol (1967) Album Inducted 1993

SEVEN COME ELEVEN Benny Goodman Sextet Columbia (1940) Single Inducted 2008

SH-BOOM The Chords

Cat (1954) Single Inducted 2008

SHAKE, RATTLE AND ROLL Joe Turner Atlantic (1954) Single Inducted 1998

SHE THINKS I STILL CARE George Jones United Artists (1962) Single Inducted 1999

SHINING STAR Earth, Wind & Fire Columbia (1975) Single Inducted 2008

SHOP AROUND The Miracles Tamla (1960) Single Inducted 2006

SHOSTAKOVICH: CELLO CONCERTO NO. 1 IN E FLAT, OP. 107 Eugene Ormandy, cond. Philadelphia Orchestra; Mstislav Rostropovich, cellist Columbia (1960) Album Inducted 2008

SHOSTAKOVICH: SYMPHONY NO. 5 Leonard Bernstein, cond. New York Philharmonic Columbia (1959) Album Inducted 2007

SHOSTAKOVICH: VIOLIN CONCERTO NO. 1 IN A MINOR, OP. 99 David Oistrakh; Dimitri Mitropoulos, cond. New York Philharmonic Columbia (1956) Album Inducted 2003

SHOTGUN Jr. Walker And The All-Stars Soul (1965) Single Inducted 2002

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SHOUT — PART I The Isley Brothers RCA (1959) Single Inducted 1999

SHOW BOAT Original Cast

Brunswick (1932) Album Inducted 1991

THE SIDEWINDER Lee Morgan

SNOW WHITE AND THE SEVEN DWARFS — SOUNDTRACK Various Artists Victor (1938) Album Inducted 1998

SOCIETY’S CHILD (BABY I’VE BEEN THINKING) Janis Ian Verve (1967) Single Inducted 2002

Blue Note (1956) Album Inducted 2000

SOME OF THESE DAYS Sophie Tucker

Chess (1955) Single Inducted 2002

SOMEONE TO WATCH OVER ME Gertrude Lawrence

ABC-Paramount (1957) Album Inducted 1998

SOMEWHERE A VOICE IS CALLING John McCormack

SINCERELY The Moonglows SING A SONG OF BASIE Lambert, Hendricks And Ross SING, SING, SING Benny Goodman Victor (1937) Single Inducted 1982

SINGIN’ IN THE RAIN (FROM THE SOUNDTRACK) Gene Kelly MGM (1952) Single Inducted 1999

SINGIN’ THE BLUES Frankie Trumbauer And His Orchestra Featuring Bix Beiderbecke On Cornet Okeh (1927) Single Inducted 1977

(SITTIN’ ON) THE DOCK OF THE BAY Otis Redding Volt (1968) Single Inducted 1998

SITTIN’ ON TOP OF THE WORLD The Mississippi Sheiks Okeh (1930) Single Inducted 2008

SIXTEEN TONS “Tennessee” Ernie Ford Capitol (1955) Single Inducted 1998

SKETCHES OF SPAIN Miles Davis And Gil Evans Columbia (1959) Album Inducted 1997

SMOKESTACK LIGHTNING Howlin’ Wolf Chess (1956) Single Inducted 1999

Edison (1911) Single Inducted 1995 Victor (1927) Single Inducted 2008

Victor (1915) Single Inducted 1999

SONG FOR MY FATHER The Horace Silver Quintet Blue Note (1965) Album Inducted 1999

SONGS FOR SWINGIN’ LOVERS! Frank Sinatra Capitol (1956) Album Inducted 2000

SONGS IN THE KEY OF LIFE Stevie Wonder Tamla (1976) Album Inducted 2002

SONNY BOY Al Jolson

Brunswick (1928) Single Inducted 2002

SOUL MAN Sam And Dave Stax (1967) Single Inducted 1999

THE SOUND OF MUSIC — SOUNDTRACK Julie Andrews & Various Artists RCA (1965) Album Inducted 1998

THE SOUNDS OF SILENCE Simon & Garfunkel Columbia (1965) Single Inducted 2004

SOUTH PACIFIC Original Broadway Cast Columbia (1949) Album Inducted 1987

SPANISH HARLEM Ben E. King Atco (1961) Single Inducted 2002

ST. LOUIS BLUES Louis Armstrong Okeh (1929) Single Inducted 2008

ST. LOUIS BLUES Bessie Smith With Louis Armstrong Columbia (1925) Single Inducted 1993

ST. LOUIS WOMAN Original Broadway Cast Capitol (1946) Album Inducted 2012

STAIRWAY TO HEAVEN Led Zeppelin Atlantic (1971) Track Inducted 2003

STAN FREBERG PRESENTS THE UNITED STATES OF AMERICA Stan Freberg Capitol (1961) Album Inducted 1999

STAND BY ME Ben E. King Atco (1961) Single Inducted 1998

STAND BY YOUR MAN Tammy Wynette Epic (1968) Single Inducted 1999

STAR DUST Louis Armstrong Okeh (1931) Single Inducted 2009

STAR DUST Hoagy Carmichael And His Pals Gennett (1927) Single Inducted 1995

STAR DUST Artie Shaw And His Orchestra RCA Victor (1940) Single Inducted 1988

THE STAR-SPANGLED BANNER Jimi Hendrix Cotillion (1970) Track Inducted 2009

STAR WARS — ORIGINAL MOTION PICTURE SOUNDTRACK John Williams, cond. London Symphony Orchestra 20th Century (1977) Album Inducted 2007

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THE STARS AND STRIPES FOREVER Sousa’s Band Columbia (1897) Single Inducted 1998

STEALIN’, STEALIN’ Memphis Jug Band Victor (1928) Single Inducted 2013

STEEL GUITAR RAG Bob Wills & His Texas Playboys Featuring Leon McAuliffe Vocalion (1936) Single Inducted 2011

STICKY FINGERS The Rolling Stones Rolling Stones (1971) Album Inducted 1999

STILL CRAZY AFTER ALL THESE YEARS Paul Simon Columbia (1975) Album Inducted 2003

STOP! IN THE NAME OF LOVE The Supremes Motown (1965) Single Inducted 2001

STORMY WEATHER Lena Horne RCA Victor (1942) Single Inducted 2000

STORMY WEATHER (KEEPS RAININ’ ALL THE TIME) Ethel Waters Brunswick (1933) Single Inducted 2003

STRAIGHTEN UP AND FLY RIGHT King Cole Trio

STRAUSS: ALSO SPRACH ZARATHUSTRA, OP. 30 Serge Koussevitzky, cond. Boston Symphony Orchestra RCA Victor (1935) Album Inducted 2008

STRAUSS: DER ROSENKAVALIER, OP. 59 (ABRIDGED) Robert Heger, cond. The Vienna State Opera Chorus & Vienna Philharmonic Orchestra; Lotte Lehmann, Elisabeth Schumann and Richard Mayr RCA Victor (1933) Album Inducted 2008

STRAUSS: DER ROSENKAVALIER Herbert von Karajan, cond. Philharmonia Orchestra; Elisabeth Schwarzkopf, Christa Ludwig and Teresa Stich-Randall Angel (1957) Album Inducted 2008

STRAVINSKY: LE SACRE DU PRINTEMPS Pierre Monteux, cond. Boston Symphony RCA Victor (1951) Album Inducted 1993

STRAVINSKY: PETROUCHKA Ernest Ansermet, cond. L’Orchestre de La Suisse Romande London (1950) Album Inducted 1999

STRAVINSKY: PETROUCHKA: LE SACRE DU PRINTEMPS Igor Stravinsky, cond. Columbia Symphony Orchestra (Plus Spoken Reminiscing Apropos Of Le Sacre) Columbia (1961) Album Inducted 2000

Capitol (1944) Single Inducted 1998

STRAWBERRY FIELDS FOREVER The Beatles

Commodore (1939) Single Inducted 1978

SUMMER IN THE CITY The Lovin’ Spoonful

STRANGE FRUIT Billie Holiday STRANGE THINGS HAPPENING EVERY DAY Sister Rosetta Tharpe Decca (1945) Single Inducted 2014

THE STRANGER Billy Joel Columbia (1977) Album Inducted 2008

STRANGERS IN THE NIGHT Frank Sinatra

Capitol (1967) Single Inducted 1999

Kama Sutra (1966) Single Inducted 1999

SUMMERTIME Sidney Bechet Blue Note (1939) Single Inducted 2011

SUMMERTIME BLUES Eddie Cochran Liberty (1958) Single Inducted 1999

SUNDAY AT THE VILLAGE VANGUARD Bill Evans Trio Riverside (1961) Album Inducted 2011

SUPERFLY Curtis Mayfield Curtom (1972) Album Inducted 1998

SUPERSTITION Stevie Wonder Tamla (1972) Single Inducted 1998

SURREALISTIC PILLOW Jefferson Airplane RCA Victor (1967) Album Inducted 1999

SUSPICIOUS MINDS Elvis Presley RCA Victor (1969) Single Inducted 1999

SWANEE Al Jolson

Columbia (1920) Single Inducted 1998

SWEET BABY JAMES James Taylor Warner Bros. (1970) Album Inducted 2002

SWEET HOME ALABAMA Lynyrd Skynyrd

Sounds Of The South/MCA (1974) Single Inducted 2009

SWEET HOME CHICAGO Robert Johnson Vocalion (1937) Single Inducted 2014

SWEETHEART OF THE RODEO The Byrds Columbia (1968) Album Inducted 2000

SWINGING ON A STAR Bing Crosby Decca (1944) Single Inducted 2002

SWITCHED-ON BACH Wendy Carlos Columbia (1969) Album Inducted 1999

SYNCHRONICITY The Police A&M (1983) Album Inducted 2009

Reprise (1966) Single Inducted 2008

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TAKE FIVE Dave Brubeck Quartet Columbia (1963) Single Inducted 1996

TAKE ME HOME, COUNTRY ROADS John Denver RCA (1971) Single Inducted 1998

TAKE ME TO THE RIVER Al Green Hi (1974) Track Inducted 2011

TAKE THE “A” TRAIN Duke Ellington & His Orchestra Victor (1941) Single Inducted 1976

TALKING BOOK Stevie Wonder Tamla (1972) Album Inducted 1999

TAPESTRY Carole King

Ode (1971) Album Inducted 1998

A TASTE OF HONEY Herb Alpert & The Tijuana Brass A&M (1965) Single Inducted 2008

TCHAIKOVSKY: 1812 OVERTURE/CAPRICCIO ITALIEN Antal Dorati And Minneapolis Symphony Orchestra (Yale Bells, West Point Cannon) Mercury (1956) Album Inducted 1998

TCHAIKOVSKY: CONCERTO NO. 1 IN B FLAT MINOR, OP. 23 Van Cliburn; Kiril Kondrashin, cond. RCA Symphony Orchestra RCA Red Seal (1958) Album Inducted 2002

TCHAIKOVSKY: PIANO CONCERTO NO. 1 (LIVE PERFORMANCE) Vladimir Horowitz, Arturo Toscanini, cond. NBC Orchestra RCA Victor (1943) Album Inducted 1998

TEA FOR TWO Art Tatum Decca (1939) Single Inducted 1986

TEACH ME TONIGHT Dinah Washington Mercury (1954) Single Inducted 1999

THE TEARS OF A CLOWN Smokey Robinson & The Miracles Tamla (1970) Single Inducted 2002

TEN CENTS A DANCE Ruth Etting Columbia (1930) Single Inducted 1999

THE TENNESSEE WALTZ Patti Page Mercury (1950) Single Inducted 1998

TEQUILA The Champs

Challenge (1958) Single Inducted 2001

THANKS FOR THE MEMORY Bob Hope And Shirley Ross Decca (1938) Single Inducted 2005

THAT NIGGER’S CRAZY Richard Pryor Partee/Stax (1974) Album Inducted 2013

THAT’LL BE THE DAY The Crickets Brunswick (1957) Single Inducted 1998

THAT’S ALL RIGHT Elvis Presley Sun (1954) Single Inducted 1998

THAT’S MY DESIRE Frankie Laine Mercury (1947) Single Inducted 1998

THAT’S THE WAY OF THE WORLD Earth, Wind & Fire Columbia (1975) Album Inducted 2004

THELONIOUS MONK WITH JOHN COLTRANE Thelonious Monk With John Coltrane Jazzland (1961) Album Inducted 2007

(THEY LONG TO BE) CLOSE TO YOU Carpenters A&M (1970) Single Inducted 2000

THE THIRD MAN THEME Anton Karas London (1950) Single Inducted 2006

THIS LAND IS YOUR LAND Woody Guthrie Asch (1947) Single Inducted 1989

3 O’CLOCK BLUES B.B. King RPM (1952) Single Inducted 2014

THE THRILL IS GONE B.B. King BluesWay (1969) Single Inducted 1998

THRILLER Michael Jackson Epic (1982) Album Inducted 2008

TILL THE END OF TIME Perry Como RCA Victor (1945) Single Inducted 1998

TIME OUT Dave Brubeck Quartet Columbia (1959) Album Inducted 2009

THE TIMES THEY ARE A-CHANGIN’ Bob Dylan Columbia (1964) Track Inducted 2013

THEME FROM A SUMMER PLACE Percy Faith And His Orchestra

TIPITINA Professor Longhair And His Blues Scholars

THEME FROM NEW YORK, NEW YORK Frank Sinatra

THE TITANIC Ernest V. “Pop” Stoneman

Columbia (1960) Single Inducted 2000

Reprise (1980) Single Inducted 2013

THEME FROM SHAFT Isaac Hayes Enterprise (1971) Single Inducted 1999

THERE GOES MY BABY The Drifters Atlantic (1959) Single Inducted 1998

THERE’S A RIOT GOIN’ ON Sly & The Family Stone Epic (1971) Album Inducted 1999

THEY CAN’T TAKE THAT AWAY FROM ME Fred Astaire With Johnny Green And His Orchestra Brunswick (1937) Single Inducted 2005

Atlantic (1953) Single Inducted 1998 Okeh (1924) Single Inducted 2013

TOM DOOLEY Kingston Trio Capitol (1958) Single Inducted 1998

TOMMY The Who

Decca (1969) Album Inducted 1998

TOP HAT, WHITE TIE AND TAILS Fred Astaire Brunswick (1935) Single Inducted 2008

THE TRACKS OF MY TEARS The Miracles Tamla (1965) Single Inducted 2007

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TRUMPET BLUES AND CANTABILE Harry James And His Orchestra Columbia (1942) Album Inducted 1999

TUMBLING TUMBLEWEEDS Sons Of The Pioneers Decca (1934) Single Inducted 2002

TURN ON YOUR LOVE LIGHT Bobby “Blue” Bland Duke (1961) Single Inducted 1999

TURN! TURN! TURN! (TO EVERYTHING THERE IS A SEASON) The Byrds Columbia (1965) Single Inducted 2001

TUTTI-FRUTTI Little Richard Specialty (1955) Single Inducted 1998

WALK RIGHT IN Cannon’s Jug Stompers

Capitol (1953) Single Inducted 2005

WALK THIS WAY Run-D.M.C.

VAYA CON DIOS (MAY GOD BE WITH YOU) Les Paul & Mary Ford

THE VELVET UNDERGROUND & NICO The Velvet Underground & Nico Verve (1967) Album Inducted 2008

VERDI: CELESTE AIDA Enrico Caruso Victor (1908) Single Inducted 1993

VERDI: OTELLO Arturo Toscanini, cond. NBC Symphony; Herva Nelli, Ramon Vinay, Giuseppe Valdengo RCA Victor (1953) Album Inducted 2008

Victor (1930) Single Inducted 2007 Profile (1986) Single Inducted 2014

WALKING THE DOG Rufus Thomas Stax (1963) Single Inducted 2002

WALKING THE FLOOR OVER YOU Ernest Tubb Decca (1941) Single Inducted 1998

WALKING TO NEW ORLEANS Fats Domino Imperial (1960) Single Inducted 2011

THE VERY THOUGHT OF YOU Ray Noble And His Orchestra

THE WALL Pink Floyd

TWIST AND SHOUT The Isley Brothers

VILLA-LOBOS: BACHIANAS BRASILEIRAS NO. 5 — ARIA Bidú Sayão With Heitor VillaLobos, cond. ’Cello Ensemble

THE WALLFLOWER (aka ROLL WITH ME HENRY) Etta James

2000 AND THIRTEEN Carl Reiner & Mel Brooks

VIVALDI — THE FOUR SEASONS Louis Kaufman (Violinist)

THE TWIST Chubby Checker Parkway (1960) Single Inducted 2000 Wand (1962) Single Inducted 2010

Warner Bros. (1973) Album Inducted 1999

UN POCO LOCO Bud Powell Trio Blue Note (1951) Single Inducted 1999

UNCHAINED MELODY The Righteous Brothers Verve (1965) Single Inducted 2000

UNCLOUDY DAY The Staple Singers Vee-Jay (1956) Single Inducted 1999

UNDER THE BOARDWALK The Drifters

Victor (1934) Single Inducted 2005

Columbia (1945) Single Inducted 1984

Concert Hall (1949) Album Inducted 2002

WABASH CANNONBALL Roy Acuff & His Smokey Mountain Boys Columbia (1947) Single Inducted 1998

WAGNER: DER RING DES NIBELUNGEN Georg Solti, cond. Vienna Philharmonic; Windgassen, Nilsson, Hotter, Flagstad & Others London (1958–67) Album Inducted 1998

Capitol (1979) Album Inducted 2008

Modern Records (1955) Single Inducted 2008

WALT DISNEY’S FANTASIA — SOUNDTRACK Leopold Stokowski, cond. The Philadelphia Orchestra Buena Vista (1956) Album Inducted 2004

WALTZ FOR DEBBY Bill Evans Trio Riverside (1961) Album Inducted 1998

WANTED! THE OUTLAWS Waylon Jennings, Willie Nelson, Jessi Colter, Tompall Glaser RCA Victor (1976) Album Inducted 2007

WAR Edwin Starr

Gordy (1970) Single Inducted 1999

WASTED DAYS AND WASTED NIGHTS Freddy Fender

UNFORGETTABLE Nat “King” Cole

WAGNER: TRISTAN UND ISOLDE (COMPLETE) Wilhelm Furtwängler, cond. Philharmonia Orchestra, Chorus Of Royal Opera House, Covent Garden/Flagstad, Thebom, Suthaus, Fischer-Dieskau

UNFORGETTABLE Dinah Washington

WALK DON’T RUN The Ventures

THE WAY WE WERE Barbra Streisand

WALK ON BY Dionne Warwick

THE WAY YOU LOOK TONIGHT Fred Astaire

Atlantic (1964) Single Inducted 2014 Capitol (1951) Single Inducted 2000

Mercury (1959) Single Inducted 2001

UP-UP AND AWAY The 5th Dimension Soul City (1967) Single Inducted 2003

RCA Victor (1953) Album Inducted 1988 Dolton (1960) Single Inducted 2006

Scepter (1964) Single Inducted 1998

ABC-Dot (1975) Single Inducted 2012

WATERMELON MAN Mongo Santamaria Battle (1963) Single Inducted 1998

Columbia (1974) Single Inducted 2008

Brunswick (1936) Single Inducted 1998

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WE ARE FAMILY Sister Sledge

(WHAT A) WONDERFUL WORLD Sam Cooke

WHITE RABBIT Jefferson Airplane

WE ARE THE CHAMPIONS/ WE WILL ROCK YOU Queen

WHAT KIND OF FOOL AM I? Sammy Davis Jr.

A WHITER SHADE OF PALE Procol Harum

Cotillion/Atlantic (1979) Single Inducted 2008

Elektra (1977) Single Inducted 2009

WE GOTTA GET OUT OF THIS PLACE The Animals MGM (1965) Single Inducted 2011

WE SHALL OVERCOME Pete Seeger Columbia (1963) Album Inducted 1999

WEATHER BIRD Louis Armstrong & Earl Hines Okeh (1928) Single Inducted 2008

THE WEAVERS AT CARNEGIE HALL The Weavers Vanguard (1957) Album Inducted 1998

WEILL: THE THREEPENNY OPERA Theatre De Lys Production With Lotte Lenya MGM (1954) Album Inducted 1994

WEST END BLUES Louis Armstrong & His Hot Five Okeh (1928) Single Inducted 1974

WEST SIDE STORY Original Broadway Cast Columbia (1958) Album Inducted 1991

WEST SIDE STORY — SOUNDTRACK Various Artists Columbia (1961) Album Inducted 2004

WE’VE ONLY JUST BEGUN Carpenters A&M (1970) Single Inducted 1998

WHAT A DIFF’RENCE A DAY MAKES Dinah Washington Mercury (1959) Single Inducted 1998

WHAT A WONDERFUL WORLD Louis Armstrong ABC (1967) Single Inducted 1999

Keen (1960) Single Inducted 2014 Reprise (1962) Single Inducted 2002

WHAT THE WORLD NEEDS NOW IS LOVE Jackie DeShannon Imperial (1965) Single Inducted 2008

WHAT’D I SAY (PART I) Ray Charles Atlantic (1959) Single Inducted 2000

RCA (1967) Single Inducted 1998 Deram (1967) Single Inducted 1998

WHITNEY HOUSTON Whitney Houston Arista (1985) Album Inducted 2013

WHO DO YOU LOVE? Bo Diddley Checker (1956) Single Inducted 2010

WHAT’S GOING ON Marvin Gaye

WHOLE LOT OF SHAKIN’ GOING ON Jerry Lee Lewis

WHAT’S LOVE GOT TO DO WITH IT Tina Turner

WHOLE LOTTA LOVE Led Zeppelin

Tamla (1971) Album Inducted 1998

Capitol (1984) Single Inducted 2012

WHEEL OF FORTUNE Kay Starr Capitol (1952) Single Inducted 1998

WHEN A MAN LOVES A WOMAN Percy Sledge Atlantic (1966) Single Inducted 1999

WHEN YOU WISH UPON A STAR Cliff Edwards Victor (1940) Track Inducted 2002

Sun (1957) Single Inducted 1999 Atlantic (1969) Single Inducted 2007

WHO’S NEXT The Who Decca (1971) Album Inducted 2007

WHY DO FOOLS FALL IN LOVE The Teenagers Featuring Frankie Lymon Gee (1955) Single Inducted 2001

WICHITA LINEMAN Glen Campbell Capitol (1968) Single Inducted 2000

WHERE DID OUR LOVE GO? The Supremes

THE WILD SIDE OF LIFE Hank Thompson And His Brazos Valley Boys

WHERE HAVE ALL THE FLOWERS GONE Pete Seeger

THE WILDEST Louis Prima And Keely Smith

Motown (1964) Single Inducted 1999

Columbia (1964) Single Inducted 2002

WHISPERING Paul Whiteman And His Orchestra Victor (1920) Single Inducted 1998

WHITE CHRISTMAS Bing Crosby, The Ken Darby Singers Decca (1942) Single Inducted 1974

Capitol (1952) Single Inducted 1999 Capitol (1957) Album Inducted 1999

WILDWOOD FLOWER The Carter Family RCA Victor (1929) Single Inducted 1999

WILL THE CIRCLE BE UNBROKEN Nitty Gritty Dirt Band United Artists (1972) Album Inducted 1998

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WILL YOU LOVE ME TOMORROW The Shirelles Scepter (1960) Single Inducted 1999

WITH A LITTLE HELP FROM MY FRIENDS Joe Cocker A&M (1969) Single Inducted 2001

THE WIZARD OF OZ — MUSICAL AND DRAMATIC SELECTIONS RECORDED DIRECTLY FROM THE SOUNDTRACK OF MGM’S TECHNICOLOR PICTURE Judy Garland & Various Artists MGM Records (1956) Album Inducted 2006

WOODCHOPPER’S BALL Woody Herman And His Orchestra Decca (1939) Single Inducted 2002

WOODSTOCK — MUSIC FROM THE ORIGINAL SOUNDTRACK AND MORE Various Artists Cotillion (1970) Album Inducted 2014

WOOLY BULLY Sam The Sham & The Pharaohs MGM (1965) Single Inducted 2009

WORKINGMAN’S DEAD Grateful Dead Warner Bros. (1970) Album Inducted 1999

WORRIED LIFE BLUES Big Maceo (Merriweather) Bluebird (1941) Single Inducted 2006

YAKETY YAK The Coasters Atco (1958) Single Inducted 1999

YANKEE DOODLE BOY Billy Murray Columbia (1905) Single Inducted 2006

YARDBIRD SUITE Charlie Parker Septet

YOU’RE SO VAIN Carly Simon

YESTERDAY The Beatles

YOU’RE THE TOP Ethel Merman

Dial (1946) Single Inducted 2014 Capitol (1965) Single Inducted 1997

YOU ARE MY SUNSHINE Jimmie Davis Decca Records (1940) Single Inducted 1999

YOU ARE THE SUNSHINE OF MY LIFE Stevie Wonder Tamla (1973) Single Inducted 2002

Elektra (1973) Single Inducted 2004

Brunswick (1934) Single Inducted 2008

YOU’VE GOT A FRIEND Carole King Ode (1971) Track Inducted 2002

YOU’VE GOT A FRIEND James Taylor Warner Bros. (1971) Single Inducted 2001

YOU BELONG TO ME Jo Stafford

YOU’VE LOST THAT LOVIN’ FEELIN’ The Righteous Brothers

YOU KEEP ME HANGIN’ ON The Supremes

YOU’VE REALLY GOT A HOLD ON ME The Miracles

Columbia (1952) Single Inducted 1998 Motown (1966) Single Inducted 1999

YOU MADE ME LOVE YOU (I DIDN’T WANT TO DO IT) Harry James & His Orchestra Columbia (1941) Single Inducted 2010

YOU REALLY GOT ME The Kinks Reprise (1964) Single Inducted 1999

Philles (1964) Single Inducted 1998

Tamla (1962) Single Inducted 1998

ZIP-A-DEE-DOO-DAH Johnny Mercer Capitol (1946) Single Inducted 2010

YOU SEND ME Sam Cooke Keen (1957) Single Inducted 1998

YOUR CHEATIN’ HEART Hank Williams MGM (1953) Single Inducted 1983

(YOUR LOVE KEEPS LIFTING ME) HIGHER AND HIGHER Jackie Wilson Brunswick (1967) Single Inducted 1999

YOUR SONG Elton John Uni (1970) Single Inducted 1998

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