Grammy Record of the Year, one of the most prestigious musical awards, honors artistic achievement, technical proficiency and overall excellence.
For 2017, Adele, Beyoncé, Lukas Graham, Twenty One Pilots and Rihanna have received the nomination, and one of them will win the award on Feb. 12. Let’s take a look at the songs that have won the honor in the past.
Trapper Schoepp calls his latest album “a reflection of my record collection” as opposed to an album that reflects any particular genre. He also acknowledges it’s his inevitable road album, since he was fresh off of a couple years’ touring when he recorded it.
According to Shoepp, “Ogallala” was a song he dreamed up when he used NyQuil to get to sleep while suffering from a chest cold.
In early 1971, with The Beatles involved in some bitter legal disputes with each other and with their own management, Paul McCartney recorded Ramwith his wife Linda and three hired guns, guitarists David Spinozza and Hugh McCracken, and drummer Denny Seiwell. The album was eviscerated by critics on its release, with Jon Landau and Robert Christgau particularly vicious in their assault on both the album and McCartney’s general reputation relative to John Lennon. Some writers were grudgingly complimentary about McCartney’s sheer mastery of the craft of production, but almost no one could be heard to support the material itself.
Well orchestrated surprise performance of ‘La Bilirrubina’ at Aeropuerto Internacional Las Américas in the Dominican Republic, home of merengue superstar Juan Luis Guerra.
Nouvelle Vague, with a new album released just late last year, continue to re-work 80’s new wave in ways that keep its flavor fresh. Here they bossa novatize the Buzzcocks in irresistible fashion from their 2006 album Bande a Part. Reprinted below is what we snarked in a previous post:
French production team Nouvelle Vague’s moniker is well-chosen: it translates into English as “new wave” and means “bossa nova” in Portuguese. And how handy for them, specializing as they do in bringing a beguiling Brazilian sensibility to MTV-chic artists such as Joy Division, Modern English, Echo and the Bunnymen, New Order and the like.
It makes one ponder what a timesaver it’d be if other artists employed the helpful tact of couching their mission statement in their band name.
“The Alan Parsons Project” could have been called “Vangelis with Lyrics”. “Electric Light Orchestra” might have been “Diet Sgt. Pepper”.
Young fans of southern rock (if there were such thing) could have been spared much confusion if “Lynyrd Skynyrd” began calling themselves “A Lynyrd Skynyrd Tribute” after 1977. And how much of your download budget could’ve been better utilized had “Mumford & Sons” given fair warning and called themselves “The Bad Avett Brothers”? Perhaps “The Trans-Siberian Orchestra” might have chosen a name like “Nobody Cared About Us When We Were Savatage, But Hey–Christmas!”
I suppose that last one might not have fit on the music hall marquee.
Anyway, if you’re into Bossa Nova covers of the Clash–or need some ironic dinner music for your next chill party–check out the New Wave Bossa Nova of Nouvelle Vague.
A song that starts with the line “you hit me on the head with your beer bottle” seemed an unlikely choice for recommendation here. But when the chorus of this 70’s soft rock chestnut kicked in, well, “something in my chemistry changed”.
That chorus is a neat summation of a sound that could be found on late 70’s radio, when Pure Prairie League and Marshall Tucker Band and Poco found their greatest success. And the slide guitar solo brings to mind the work of Joe Walsh in another notable country rock band of the day.
Pousette-Dart Band only cracked the top 100 once, with the lilting “For Love”, which perfectly sums up the late 70’s soft rock era of Player, Orleans, Chilliwack and the like: