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And the Grammy winners are…

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Grammy Winners

As usual, if you’re dead – the sentimental Grammy tearducts just can’t help but award you. The late, great Ray Charles was this year’s big winner – capturing the top two awards: Record of the Year and Album of the Year.

Grammy sentiment couldn’t help award the cheeze that is John Mayer’s Daughters as Song of the Year, and as Best Male Pop Vocal. Personally, the song is terrible – but it pulls (or yanks violently) at the heartstrings, or something, so poof!, here comes the Grammy.

Grammy favorite Alicia Keys swept the female/R&B categories, proving still that Grammy voters are old fogies, and like their music to sound that way, regardless if the musician is twentysomething. Speaking of which, Grammy favorite Norah Jones took home her share of awards as well.

In the end – a predictable, adult contemporary night at the awards.

Record Of The Year: Here We Go Again, Ray Charles & Norah Jones

Album Of The Year: Genius Loves Company, Ray Charles & Various Artists

Song Of The Year: Daughters, John Mayer, songwriter (John Mayer)

Best New Artist: Maroon5

Best Female Pop Vocal Performance: Sunrise, Norah Jones

Best Male Pop Vocal Performance: Daughters, John Mayer

Best Pop Performance By A Duo Or Group With Vocal: Heaven, Los Lonely Boys

Best Pop Collaboration With Vocals: Here We Go Again, Ray Charles & Norah Jones

Best Pop Instrumental Performance: 11th Commandment, Ben Harper

Best Pop Instrumental Album: Henry Mancini: Pink Guitar, Various Artists

Best Pop Vocal Album: Genius Loves Company, Ray Charles & Various Artists

Best Dance Recording: Toxic, Britney Spears

Best Electronic/Dance Album: Kish Kash, Basement Jaxx

Best Traditional Pop Vocal Album: Stardust…The Great American Songbook Volume III, Rod Stewart

Best Solo Rock Vocal Performance: Code Of Silence, Bruce Springsteen

Best Rock Performance By A Duo Or Group With Vocal: Vertigo, U2

Best Hard Rock Performance: Slither, Velvet Revolver

Best Metal Performance: Whiplash, Motrhead

Best Rock Instrumental Performance: Mrs. O’Leary’s Cow, Brian Wilson

Best Rock Song: Vertigo, Bono, Adam Clayton, The Edge & Larry Mullen, songwriters (U2)

Best Rock Album: American Idiot, Green Day

Best Alternative Music Album: A Ghost Is Born, Wilco

Best Female R&B Vocal Performance: If I Ain’t Got You, Alicia Keys

Best Male R&B Vocal Performance: Call My Name, Prince

Best R&B Performance By A Duo Or Group With Vocals: My Boo, Usher & Alicia Keys

Best Traditional R&B Vocal Performance: Musicology, Prince

Best Urban/Alternative Performance: Cross My Mind, Jill Scott

Best R&B Song: You Don’t Know My Name, Alicia Keys, Harold Lilly & Kanye West, songwriters (Alicia Keys)

Best R&B Album: The Diary Of Alicia Keys, Alicia Keys

Best Contemporary R&B Album: Confessions, Usher

Best Rap Solo Performance: 99 Problems, Jay-Z

Best Rap Performance By A Duo Or Group: Let’s Get It Started, The Black Eyed Peas

Best Rap/Sung Collaboration: Yeah!, Usher Featuring Lil Jon & Ludacris

Best Rap Song: Jesus Walks, Miri Ben Ari, C. Smith & Kanye West, songwriters (Kanye West)

Best Rap Album: The College Dropout, Kanye West

Best Female Country Vocal Performance: Redneck Woman, Gretchen Wilson

Best Country Performance By A Duo Or Group With Vocal: Top Of The World, Dixie Chicks

Best Country Collaboration With Vocals: Portland Oregon, Loretta Lynn & Jack White

Best Country Instrumental Performance: Earl’s Breakdown, Nitty Gritty Dirt Band Featuring Earl Scruggs, Randy Scruggs, Vassar Clements & Jerry Douglas

Best Country Song: Live Like You Were Dying, Tim Nichols & Craig Wiseman, songwriters (Tim McGraw)

Best Country Album Van Lear Rose, Loretta Lynn

Best Bluegrass Album: Brand New Strings, Ricky Skaggs & Kentucky Thunder

Best New Age Album: Returning, Will Ackerman

Best Contemporary Jazz Album: Unspeakable, Bill Frisell

Best Jazz Vocal Album: R.S.V.P. (Rare Songs, Very Personal), Nancy Wilson

Best Jazz Instrumental Solo: Speak Like A Child, Herbie Hancock, soloist

Best Jazz Instrumental Album, Individual or Group: Illuminations, McCoy Tyner With Gary Bartz, Terence Blanchard, Christian McBride & Lewis Nash

Best Large Jazz Ensemble Album: Concert In The Garden, Maria Schneider Orchestra

Best Latin Jazz Album: Land Of The Sun, Charlie Haden

Best Gospel Performance: Heaven Help Us All, Ray Charles & Gladys Knight

Best Rock Gospel Album: Wire, Third Day

Best Pop/Contemporary Gospel Album: All Things New, Steven Curtis Chapman

Best Southern, Country, or Bluegrass Gospel Album: Worship & Faith, Randy Travis

Best Traditional Soul Gospel Album: There Will Be A Light, Ben Harper & The Blind Boys Of Alabama

Best Contemporary Soul Gospel Album: Nothing Without You, Smokie Norful

Best Gospel Choir Or Chorus Album: Live…This is Your House, Carol Cymbala, choir director; The Brooklyn Tabernacle Choir

Best Latin Pop Album: Amar Sin Mentiras, Marc Anthony

Best Latin Rock/Alternative Album: Street Signs, Ozomatli

Best Traditional Tropical Latin Album: ¡Ahora Sí!, Israel López Cachao

Best Salsa/Merengue Album: Across 110th Street, Spanish Harlem Orchestra Featuring Ruben Blades

Best Mexican/Mexican-American Album: Intimamente, Intocable

Best Tejano Album: Polkas, Gritos y Acordeónes, David Lee Garza, Joel Guzman & Sunny Sauceda

Best Traditional Blues Album: Blues To The Bone, Etta James

Best Contemporary Blues Album: Keep It Simple, Keb’ Mo’

Best Traditional Folk Album: Beautiful Dreamer – The Songs Of Stephen Foster, Various Artists

Best Contemporary Folk Album: The Revolution Starts…Now, Steve Earle

Best Native American Music Album: Cedar Dream Songs, Bill Miller

Best Hawaiian Music Album: Slack Key Guitar Volume 2, Various Artists

Best Reggae Album: True Love, Toots & The Maytals

Best Traditional World Music Album: Raise Your Spirit Higher, Ladysmith Black Mambazo

Best Contemporary World Music Album: Egypt, Youssou N’Dour

Best Polka Album: Let’s Kiss: 25th Anniversary Album, Brave Combo

Best Musical Album For Children: cELLAbration! A Tribute To Ella Jenkins, Various Artists

Best Spoken Word Album For Children: The Train They Call The City Of New Orleans, Tom Chapin

Best Spoken Word Album: My Life, Bill Clinton

Best Comedy Album: The Daily Show With Jon Stewart Presents…America: A Citizen’s Guide To Democracy Inaction, Jon Stewart And The Cast Of The Daily Show

Best Musical Show Album: Wicked, Stephen Schwartz, producer; Stephen Schwartz, composer/lyricist (Original Broadway Cast Recording With Kristin Chenoweth & Idina Menzel)

Best Compilation Soundtrack Album For A Motion Picture, Television Or Other Visual Media: Garden State, Various Artists – Zach Braff, compilation producer

Best Score Soundtrack Album For A Motion Picture, Television Or Other Visual Media: The Lord Of The Rings – The Return Of The King, Howard Shore, composer (Howard Shore)

Best Song Written For A Motion Picture, Television Or Other Visual Media: Into The West (From The Lord Of The Rings – The Return Of The King), Annie Lennox, Howard Shore & Fran Walsh, songwriters (Annie Lennox)

Best Instrumental Composition: Merengue, Paquito D’Rivera, composer (Yo-Yo Ma)

Best Instrumental Arrangement: Past Present & Future, Slide Hampton, arranger (The Vanguard Jazz Orchestra)

Best Instrumental Arrangement Accompanying Vocalist(s): Over The Rainbow, Victor Vanacore, arranger (Ray Charles & Johnny Mathis)

Best Recording Package: A Ghost Is Born, Peter Buchanan-Smith & Dan Nadel, art directors (Wilco)

Best Boxed Or Special Limited Edition Package: Once In A Lifetime, Stefan Sagmeister, art director (Talking Heads)

Best Album Notes: The Complete Columbia Recordings Of Woody Herman And His Orchestra & Woodchoppers (1945-1947), Loren Schoenberg, album notes writer (Woody Herman & His Orchestra)

Best Historical Album: Night Train To Nashville: Music City Rhythm & Blues, 1945-1970, Daniel Cooper & Michael Gray, compilation producers; Joseph M. Palmaccio & Alan Stoker, mastering engineers (Various Artists)

Best Engineered Album, Non-Classical: Genius Loves Company, Robert Fernandez, John Harris, Terry Howard, Pete Karam, Joel Moss, Seth Presant, Al Schmitt & Ed Thacker, engineers (Ray Charles & Various Artists)

Producer Of The Year, Non-Classical: John Shanks

Best Remixed Recording, Non-Classical: It’s My Life (Jacques Lu Cont’s Thin White Duke Mix), Jacques Lu Cont, remixer (No Doubt)

Best Surround Sound Album: Genius Loves Company, Al Schmitt, surround mix engineer; Robert Hadley & Doug Sax, surround mastering engineers; John Burk, Phil Ramone & Herbert Waltl, surround producers (Ray Charles & Various Artists)

Best Engineered Album, Classical: Higdon: City Scape; Concerto For Orchestra, Jack Renner, engineer (Robert Spano)

Producer Of The Year, Classical: David Frost

Best Classical Album: Adams: On The Transmigration Of Souls, Lorin Maazel, conductor; John Adams & Lawrence Rock, producers (Brooklyn Youth Chorus & New York Choral Artists; New York Philharmonic)

Best Orchestral Performance: Adams: On The Transmigration Of Souls, Lorin Maazel, conductor (Brooklyn Youth Chorus & New York Choral Artists; New York Philharmonic)

Best Opera Recording: Mozart: Le Nozze Di Figaro, René Jacobs, conductor; Patrizia Ciofi, Véronique Gens, Simon Keenlyside, Angelika Kirchschlager & Lorenzo Regazzo; Martin Sauer, producer (Various Artists; Concerto Kln)

Best Choral Performance: Berlioz: Requiem, Robert Spano, conductor; Norman Mackenzie, choir director (Frank Lopardo, tenor; Atlanta Symphony Orchestra Chorus; Atlanta Symphony Orchestra)

Best Instrumental Soloist(s) Performance (with Orchestra): Previn: Violin Concerto “Anne-Sophie”/Bernstein: Serenade, André Previn, conductor; Anne-Sophie Mutter, violin (Boston Symphony Orchestra & London Symphony Orchestra)

Best Instrumental Soloist Performance: Aire Latino (Morel, Villa-Lobos, Ponce, Etc.)

Best Chamber Music Performance: Prokofiev (Arr. Pletnev): Cinderella – Suite For Two Pianos/Ravel: Ma Mre L’Oye

Best Small Ensemble Performance: Carlos Chávez – Complete Chamber Music, Vol. 2

Best Classical Vocal Performance: Ives: Songs (The Things Our Fathers Loved; The Housatonic At Stockbridge, Etc.), Susan Graham, mezzo soprano

Best Classical Contemporary Composition: Adams: On The Transmigration Of Souls, John Adams

Best Classical Crossover Album: LAGQ’s Guitar Heroes, Los Angeles Guitar Quartet

Best Short Form Music Video: Vertigo, U2

Best Long Form Music Video: Concert For George, Various Artists

About John

  • The Theory

    how is Maroon5 considered a “new artist?”

  • SFC SKI

    Maroon5 best new artist over Los Lonely Boys? The Academy’s taste is in its mouth.

  • http://www.jukeboxgraduate.com Caryn Rose

    It’s not sentiment, it’s called GUILT.

  • http://www.templestark.com Temple Stark

    Motorhead. alright. That’s the shit. I’ll have to update my interview post.

  • http://www.wallybangs.blogspot.com wally bangs

    Best Historical Album: Night Train To Nashville: Music City Rhythm & Blues, 1945-1970, Daniel Cooper & Michael Gray, compilation producers; Joseph M. Palmaccio & Alan Stoker, mastering engineers (Various Artists)

    Way to go Michael Gray!!! I spent five years working beside the fellow at Phonoluxe Used Records.

  • Eric Olsen

    John Lars, the dead guy factor is hard to beat, especially if the dead guy is a legend who put out his best album in about 30 years, which sold like free beer.

  • http://mike.shelikesit.net mrbenning

    It’s just difficult to get past the whole “yeah, you like me now, bitches!” factor in the Grammys. Especially in the last couple of years. It really seems like they care less about the good music being produced, and more about who they can side with in a successful marketing campaign.

    I guess I just wonder why the Oscars managed to (mostly) get over that hump and the Grammys are still stuck at the bottom of the hill.

  • http://w6daily.winn.com/ Phillip Winn

    Eric, free beer sells? I wouldn’t pay a dime for free beer!

    Anyway, I couldn’t care less about the Grammys, I thought, but then on the radio last night the announcer said that he had just received a phone call from L.A. from one of the guys in Brave Combo, who won another Grammy. And I realized that maybe I care, just a little. :-)

  • http://www.livejournal.com/users/djradiohead DJRadiohead

    I do not know what the Grammys are supposed to represent but I do know last night was not the best in music.

    I know mainstream award ceremonies are easy targets and Ray Charles is a legend, but the Grammys could not be any more irrelevant. What horseshit! John Mayer and Alicia Keys have Grammys. 3 Doors Down and Creed have Grammys. Jimi Hendrix? No fucking Grammys (unless they gave him a late posthumous one). Enough said.

  • Eric Olsen

    not to be an apologist, but the Grammys were an atavistic atrocity in the early days and ignored rock ‘n’ roll almost entirely. They have progressively become more current and relevant over the years, adding all kinds of new catagories, increasing the performance aspect of the broadcast. The main awards themselves are still often very safe and middle of the road, but great strides have been made, and they also seem to be trying hard to make up for the glaring omissions of the past with all these lifetime achievement awards – looks like Hendrix is still shut out, though.

  • http://mike.shelikesit.net mrbenning

    “Jimi Hendrix? No fucking Grammys…Enough said.”

    This just makes it sting even more when you think about the fact that The Starland Vocal Band have a Grammy.

  • Eric Olsen

    LOTS of people have Grammys: the way it is now, the more niche-oriented you are, the more likely you are to score

  • http://www.thebmrant.com Matt

    I am pleased to see Green Day did not walk away with a truckload of awards. Not because of their politics, since I tend to align myself on the left side of things. But because they suck. I cannot take any band seriously that has an album named “Dookie”, first off. I saw the performance last night, and the new song sounds just like all of their other crappy music, with that goofball singing in his annoying voice. I was wondering what that album sounded like, and now I know. MOre crap from Green Day.

  • http://www.markiscranky.org Mark Saleski

    i have to admit it: i really used to like “Afternoonn Delight”.

    gawd.

  • http://www.getyouroj.com jaosn

    the grammy people know nothing. nothing. it’s all fodder for the perpetuation of the sick state of the music industry. i will never bother with the grammy’s again.

  • E

    ? for anyone: why do they call it a Grammy?

  • Eric Olsen

    grammy is short for gramophone, the early record player