Bob Robinson

43rd Annual GRAMMY Awards

Robinson, Bob

2020 GRAMMY Awards Premiere Ceremony | Photo Gallery

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2020 GRAMMY Awards Premiere Ceremony Photo Gallery

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60th Annual GRAMMY Awards

For any music lover, GRAMMY Sunday is very much like the Super Bowl or World Series to a sports fanatic.

The only difference being, while sports teams typically find out who will be the final competition within a week or two of the showdown, GRAMMY nominations arrive months prior to the big show. The ceremony is arguably a culmination of all of that energy and anticipation. The 60th GRAMMY Awards was no different, as James Corden returned to host the Music's Biggest Night.

Returning to Madison Square Garden for the first time in 15 years, the milestone telecast proved to be a celebration that broke down barriers — with the wins, performances, and acceptance speeches showing that the power of music can literally change the world.

Of course, the GRAMMYs' return to the Big Apple was cause enough for excitement. (Cut to [Tony Bennett](/artists/tony-bennett/1073) and [John Legend](/artists/john-legend/16994) singing "New York, New York" before presenting Best Rap/Sung Performance). And there was [Bruno Mars](/artists/bruno-mars/5082) netting six wins and nearly doubling his career output to 11 in one fell swoop. But there was plenty of excitement to go around.

Whether you were there, watching on TV or live streaming, here are 12 moments from the 60th GRAMMY Awards that made it a night to remember.

### 1. Kendrick Lamar, U2, Dave Chappelle Open With An Army

[Kendrick Lamar](/artists/kendrick-lamar/17949) has a steady track record of impactful performances on the GRAMMYs, and this time he opened the ceremony with a groundbreaking performance before winning the first award of the evening for Best Rap/Sung Performance ("LOYALTY." with Rihanna). Opening with "XXX" before an American flag backdrop and U.S. soldiers marching, the rapper was joined by [U2](/artists/u2/7858)'s Bono and The Edge. A war simulation followed before [Dave Chappelle](/artists/dave-chappelle/187041) hit the stage to punctuate segues in between heated musical vignettes performed by Lamar. It was history in the making, much like everything he touches.

### 2. Lady Gaga's Tearjerker Performance with Mark Ronson

"This is for love and compassion …even when you can't understand," [Lady Gaga](/artists/lady-gaga/3611) uttered before a white piano wrapped in lace as she opened her performance with "Joanne." Mark Ronson assisted on guitar as the acoustic set segued into another moving ballad, "Million Reasons." The emotional performance was poignant, but most importantly showed Gaga's unreal vocal range. It's OK if you shed a tear while watching. We were all cutting onions when it happened.

### 3. James Corden Rapping For Jay-Z

If you watch "The Late Late Show With James Corden" or are tuned into any episode of his "Carpool Karaoke" series, you'll know that Corden was the perfect return host for this year's telecast. On the eve of the show, [Jay-Z](/artists/jay-z/9815) was honored at the Pre-GRAMMY Gala and Corden informed the crowd, but began riddling off his knowledge of Jay-Z facts — including Jay’s former apartment address of 560 State Street in Brooklyn. Corden then launched into spitting a few bars for an amused Mr. Carter. "You call it the Big Apple, I call it the Concrete Jungle where dreams are made of …just something I made up," Corden joked.

### 4. Bruno Mars And Cardi B's #TBT Performance Of "Finesse (Remix)"

A few weeks back — when the video for Bruno Mars' remix to "Finesse" featuring [Cardi B](/artists/cardi-b/186981) hit the internet — we were all bit by the nostalgia bug. The video (directed by Mars himself) was not only a clear nod to the sketch comedy series "In Living Color," but it was also a Polaroid of a bygone era of ‘90s R&amp;B and hip-hop—complete with bright colors. Cardi B donned a legendary Cross Colours bucket hat with Mars dancing onstage like a New Jack Swing-era frontman before a dance-off to House Of Pain’s "Jump Around." It was #ThrowbackThursday on a Sunday night.

### 5. Alessia Cara Claims Best New Artist

"I've been pretend winning GRAMMYs since I was a kid in the shower," [Alessia Cara](/artists/alessia-cara/186976) said with a shaky voice before a towering microphone as she accepted her first GRAMMY. While the Canadian was already considered a strong candidate for the award, the competition was fierce — including [SZA](/artists/Solana-Rowe/32514) and newcomer [Julia Michaels](/artists/julia-michaels/188121). But as Cara continued into her speech, she acknowledged and showed support for her peers, which included her fellow nominees and indie acts. "Support real music and real artists," she said. Then she thanked her fans, because there will be no more pretend GRAMMYs in the shower from now on.

### 6. Luis Fonsi, Daddy Yankee Bring On More "Despacito"

Over the course of 2017, the infectious "Despacito" hasn't left our brains. [Luis Fonsi](/artists/luis-fonsi/3346) and [Daddy Yankee](/artists/daddy-yankee/9370) hit the stage to perform the diamond-certified single and brought former Miss Universe Zuleyka Rivera in two. Rivera also appeared in the music video, but took center stage to dance amid a mock club scene. "That is a catchy song. I've never heard that song before," Corden deadpanned after the performance.

### 7. "Subway Carpool Karaoke"

Corden's viral "Carpool Karaoke" series made a cameo during the evening. How could it not? This time, however, it was a special "Subway Carpool Karaoke," featuring Corden, [Sting](/artists/sting/10244) and [Shaggy](/artists/shaggy/10082). The former Police frontman couldn't even get through "Every Breath You Take" before being shushed by a construction worker on the train. And Shaggy barely sang "It Wasn't Me" before another passenger hushed even Corden. Then a fight broke out on the train and Corden got a bloody nose. It was a dangerous karaoke scene. You had to be there.

### 8. Janelle Monáe Says #TimesUp, Kesha Sings #MeToo

All one has to do is read the news in recent months to know that injustice to women is no longer an option across industries. As [Janelle Monáe](/artists/janelle-monae/4464) introduced [Kesha](/artists/kesha/187816)'s performance of "Praying," she delivered a powerful speech hooked to the sexual harassment initiative Time's Up. "We are also daughters, wives, mothers, sisters, humans," Monáe told the crowd. "We come in peace, but we mean business." When Kesha hit the stage, her performance was that much more intense, especially understanding all she's been through in the music industry. With [Cyndi Lauper](/artists/cyndi-lauper/4198), Camila Cabello, Bebe Rexha, Julia Michaels, and [Andra Day](/artists/andra-day/18980) joining on background vocals, the performance ended with the women hugging and in tears. They weren't alone.

### 9. Elton John, Miley Cyrus Transcend Generations Onstage

[Elton John](/artists/elton-john/12074)'s "Tiny Dancer" is one of those classic songs that can bring you immediately back to a moment or an era (or a movie scene, like that bus ride in Almost Famous). However, tonight a new moment was made with [Miley Cyrus](/artists/miley-cyrus/18384). With John seated at his piano, he opened the song and Cyrus joined to help carry the song home. While the "Wrecking Ball" singer is no stranger to classic music — especially given her godmother is [Dolly Parton](/artists/dolly-parton/17205) — this performance was particularly special. Call it onstage chemistry, or call it bridging the gap, but this "Tiny Dancer" performance was one for the ages.

### 10. Ben Platt, Patti LuPone Wow With Broadway Style

This special [Leonard Bernstein](/artists/leonard-bernstein/896)-[Andrew Lloyd Webber](/artists/andrew-lloyd-webber/4044) tribute kicked off properly, as [Ben Platt](/artists/ben-platt/188321) from "Dear Evan Hansen" gave the audience a rousing dose of "Somewhere" from the former's "West Side Story." But as James Corden could barely stand as he introduced [Patti LuPone](/artists/patti-lupone/5059), we soon found out why. LuPone delivered a riveting rendition of “Don't Cry For Me Argentina" from Evita. Posted at a podium, just as the musical/movie depicts, she belted like it was her first time singing the song and it was our first time hearing it.

### 11. Logic, Khalid, Alessia Cara Bring Hope 

There's a reason why "1-800-273-8255" was nominated for Song Of The Year. The powerful track comes with a real message of suicide prevention. When the trifecta of [Logic](/artists/Sir-Robert-Bryson-Hall-II/32370), [Khalid](/artists/khalid/187821), and Alessia Cara hit the stage to perform the monumental hit single, there was no denying the magic. Performing on opposite stages before an army of survivors in "You Are Not Alone" shirts, Logic addressed the crowd and closed the performance with a speech pointing out many societal injustices — from the treatment of women to neighbors from other countries. There are no weak individuals, per Logic, just people waiting to realize the power of their voice.

### 12. Bruno Mars' Magical Evening: 6 For 6

Bruno Mars emerged above the stiff competition in Album Of The Year, taking home the final GRAMMY of the evening for 24K Magic. The nod topped off a GRAMMY sweep for the Hawaii native, with Mars winning all six categories for which he was nominated. He also earned R&amp;B Album, Record Of The Year for "24K Magic," Best R&amp;B Performance, Best R&amp;B Song and Song Of The Year for "That's What I Like." As he explained in his Album Of The Year speech, Mars' mission was to spread love and he did just that — even shouting out previous greats like [Babyface](/artists/babyface/985) who paved the way for him.

grammy60th

Find all the Winners of 2017 Grammys. For any music lover, GRAMMY Sunday is very much like the Super Bowl or World Series to a sports fanatic. The only difference being, while sports teams typically find out who will be the final competition within a week or two of the showdown, GRAMMY nominations arrive months prior to the big show. The ceremony is arguably a culmination of all of that energy and anticipation. The 60th GRAMMY Awards was no different, as James Corden returned to host the Music's Biggest Night.

59th Annual GRAMMY Awards

During a period in our nation's history in which people are constantly reminded about the political and social issues that can divide us, the 59th GRAMMY Awards served as a convincing testament to the undeniable unifying power of music.

[Adele](/artists/adele/528), whose voice is a powerful force unto itself, emerged the top winner of the night, taking home five GRAMMYs: Best Pop Vocal Album and Album Of The Year for 25 and Record Of The Year, Song Of The Year and Best Pop Solo Performance for "Hello." The now-15-time winner also made GRAMMY history by becoming the first artist to sweep Record, Album and Song Of The Year twice in her career.

Fittingly, it was Adele who ushered in Music's Biggest Night with a mesmerizing performance of her smash "Hello." A stark black backdrop provided a blank canvas over which the British singer/songwriter painted an aural masterpiece, her potent vocals reverberating throughout Los Angeles' Staples Center.

The mercurial [David Bowie](/artists/david-bowie/4819), who died just days before releasing his album Blackstar on Jan. 8, 2016, won four posthumous GRAMMYs, including Best Alternative Music Album. [Greg Kurstin](/artists/greg-kurstin/9943), Adele's producer and songwriting partner, also won four awards, including Producer Of The Year, Non-Classical.

[Chance The Rapper](/artists/chancelor-bennett/19614) earned three awards, including Best New Artist, making him the first streaming-exclusive artist to win a GRAMMY. "This is for every indie artist who's been doing this mixtape stuff for a long-a\*\* time," the Chicagoan said during his acceptance for Best Rap Album for Coloring Book. He punctuated his GRAMMY debut with a feel-good performance medley of "How Great" and "All We Got," with his cousin Nicole and 59th GRAMMY winners [Kirk Franklin](/artists/kirk-franklin/9067) and Tamela Mann adding soulful flourishes.

Engineer/mixer [Tom Elmhirst](/artists/tom-elmhirst/2228) also won three GRAMMYs; [Beyoncé](/artists/beyonce-knowles/12474), [Drake](/artists/drake/12370), [Sarah Jarosz](/artists/sarah-jarosz/13600), [John Scofield](/artists/john-scofield/13908), Franklin, and [Hillary Scott &amp; The Scott Family](/artists/hillary-scott-scott-family/20151) were among those winning two awards.

As presenter Celine Dion so eloquently quoted the legendary [Stevie Wonder](/artists/stevie-wonder/8257), "Music, at its essence, is what gives us memories." In addition to crowning recipients in 84 GRAMMY categories, the 59th GRAMMYs created many new memories in the form of signature GRAMMY Moments that spanned several genres.

Equal parts music, theater and spoken word poetry, a golden-clad Beyoncé radiated during her medley of "Love Drought" and "Sandcastles," two songs from her Best Urban Contemporary Album-winning opus, Lemonade. The trance-inducing performance, which was themed around the celebration of motherhood, featured her own mother, Tina Knowles, and daughter, [Blue Ivy Carter](/artists/blue-ivy/292460), and closed on a poignant note with the pregnant Beyoncé reciting a line from a Warsan Shire poem: "If we're going to heal, let it be glorious/1,000 girls raise their arms."

[Bruno Mars](/artists/bruno-mars/5082) dazzled with his seductive "That's What I Like." Commanding the stage with aplomb, showcasing graceful dance moves and flaunting his rich tenor, Mars once again proved the breadth of his 24-karat talent.

[Ed Sheeran](/artists/ed-sheeran/6178) turned in arguably the most energy-efficient performance of the evening. Armed with an acoustic guitar, synthesizer and a pedalboard that doubled as a looping device, Sheeran proved a veritable one-man band in multitasking his romantic ode "Shape Of You."

[The Weeknd](/artists/The-Weeknd/24884) teamed with fellow GRAMMY winners [Daft Punk](/artists/daft-punk/8207) for a medley of "Starboy" and "I Feel It Coming." The duo's trademark synthesizer soundscapes set the tone for a sci-fi inspired set, with The Weeknd's velvety voice drifting into space.

[Katy Perry](/artists/katy-perry/5726) returned to the GRAMMY stage to debut her brand-new single, "Chained To The Rhythm," with reggae artist Skip Marley. Perry — who wore an armband emblazoned with the word "Resist" — earnestly delivered her new socially conscious anthem, which she closed by declaring "No hate!"

Best New Artist nominee [Anderson .Paak](/artists/anderson-paak/19926) and rappers Busta Rhymes, Consequence and [A Tribe Called Quest](/artists/tribe-called-quest/10719) joined for a politically charged medley of "Award Tour," "Movin Backwards" and "We The People." The latter song, A Tribe Called Quest's anthem addressing topics such as racism, xenophobia, homophobia, and misogyny, proved timely given the recent political climate. A Tribe Called Quest's Q-Tip put an exclamation point on the performance by shouting, "Resist! Resist! Resist!"

[Metallica](/artists/metallica/10686) and [Lady Gaga](/artists/lady-gaga/3611) turned the volume up to 10 with a driving performance of the band's "Moth Into Flame." Despite a brief technical glitch with Metallica frontman James Hetfield's mic, the heat generated — stoked by pyrotechnics, headbanging and a stage dive from Gaga — set off a genre-bending explosion.

[Keith Urban](/artists/keith-urban/7015) and [Carrie Underwood](/artists/carrie-underwood/10381) went toe-to-toe for their love-affirming duet "The Fighter." GRAMMY-nominated newcomers [Kelsea Ballerini](/artists/kelsea-ballerini/19558) and [Lukas Graham](/artists/lukas-graham/20132) joined together for a seamless mashup of her "Peter Pan" and their "7 Years," which was up for Song Of The Year. R&amp;B/soul legend William Bell, who earlier won his first career GRAMMY, teamed with guitar slinger [Gary Clark Jr.](/artists/gary-clark-jr/17798) for a gritty "Born Under A Bad Sign."

First-time GRAMMY host James Corden got into the musical act as well. During his opening skit, Corden delivered a free-style rap that name-dropped everyone from President Donald Trump to Drake, Rihanna and Sturgill Simpson. "The Late Late Show" host also sped through a hilarious impromptu GRAMMY edition of Carpool Karaoke. Driving a cardboard cutout vehicle, Corden was flanked by [Jennifer Lopez](/artists/jennifer-lopez/14846), [Tim McGraw](/artists/tim-mcgraw/12018), [Faith Hill](/artists/faith-hill/10850), [Keith Urban](/artists/keith-urban/7015), [Ryan Tedder](/artists/ryan-tedder/16130), [John Legend](/artists/john-legend/16994), Blue Ivy, Jason Derulo, and [Neil Diamond](/artists/neil-diamond/2720) for a singalong of the latter's classic "Sweet Caroline."

In addition to Corden's bits, [Twenty One Pilots](/artists/twenty-one-pilots/20162) provided some unexpected comic relief when they accepted their first career GRAMMY for Best Pop Duo/Group Performance for "Stressed Out" in their underwear. Underneath the humor, the duo from Columbus, Ohio, conveyed an important message to musicians of all stripes. "Anyone from anywhere can do anything," said Pilots singer/songwriter Tyler Joseph.

It was also a night of firsts for breakout country star [Maren Morris](/artists/maren-morris/19894). Not only did she make her GRAMMY performance debut with "Once" alongside [Alicia Keys](/artists/alicia-keys/12104), she won her first GRAMMY for Best Country Solo Performance for "My Church," making her the first GRAMMY Camp alumnus to win a GRAMMY.

Music's Biggest Night also provided moments of reflection in the form of tributes.

An all-star troupe paid homage to five-time GRAMMY winners the Bee Gees, who will be celebrated this spring via the CBS TV special "Stayin' Alive: A GRAMMY Salute To The Music Of The Bee Gees." [Demi Lovato](/artists/demi-lovato/19851) glided through "Stayin' Alive" while [Tori Kelly](/artists/tori-kelly/19120) showcased her impressive singing and guitar chops on "Tragedy." [Little Big Town](/artists/little-big-town/10623) were in perfect harmony for "How Deep Is Your Love" and Andra Day bottled the essence of Studio 54 during "Night Fever." The group closed with a vibrant "Stayin' Alive" coda, with Barry Gibb looking on in delight.

[Sturgill Simpson](/artists/sturgill-simpson/18703) and the Dap-Kings convened for "All Around You," a song from Simpson's Best Country Album-winning A Sailor's Guide To Earth. During his introduction, Dwight Yoakam lauded the late singer [Sharon Jones](/artists/sharon-jones/18518), who worked with the Dap-Kings throughout her career.

In recognition of [George Michael](/artists/george-michael/12041), who died Dec. 25, 2016, Adele returned to the stage for a dramatic, orchestrated version of "Fastlove," the final Top 10 hit of Michael's career. The tribute paused abruptly as Adele stopped mid-song, feeling that her performance was not up to par. "I can't mess this up for him," she confided to the audience. Adele reset herself and delivered a moving memorial. The audience obliged with a standing ovation.

Morris Day and the Time did the honors in introducing a special GRAMMY tribute to the late [Prince](/artists/prince/5675). A true showman, Day bobbed and weaved the band through the Time's funky "Jungle Love" and "The Bird." Mars then returned to the stage for a regal reimagining of "Let's Go Crazy." Armed with a Purple Rain-inspired suit, makeup and white guitar, Mars channeled vintage '80s-era Prince, right down to his authentic take on the song's spectacular unaccompanied guitar cadenza.

The In Memoriam segment featured [John Legend](/artists/john-legend/16994) and GRAMMY-winning "The Color Purple" cast member [Cynthia Erivo](/artists/cynthia-erivo/19682) delivering a rendition of the Beach Boys' "God Only Knows," which served as a solemn musical prayer to many other individuals the music community lost during the past year.

The GRAMMY show was also marked by heartfelt, if unexpected, tributes to fellow nominees. In her final acceptance speech of the evening for Album Of The Year, a visibly moved Adele used her platform to acknowledge and thank fellow nominee Beyoncé.

"My artist of my life is Beyoncé," Adele said as a tearful Beyoncé looked on. "The Lemonade album was just so monumental and so well-thought out and so beautiful and soul-bearing. … All us artists here, we f\*\*\*ing adore you. You are our light.

Music's Biggest Night beamed into the homes of more than 26 million viewers, representing a 4 percent year-over-year increase and the highest viewership since 2014. The luster extended well after the Sunday telecast, with several winners, nominees and performers benefiting from the GRAMMY Effect.

Digital sales of songs performed on the show saw a 140 percent increase in download sales, with Urban and Underwood's "The Fighter" experiencing a 574 percent gain. On-demand streams (audio and video combined) of songs performed rose 30 percent, including Mars' "That's What I Like" spiking 99 percent. Adele's 25 returned to the Top 10, rising to No. 6 with a 137 percent sales increase. Combined with the other Album Of The Year nominees (Beyoncé's Lemonade, [Justin Bieber](/artists/justin-bieber/10220)'s Purpose, Drake's Views, and Sturgill Simpson's A Sailor's Guide To Earth), all five albums saw a collective 91 percent increase in equivalent album sales. Following his GRAMMY performance with Perry, Skip Marley became the first member of the Marley family to score a Top 10 hit on the Billboard Hot 100.

More than just impressive statistics, these sizable GRAMMY Effect gains give additional credence to the 59th GRAMMY Awards telecast remarks of Recording Academy President/CEO Neil Portnow, who during his impassioned speech delivered to the new administration an important unified message on behalf of the music community.

"The Recording Academy, together with America's music makers, call on the president and Congress to help keep the music playing by updating music laws, protecting music education and renewing America's commitment to the arts," said Portnow. "It's our collective responsibility to preserve what binds us and to ensure that the whole world continues to benefit from one of our most unique \[and\] economically and spiritually important assets — and exports: American music."

Eligibility Period: Oct. 1, 2015, through Sept. 30, 2016

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58th Annual GRAMMY Awards

In an era when much of the prevailing cultural dialogue revolves around race relations and personal empowerment, the big winners at the 58th GRAMMY Awards reflected the currency of the times.

With 11 nominations, Compton, Calif., rapper [Kendrick Lamar](/artists/kendrick-lamar/17949) went into Music's Biggest Night as the most nominated artist since [Michael Jackson](/artists/michael-jackson/13202) and [Babyface](/artists/babyface/985) each scored 12 for 1983 and 1996, respectively. He took five GRAMMYs, including Best Rap Album for To Pimp A Butterfly, and Best Rap Performance and Best Rap Song for "Alright."

Lamar's performance of "The Blacker The Berry" and "Alright," songs that became unofficial soundtracks for the Black Lives Matter movement, infused the GRAMMYs with the kind of social immediacy at which it excels, whether it's championing marriage equality or honoring late musical icons such as Whitney Houston.

[Alabama Shakes](/artists/alabama-shakes/14656), perhaps fittingly a multiracial band with a multiracial frontwoman, [Brittany Howard](/artists/brittany-howard/3375), won three awards — Best Rock Performance, Best Rock Song and Best Alternative Music Album — all based around their acclaimed sophomore album, Sound &amp; Color. Their performance of "Don't Wanna Fight," introduced with an otherworldly scream by Howard, who looked like a high priestess of rock in a flowing white cape, was a captivating moment from a band that has helped bring back a sense of urgency to rock.

[Taylor Swift](/artists/taylor-swift/15450) took Album Of The Year for 1989 among her three awards. Pointing out she was the first woman to win that award twice, Swift was passionate about giving due credit to the contributions of women during her acceptance speech. Her show-opening performance of "Out Of The Woods" proved she's a powerful, self-assured woman.

Other multiple winners included [D'Angelo](/artists/dangelo/1902), [Diplo](/artists/diplo/8548), [Jason Isbell](/artists/jason-isbell/19091), [Maria Schneider](/artists/maria-schneider/6153), [Ed Sheeran](/artists/ed-sheeran/6178), [Skrillex](/artists/skrillex/6363), [Chris Stapleton](/artists/chris-stapleton/15418), and [The Weeknd](/artists/The-Weeknd/24884).

Rising up, to paraphrase GRAMMY nominee and performer [Andra Day](/artists/andra-day/18980), was the theme of the night. In addition to Lamar's wins and triumphant performance, there were other noteworthy moments.

"Glory," Common and [John Legend](/artists/john-legend/16994)'s defiant song from Selma, the film about the 1965 Montgomery, Ala., voting rights marches, won for Best Song Written For Visual Media. [Lalah Hathaway](/artists/lalah-hathaway/3123) won in the Best Traditional R&amp;B Performance category for "Little Ghetto Boy," a song about overcoming the consequences of growing up in inner-city poverty that was originally recorded by her father, [Donny Hathaway](/artists/donny-hathaway/2656).   

Mexican drummer/composer [Antonio Sanchez](/artists/antonio-sanchez/6087), who won Best Score Soundtrack For Visual Media for Birdman, thanked GRAMMY voters specifically because he had been "eliminated by another awards show that starts with an 'O' and ends with 'scars.'" And songwriter [Kendra Foster](/artists/kendra-foster/19024) literally raised a fist and proclaimed "we're trying to rise up" when accepting the Best R&amp;B Song award for her, D'Angelo and [Gina Figueroa](/artists/gina-figueroa/19500)'s "Really Love."

It was also a night of official goodbyes to musical giants, some of whom died within weeks of the GRAMMY telecast.

[Lady Gaga](/artists/lady-gaga/3611)'s tribute to [David Bowie](/artists/david-bowie/4819) was an electrifying appreciation of one of the most influential artists of our time. Bowie — who died Jan. 10 — received a Lifetime Achievement Award from The Recording Academy in 2006, and an appropriate celebration on the GRAMMY telecast with a 10-song medley wrapped by a triumphant version of "Heroes."

The band synonymous with '70s California rock came together to salute their fallen founding member, [Glenn Frey](/artists/glenn-frey/2410), who died Jan. 18. The Eagles strummed through their first hit, the classic "Take It Easy," teaming with the song's co-writer Jackson Browne (who penned the tune with Frey in the early '70s when they lived in the same Los Angeles apartment building). The ode to letting troubles run off your shoulders and grabbing life while you can was a fitting tribute to a singer, guitarist and man who did just that.

Things revved up a few decibels when the Hollywood Vampires (Alice Cooper, Johnny Depp and Joe Perry joined by Guns N' Roses bassist Duff McKagan and drummer Matt Sorum) lit the funeral pyre for Lemmy Kilmister — hard rock's No. 1 anarchist who died Dec. 28, 2015 — with a short blast of Motörhead's "Ace Of Spades."

At the other end of the genre and attitude spectrum, [Earth, Wind &amp; Fire](/artists/earth-wind-fire/14550)'s deeply optimistic pan-spiritual leader [Maurice White](/artists/maurice-white/6905), who died Feb. 4, was feted by [Stevie Wonder](/artists/stevie-wonder/8257) and vocal group [Pentatonix](/artists/pentatonix/20140), who performed an a cappella version of the classic "That's The Way Of The World."

Finally, Stapleton, [Gary Clark Jr.](/artists/gary-clark-jr/17798) and Bonnie Raitt paid tribute to one of the most noteworthy bluesmen of all time, B.B. King, who died May 14, 2015. The three artists — performing King's biggest hit, "The Thrill Is Gone" — reflected disparate generations and genres, but demonstrated that roots music is a single language often spoken with six strings.

Wrapped around these special GRAMMY Moments were additional performances that delivered musical breadth as only the GRAMMYs can.

New country star and former college footballer [Sam Hunt](/artists/sam-hunt/19085)'s "Take Your Time" got an audible via a duet with [Carrie Underwood](/artists/carrie-underwood/10381) and her "Heartbeat."

R&amp;B sensation [The Weeknd](/artists/The-Weeknd/24884) sensitively performed his ballad "In The Night," backed by piano and cello, after teasing his hit "Can't Feel My Face." The vocal triumph scored a standing ovation.

Day was joined by [Ellie Goulding](/artists/ellie-goulding/19043) for one of the night's sweetest melding of voices as they seamlessly brought their respective ballads "Rise Up" and "Love Me Like You Do" together.

[Lionel Richie](/artists/lionel-richie/17291), the 2016 MusiCares Person of the Year honoree and a true hits king of the '80s, rightly received the royal treatment as Luke Bryan, John Legend, Demi Lovato, [Meghan Trainor](/artists/meghan-trainor/18740), and [Tyrese](/artists/tyrese/17506) came together for a mega-salute capped by the man himself singing his signature "All Night Long (All Night)."

Richie collaborator, the late Michael Jackson, was remembered by nominee [Miguel](/artists/miguel/4571), who delivered a smooth version of "She's Out Of My Life" backed by the song's original keyboardist Greg Phillinganes.

[Little Big Town](/artists/little-big-town/10623) turned in a contemplative version of "Girl Crush" rich in the harmonizing of their four collective voices.

Two Best New Artist nominees, James Bay and Tori Kelly, joined forces to show off some fresh multiweapon talent as the pair of singer/songwriter/instrumentalists ran emotively through his "Let It Go" and her "Hollow."

The GRAMMYs aired its first-ever live performance from a Broadway stage by bringing the acclaimed musical "Hamilton" to a nationwide TV audience. Star/writer Lin-Manuel Miranda and his cast ran through the opening number "Alexander Hamilton" before an ecstatic audience at the Richard Rodgers Theatre in New York, providing a taste of its groundbreaking melding of hip-hop and traditional musical theater.

Despite some well-documented technical glitches, Adele's performance became a triumph over adversity, a testament to the fact that great talent will always shine despite the sometimes unexpected travails of live TV. To paraphrase her song "All I Ask," Adele left her heart on the stage to a standing ovation.

[Justin Bieber](/artists/justin-bieber/10220) teamed with EDM stars Skrillex and Diplo — under their Jack Ü moniker — for a rousing take on "Where Are Ü Now," which followed an acoustic solo turn by Bieber, who played his "Love Yourself." As Billboard noted, "While some previous dance performances have fallen flat in televised awards shows, there was nothing stilted about the energetic ensemble's stage show."

And on a similarly energetic note, the GRAMMYs concluded with a party thrown by one of the night's winners, Pitbull, who was joined by Travis Barker, Joe Perry, Robin Thicke, and actress Sofia Vergara, who showed off some of her best dance moves.

Between honoring our musical legacy and recognizing music's power to reflect and impact our cultural legacy, fans truly had a chance to Witness Greatness on the 58th GRAMMYs.

Eligibility Period: Oct. 1, 2014, through Sept. 30, 2015

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57th Annual GRAMMY Awards

Even for the GRAMMY Awards, which takes pride in each unique performance on its world-renowned stage — performances that have collectively come to be known as GRAMMY Moments — the 57th telecast topped expectations. The show featured an impressive 23 performances, many offering teamings that were not only inspired, but resulted in illuminating versions of deeply powerful songs.

If you thought <a href="/artists/sam-smith/18713">Sam Smith</a>'s multiple GRAMMY-winning "Stay With Me (Darkchild Version)" was an aching heartbreak of a song, you may have been emotionally drained after <a href="/artists/mary-j-blige/779">Mary J. Blige</a> joined Smith to add tent-revival urgency. 
 
<a href="/artists/katy-perry/5726">Katy Perry</a>'s "By The Grace Of God" already defies many of the California gurl's best-known pop hits, but following a personal plea from President Barack Obama to stop domestic violence and the real-life tale of abuse from survivor and activist Brooke Axtell, its unexpected impact brought the house to its feet. 
 
And so went this year's telecast, performance after performance proving that GRAMMY Moments live well beyond the moment of their creation. 
 
First-time GRAMMY performers AC/DC opened the show with fireworks and firepower, with singer Brian Johnson and guitarist Angus Young igniting the stage — and the playfully devil-horned audience ­— with "Rock Or Bust" and the classic "Highway To Hell." 
 
But it was the next performance of "Just A Little Bit Of Your Heart" by <a href="/artists/ariana-grande/18441">Ariana Grande</a> that arguably served as the true tone setter of the night, a poignant moment of soul-stirring singing that was as moving as it was entertaining. 
 
Brits <a href="/artists/jessie-j/18501">Jessie J</a> and the ever-vibrant Tom Jones followed with a similarly breathtaking "You've Lost That Loving Feelin'" in tribute to the iconic song's co-writers, 2015 Recording Academy Trustees Award recipients Barry Mann and Cynthia Weil. 
 
<a href="/artists/miranda-lambert/4851">Miranda Lambert</a> then interjected a touch of rock-inflected hoedown energy, wheeling out her upbeat "Little Red Wagon" with attitude and energy to spare, tapping into her firecracker charisma. 
 
<a href="/artists/kanye-west/6900">Kanye West</a> returned to the show's tacit theme of emotional message music with "Only One." Shadowy under a single spotlight, West bared it all with his ode to daughter North West, sung from the perspective of his late mother, and aimed at healing and happiness. 
 
An ageless <a href="/artists/madonna/5068">Madonna</a>, still enviably contorting through Pilates-required dance numbers, debuted her new "Living For Love" with a bullfighting theme and a matador's determination and finesse. 
 
Pulling out all the stops, <a href="/artists/ed-sheeran/6178">Ed Sheeran</a>, <a href="/artists/john-mayer/14891">John Mayer</a>, <a href="/artists/herbie-hancock/9477">Herbie Hancock</a>, and Questlove teamed for Sheeran's "Thinking Out Loud." Despite such a group of heavyweights, they retained the song’s graceful rumination on enduring love. 
 
The quartet then gave way to Jeff Lynne's ELO. GRAMMY winner Lynne led the band through an ELO signature, "Evil Woman," before joining with Sheeran for a rousing "Mr. Blue Sky." 
 
Adam Levine reunited with former "The Voice" judge Gwen Stefani for <a href="/artists/maroon-5/13090">Maroon 5</a>'s ballad "My Heart Is Open," with each bringing their formidable chops to the plea for love. 
 
Last year, the GRAMMYs brought 33 couples to the stage for a mass musical marriage ceremony. This year, Irish singer/songwriter <a href="/grammys/artists/hozier">Hozier</a> took the crowd to church with his GRAMMY-nominated hit. As "Take Me To Church" built to its climax, singer <a href="/grammys/artists/annie-lennox">Annie Lennox</a> joined to add an exclamation point, then segued into her cover of Screamin' Jay Hawkins' "I Put A Spell On You," as she did just that to the GRAMMY audience. 
 
By now, <a href="/artists/pharrell-williams/7310">Pharrell Williams</a> has built a cottage industry around his inescapable hit "Happy." For his GRAMMY performance, joined by composer Hans Zimmer on guitar and pianist <a href="/artists/lang-lang/14460">Lang Lang</a>'s otherworldly finger play, Williams' turned in a dark and satisfying take on the song. 
 
After Perry's stirring "By The Grace Of God," <a href="/artists/tony-bennett/1073">Tony Bennett</a> and <a href="/artists/lady-gaga/3611">Lady Gaga</a> hit the stage like the second coming of ultimate lounge-act couple Louis Prima and Keely Smith. The pair was clearly having authentic fun onstage, at times truly "Cheek To Cheek." 
 
Backed only by teen harpist Melody Tai, <a href="/artists/usher/16167">Usher</a> performed a sweet version of <a href="/artists/stevie-wonder/8257">Stevie Wonder</a>'s "Magic" in anticipation of "Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute," a two-hour special that aired on CBS Feb. 16. Truly whetting appetites for that show, Wonder emerged from the shadows at the end of the song for an excitedly received harmonica solo. 
 
The GRAMMYs took a trip to Nashville, Tenn., next for <a href="/artists/eric-church/10938">Eric Church</a>'s "Give Me Back My Hometown." Then it was just left of Nashville for Best New Artist nominee <a href="/artists/brandy-clark/17797">Brandy Clark</a>'s teaming with Dwight Yoakam for her "Hold My Hand," to which Yoakam contributed haunting background vocals. 
 
The camera then shifted quietly to three silhouetted figures, in what is quickly becoming an iconic pose, for a debut performance of "FourFiveSeconds," <a href="/artists/rihanna/5943">Rihanna</a>'s new single with <a href="/artists/paul-mccartney/4678">Paul McCartney</a> and West. The trio represented almost unprecedented star power and the song was captivatingly striking in its stark presentation. 
 
After Smith (who emerged as the night's top winner with four GRAMMYs) and Blige's roof-raising performance of "Stay With Me," Colombian singer/songwriter <a href="/artists/juanes/9195">Juanes</a> hit the stage for a performance of his reggae-tinged "Juntos," en español. 
 
Actress Kristen Wiig served as the face of<a href="/artists/sia/15372"> Sia</a> for the latter's performance of "Chandelier," miming a comic version of the song's GRAMMY-nominated music video with young dancer Maddie Ziegler, while Sia earnestly sang from a corner of the set, in her customary back-to-the-audience stance. 
 
Album Of The Year winner <a href="/artists/beck/292">Beck</a> teamed with <a href="/artists/coldplay/10952">Coldplay</a>'s Chris Martin for a Crosby, Stills, Nash &amp; Young-inspired version of his acoustic gem "Heart Is A Drum." Though backed only by acoustic instruments, the song's tale of heartbreak and acceptance had an electric impact. 
 
"We live in complicated times," said Gwyneth Paltrow in introducing <a href="/artists/beyonce-knowles/12474">Beyoncé</a>'s take on the gospel standard "Take My Hand, Precious Lord," "and now more than ever we need understanding and to acknowledge the feelings of others.” 
 
Looking angelic in a white dress that gave the appearance of wings, Bey took the crowd to church literally, as Hozier had done metaphorically earlier. 
 
The 57th GRAMMY Awards closed poignantly with <a href="/artists/john-legend/16994">John Legend</a> and <a href="/artists/common/1332">Common</a>'s stunning Selma theme, "Glory." The performance not only came two weeks prior to their Oscar turn, but taken together with Beyoncé’s preceding tour de force vocal performance, the finale drew a connection in the battle for equal rights from the '60s to the present — capping the night's powerful message about music's ability to stir people to greater awareness and action. 
 
&nbsp;

Eligibility Period: Oct. 1, 2013, through Sept. 30, 2014

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See all GRAMMY award winners and nominees for the 57th GRAMMY Awards, presented in 2014.

56th Annual GRAMMY Awards

Reuniting legends, creating unparalleled GRAMMY Moments and giving new artists a global platform are all part of what makes the GRAMMYs a truly unique celebration of music. But this year the GRAMMY stage served as an opportunity to display music's power to unleash "whoever we are and whoever we dream about being," as host [LL Cool J](/artists/ll-cool-j/4008) said in his opening remarks.

Following a steamy performance of "Drunk In Love" by power couple Beyoncé and Jay Z, Macklemore &amp; Ryan Lewis made their first appearance on the GRAMMY stage to accept the first award of the night for Best New Artist. After catching their collective breath, Macklemore thanked their fans, "the people that got us on this stage," while acknowledging their independent roots.\

\

"We made this album without a record label," said Macklemore. "And we appreciate all the support."

The Seattle rap duo ended their GRAMMY debut on top, garnering a total of four trophies. The duo were later joined by singer/songwriter Mary Lambert and Trombone Shorty for a performance of their GRAMMY-nominated anthem of equality, "Same Love." The performance marked a historic moment for the GRAMMY Awards as Queen Latifah took the stage mid-set to officiate a live marriage ceremony for 33 diverse couples, which was capped with an appearance by Madonna. Madge gave new meaning to the chorus to her "Open Your Heart," proving that while music unleashes independence, it also promotes harmony.

"When we say music has the power to bring people together at the GRAMMYs, we mean it," said Latifah.

Fellow GRAMMY newcomer Lorde performed her hit "Royals," which took Song Of The Year and Best Pop Solo Performance. The 17-year-old singer/songwriter was clearly shocked: "This is the one thing that I did not expect the most about tonight," she said while accepting the latter award.

Further demonstrating music's power to unleash individuality, Hunter Hayes debuted his new single "Invisible." The inspirational piano-driven ballad was colored with several onscreen quotes, including one by John Lennon: "You don't need anybody to tell you who you are or what you are. You are what you are."

Country singer/songwriter Kacey Musgraves nabbed the first two GRAMMYs of her career for Best Country Song for "Merry Go 'Round" with Shane McAnally and Josh Osborne, and Best Country Album for Same Trailer Different Park. Musgraves made her individual mark on the GRAMMYs when she brightened the stage for a performance of "Follow Your Arrow," a song about doing "whatever you want."

One of the most talked about — and tweeted — performances of the night was the teaming of Imagine Dragons, who won their first GRAMMY for Best Rock Performance for "Radioactive," with rising rapper Kendrick Lamar. On a smoke-filled stage, the collective delivered a colorful mashup of "Radioactive" and Lamar's "m.A.A.d city" — an appropriate welcome to a new generation of GRAMMY performers.

But being in with the new does not mean out with the old — or in this case, legendary. Newly minted Lifetime Achievement Award recipient Kris Kristofferson, Willie Nelson and Merle Haggard were accompanied by Blake Shelton for a medley of classics such as "Okie From Muskogee" and "Mamas Don't Let Your Babies Grow Up To Be Cowboys" that had everyone from Musgraves to Jay Z and Beyoncé swaying in the audience. Daft Punk  and Pharrell Williams — both of whom also topped the winners list with four each, including Album Of The Year for Random Access Memories and a Producer Of The Year, Non-Classical win for Williams — teamed with Nile Rodgers and Stevie Wonder for a mashup of the Chic classic "Le Freak" and "Get Lucky." The latter earned Rodgers two of his first three career GRAMMYs for Best Pop Duo/Group Performance and Record Of The Year.

Additionally, Jay Z and Justin Timberlake won Best Rap/Sung Collaboration for "Holy Grail," which Jay Z accepted on their behalf and dedicated to his daughter Blue Ivy. Bruno Mars took home Best Pop Vocal Album honors for Unorthodox Jukebox, which he dedicated to his late mother Bernadette, who died in June 2013.

On a satellite stage, 2014 MusiCares Person of the Year honoree Carole King and Sara Bareilles went head-to-head on piano for a performance of Bareilles' "Brave" and King's "Beautiful." More all-star collaborations ensued. Robin Thicke joined Chicago to perform the latter's "Beginnings," "Does Anybody Really Know What Time It Is?" and "Saturday In The Park" and his "Blurred Lines," which earned Thicke his first nominations as an artist. GRAMMY winner Keith Urban and first-time winner Gary Clark Jr. joined for a performance of Urban's "Cop Car" that showed off each individual's guitar prowess. Pink made sure no one forgot her high-flying acrobatic skills as she took to the air to perform "Try" before Fun.'s Nate Ruess joined to deliver their GRAMMY-nominated hit "Just Give Me A Reason."

The spotlight was on John Legend as he took a seat behind the piano for a soulful performance of his romantic ballad "All Of Me," which appeared to be dedicated to his new bride, Chrissy Teigen. Taylor Swift went for a no-frills performance, looking glamorous at the piano for her "All Too Well." Meanwhile, fellow singer/songwriter Katy Perry proved she has a dark side, opening encased in a crystal ball for an enchanting performance of her hit single about playing with magic, "Dark Horse," featuring Juicy J.

Though the evening was highlighted by new artists taking home their first GRAMMY gold, as David Grohl remarked while accepting the award for Best Rock Song for "Cut Me Some Slack" with Paul McCartney and former Nirvana bandmates Krist Novoselic and Pat Smear, "If it wasn't for the Beatles, we wouldn't be here." Celebrating the 50th anniversary of their U.S. debut on "The Ed Sullivan Show" this year, remaining Beatles McCartney and Ringo Starr took the stage, likely reminding some of the younger artists in the audience why they chose their individual paths. After a solo performance by Starr of his chestnut "Photograph," the drummer joined McCartney for the latter's new "Queenie Eye." (Two weeks later, the pair would team again for the successful tribute "The Beatles: The Night That Changed America — A GRAMMY Salute," which celebrated their historic performance on "The Ed Sullivan Show" 50 years ago.)

From one surprise teaming to another, Metallica took the stage with the GRAMMY Cultural Ambassador to China, pianist Lang Lang. Following an introduction from Oscar winner Jared Leto, who cited Metallica as a "great rock band who have stayed true to themselves," the group delivered a unique performance of their past GRAMMY winner "One" that had frontman James Hetfield going guitar-to-piano with Lang Lang. The pianist returned shortly after to pay tribute to the late Van Cliburn during the In Memoriam segment, which also featured Miranda Lambert and Billie Joe Armstrong teaming for a tribute to the late Phil Everly with the Everly Brothers' "When Will I Be Loved."

The 56th telecast took its final bow with one last memorable GRAMMY Moment that literally rocked. Fleetwood Mac guitar master Lindsey Buckingham and Grohl joined Nine Inch Nails and Queens Of The Stone Age for NIN's "Copy Of A" and QOTSA's "My God Is The Sun."

Eligibility Period: Oct. 1, 2012, through Sept. 30, 2013

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55th Annual GRAMMY Awards

While many past GRAMMY telecasts have turned into colorful coronations of artists who enjoyed larger-than-life years (<a href="/artists/michael-jackson/13202" target="_blank">Michael Jackson</a>'s eight GRAMMYs in 1983, Santana's eight in 1999, <a href="/artists/beyonce-knowles/12474" target="_blank">Beyoncé</a>'s six in 2009, and <a href="/artists/adele/528" target="_blank">Adele</a>'s six in 2011), the 55th Annual GRAMMY Awards spread the wealth among a crop of younger artists who set the stage for the century's second decade in music.

Roots-influenced rockers the <a href="/artists/black-keys/8120" target="_blank">Black Keys</a> won three awards in the Rock Field (and guitarist/singer Dan Auerbach added one more for Producer Of The Year, Non-Classical.

Rap stalwarts <a href="/artists/jay-z/9815" target="_blank">Jay-Z</a> and <a href="/artists/kanye-west/6900" target="_blank">Kanye West</a> won three GRAMMYs each, all for their collaborations on Best Rap Performance and Best Rap Songwinner "N****s In Paris" and Best Rap/Sung Collaboration winner "No Church In The Wild" (featuring Frank Ocean and The-Dream).

Then came more relative newcomers: Skrillex added three GRAMMYs to his three from last year; <a href="/artists/gotye/2402" target="_blank">Gotye</a> rode "Somebody That I Used To Know" (featuring <a href="/artists/kimbra/3581" target="_blank">Kimbra</a>), which became the most idiosyncratic radio hit of 2012, to three awards, including Record Of The Year; <a href="/artists/fun/15812" target="_blank">Fun.</a> won their first two GRAMMYs for Song Of The Year for "We Are Young" (featuring <a href="/artists/janelle-monae/4464" target="_blank">Janelle Monáe</a>) and Best New Artist; and Mumford &amp; Sons, one of the trailblazers for the new wave of acoustic roots artists, won Album Of The Year for Babel.

Some of the winning artists were so new, they took other winners by surprise.

"Miguel, I don't know who the hell you are, but we need to sing together," shouted <a href="/artists/kelly-clarkson/11249" target="_blank">Kelly Clarkson</a> while collecting her Best Pop Vocal Album GRAMMY for Stronger, referring to <a href="/artists/miguel/4571" target="_blank">Miguel</a>'s brief slow jam of his Best R&amp;B Song winner "Adorn" (on which he teamed with Wiz Khalifa). "That was the sexiest damn thing I've ever seen."

It was more than a fresh breeze that blew over the 55th GRAMMYs, it was arguably a wind of change.

Still, the telecast remained music's biggest melting pot, with performances that brought innumerous ingredients to the stew, starting with one that was a virtual stew all on its own. With nose-thumbing clowns, a wheelchair-bound Mephisto and scary puppeteers, <a href="/artists/taylor-swift/15450" target="_blank">Taylor Swift</a> turned in the most threatening "We Are Never Ever Getting Back Together" ever.

British singer/songwriter <a href="/artists/ed-sheeran/6178" target="_blank">Ed Sheeran</a> teamed with the head of his management company, <a href="/artists/elton-john/12074" target="_blank">Elton John</a>, for a strong reading of the former's Song Of The Year-nominated "The A Team," the tale of a homeless addict.

Fun. brought drama to "Carry On," their song of perseverance, in the form of both their anthemic ambition and a rainstorm of real water that drenched their set.

<a href="/artists/miranda-lambert/4851" target="_blank">Miranda Lambert</a> and Dierks Bentley, met under a large blue tree for intimate duets of her "Over You" and his "Home."

Mumford &amp; Sons gave a jolt to the crowd with their endlessly energetic "I Will Wait." The way they attacked their acoustic guitars would have made Pete Townshend proud.

Breaking a seven-year hiatus from live music performance, Justin Timberlake hit a sepia-toned stage for a suave medley of his new "Suit &amp; Tie" (on which he was joined by Jay-Z) and "Pusher Love Girl" from his 2013 album, The 20/20 Experience.

In another unique pairing, <a href="/artists/maroon-5/13090" target="_blank">Maroon 5</a> and <a href="/artists/alicia-keys/12104" target="_self">Alicia Keys</a> teamed for the former's "Daylight" and the latter's "Girl On Fire," both songs that kindle with power and emotion.

<a href="/artists/rihanna/5943" target="_blank">Rihanna</a> was joined by Mikky Ekko for "Stay," a song he co-wrote and on which he is a featured vocalist. With Rihanna in a simple black dress on a no-frills stage, the song's message of passion over logic bore through.

The Black Keys wasted no time revving up "Lonely Boy." The rocker, which owes a debt to rockabilly, swamp rock and electric blues, was punctuated by the New Orleans piano of Best Blues Album GRAMMY winner Dr. John and a pinch of Dixieland from the Preservation Hall Jazz Band.

Clarkson returned for a vocal salute to two giant female artists, both of whom received Recording Academy Lifetime Achievement Awards in 2013. First up was "Tennessee Waltz" in honor of Patti Page, followed by "A Natural Woman (You Make Me Feel Like)," co-written by Carole King.

The tributes continued with a nod to Bob Marley, who was the subject of the Best Compilation Soundtrack For Visual Media-nominated Marley. Two of the performers, like Marley, hail from tropical islands: <a href="/artists/bruno-mars/5082" target="_blank">Bruno Mars</a> from Hawaii and Rihanna from Barbados. Also joining was Sting, whose music with the Police owed a debt to reggae and ska. Mars began with his own "Locked Out Of Heaven" followed by the similar-sounding Police chestnut "Walking On The Moon." Rihanna emerged with Ziggy and Damian Marley for their father's "Could You Be Loved."

<a href="/artists/lumineers/14762" target="_blank">The Lumineers </a>played a shortened version of their inescapable hit "Ho Hey" before introducing <a href="/artists/jack-white/15627" target="_blank">Jack White</a>. The latter played "Love Interruption" with his all-female band the Peacocks. He then segued into the harder "Freedom At 21" with male backers the Buzzards. By the time he finished the tumult, he had thrown and stepped on his guitar, leaving a sonic residue of decaying feedback.

<a href="/artists/hunter-hayes/9010" target="_blank">Hunter Hayes</a> played a portion of his hit "Wanted" solo on piano before bringing out fellow country star <a href="/artists/carrie-underwood/10381" target="_blank">Carrie Underwood</a> for a stripped-down version of her Best Country Solo Performance winner "Blown Away." Underwood's awe-inspiring vocals were matched by her billowy dress, which doubled as a projection screen to depict the heartbreak of the song.

The 2013 In Memoriam segment was bookended by two memorable tributes. The first featured pianist Chick Corea, bassist Stanley Clarke and sax player Kenny Garrett honoring the late Dave Brubeck with the timeless, and time-challenging, "Take Five" along with "Blue Rondo À La Turk."

Following the segment, an all-star cast including Zac Brown, T Bone Burnett, <a href="/artists/alabama-shakes/14656" target="_blank">Alabama Shakes</a>' Brittany Howard, Elton John, Mumford &amp; Sons, and Mavis Staples sang a gritty "The Weight" in honor of Levon Helm, who sang the original with the Band.

Juanes added a verse of español to the proceedings with a loving acoustic Spanglish rendition of Elton John's "Your Song," before introducing <a href="/artists/frank-ocean/15669" target="_blank">Frank Ocean</a>. The first Best Urban Contemporary Album winner sang his elegiac "Forrest Gump" backed by running-sequence footage similar to the film of the same name.

After the show's most somber performance, the 55th GRAMMYs rode out on a burst of old-school rap energy, with GRAMMY host LL Cool J teaming with Chuck D, Travis Barker, Tom Morello, and DJ Z-Trip for his own "Whaddup" and a brief tribute to fallen Beastie Boy Adam Yauch with "No Sleep Till Brooklyn."

Eligibility Year: Oct. 1, 2011, through Sept. 30, 2012

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GRAMMY Awards Time Capsule

Awards Row

Featured Article Card: Ant Clemons Sunshine

2025 GRAMMYs To Take Place Sunday, Feb. 2, Live In Los Angeles; GRAMMY Awards Nominations To Be Announced Friday, Nov. 8, 2024

The 2025 GRAMMYs return to Los Angeles on Sunday, Feb. 2. Nominations for the 2025 GRAMMYs will be announced Friday, Nov. 8. Learn more about the key dates and deadlines ahead of Music's Biggest Night.

Body Text: 2025 GRAMMYs Key Dates Announcement

Music's Biggest Night is back! The 2025 GRAMMYs will take place **Sunday, Feb. 2**, live at Crypto.com Arena in Los Angeles, the Recording Academy announced today. The 2025 GRAMMYs will broadcast live on the CBS Television Network and stream live and on demand on Paramount+. As well, nominations for the 2025 GRAMMYs will be announced **Friday, Nov. 8, 2024**. See the full list of key dates and deadlines for the 2025 GRAMMYs, officially known as the 67th Annual GRAMMY Awards, below.

Key dates for the 2025 GRAMMY Awards season are as follows:

Sept. 16, 2023 – Aug. 30, 2024\
**Product Eligibility Period**\
*The period by which recordings are submitted for GRAMMY consideration. All releases must be available for sale, via general distribution, to the public by this date and through at least the date of the current year’s voting deadline (final ballot) to be eligible for the 2025 GRAMMY Awards.*

July 8, 2024 – Aug. 23, 2024\
**Media Company Registration Period**\
*Media companies must [apply for registration](https://www.recordingacademy.com/awards/media-company-registration-and-online-entry-process-oep) with the Recording Academy to submit recordings.*

July 17, 2024 – Aug. 30, 2024\
**Online Entry Period**\
*All eligible recordings must be entered prior to the close of the Online Entry Period, regardless of the public release date.*

Oct. 4, 2024 – Oct. 15, 2024\
**First Round Voting**\
*First Round Voting determines all the GRAMMY nominees for each GRAMMY Awards year.*

Nov. 8, 2024\
**Nominees Announced for the 2025 GRAMMY Awards**\
*Announcing the official nominees list for the 2025 GRAMMYs.*

Dec. 12, 2024 – Jan. 3, 2025\
**Final Round Voting**\
*Determines the GRAMMY winners across all categories revealed on GRAMMY night.*

Feb. 2, 2025\
**2025 GRAMMY Awards**\
*Music's Biggest Night, recognizing excellence in the recording arts and sciences.*

This February, the [2024 GRAMMYs](https://www.grammy.com/news/2024-grammys-nominations-full-winners-nominees-list) proved to be an epic, history-making night. [Women dominated the 2024 GRAMMYs](https://www.grammy.com/news/2024-grammys-ways-women-dominated-taylor-swift-sza-boygenius): For the second time in four years, women won in the majority of the General Field Categories, winning [Album Of The Year](https://www.grammy.com/news/taylor-swift-album-of-the-year-2024-grammys-speech) ([Taylor Swift](https://grammy.com/artists/taylor-swift/15450)), [Song Of The Year](https://www.grammy.com/news/2024-grammys-billie-eilish-wins-song-of-the-year-what-was-i-made-for-barbie) ([Billie Eilish](https://grammy.com/artists/billie-eilish/251741)), [Record Of The Year](https://www.grammy.com/news/miley-cyrus-wins-record-of-the-year-flowers) ([Miley Cyrus](https://grammy.com/artists/miley-cyrus/18384)), and [Best New Artist](https://www.grammy.com/news/2024-grammys-victoria-monet-best-new-artist-win) ([Victoria Monét](https://grammy.com/artists/victoria-monet/287096)). Elsewhere, Taylor Swift [broke the all-time record](https://www.grammy.com/news/taylor-swift-album-of-the-year-2024-grammys-speech) for most GRAMMY wins in the Album Of The Year Category after winning for *[Midnights](https://www.grammy.com/news/taylor-swift-midnights-new-album-takeaways-songs-anti-hero-lavender-haze-reputation-lover-tiktok-3am-tracks-edition)*. [Tyla](https://www.grammy.com/artists/tyla/54172) won the [first-ever GRAMMY Award](https://www.grammy.com/news/tyla-wins-first-best-african-music-performance-award-2024-grammys) for [Best African Music Performance](https://www.grammy.com/news/best-african-music-performance-category-2024-grammys-roundtable), one of [three new GRAMMY Categories that debuted this year](https://www.grammy.com/news/three-new-categories-added-for-the-2024-grammys).

The 2024 GRAMMYs also [celebrated the return of music legends](https://www.grammy.com/news/grammys-2024-performances-speeches-icons-rising-stars), including [Tracy Chapman](https://grammy.com/artists/tracy-chapman/878), [Joni Mitchell](https://www.grammy.com/artists/joni-mitchell/11174) and [Celine Dion](https://grammy.com/artists/celine-dion/1762), and ushered in new music icons-in-the-making like Victoria Monét, [Samara Joy](https://www.grammy.com/artists/samara-joy/51872) and Tyla. Relive some of the [must-see moments](https://www.grammy.com/news/2024-grammys-best-moments-must-see-highlights-videos) and [memorable, heartwarming acceptance speeches](https://www.grammy.com/news/10-acceptance-speeches-laugh-cry-smile-2024-grammys) from the 2024 GRAMMYs. And rewatch all of the performances and key highlights from the 2024 GRAMMYs all year long on [Live.GRAMMY.com](https://live.grammy.com/).

Learn more about the [upcoming 2025 GRAMMY Awards season](https://www.recordingacademy.com/awards/faq) and the [annual GRAMMY Awards process](https://www.recordingacademy.com/awards).

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2025 GRAMMYs Announced: Feb. 2 Live In Los Angeles

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## 67th ANNUAL GRAMMY AWARDS: KEY DATES

| September 16, 2023 – August 30, 2024 | Product Eligibility Period For Entries |
|----------|----------|
| July 8, 2024 – August 23, 2024 | Media Company Registration |
| July 17, 2024 – August 30, 2024 | Online Entry Process (OEP) Access Period |
| October 4, 2024 - October 15, 2024 | First Round Voting |
| November 8, 2024 | Nominees Announced for the 67th Annual GRAMMY Awards |
| December 12, 2024 - January 3, 2025 | Final Round Voting |
| February 2, 2025 | 67th Annual GRAMMY Awards Show Date/Telecast |

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How To Submit Your Music For The 2025 GRAMMYs: Deadlines & Webinars, GRAMMY Nominations & Voting Process, And More

The Recording Academy's Online Entry Process (OEP) for the 2025 GRAMMYs is now open. Submit your music and releases now for consideration at the 2025 GRAMMYs.

Body Text 1: 2025 GRAMMYs - OEP Opens

***Editor’s Note:** Updated on Tuesday, July 30, to add the video recording of the live demo of the Online Entry Process and tour of the new entry site.*

The Recording Academy's [Online Entry Process (OEP)](https://www.recordingacademy.com/awards/media-company-registration-and-online-entry-process-oep) for the [2025 GRAMMYs](https://www.grammy.com/news/2025-grammys-show-air-date-announced) has opened today. The Online Entry Process is the window in which all recordings, videos, and more are submitted for consideration to be included on the ballot at the 2025 GRAMMY Awards, officially known as the 67th GRAMMY Awards.

As the official kickoff to the upcoming GRAMMY season, the 2025 GRAMMYs Online Entry Process runs from **today (Wednesday, July 17) through Friday, Aug. 30**. All Recording Academy Members and Media Companies must submit their eligible recordings  for GRAMMY consideration during this period – recordings that were commercially released in the US between Sept. 16, 2023, through Aug. 30, 2024.

The [2025 GRAMMYs](https://www.grammy.com/news/2025-grammys-awards-updates-changes-amendments-rules-guidelines) will take place **Sunday, Feb. 2**, live at Crypto.com Arena in Los Angeles and will broadcast live on the CBS Television Network and stream live and on demand on Paramount+. Nominations for the 2025 GRAMMYs will be announced **Friday, Nov. 8, 2024**.

For those looking to submit their music and works for GRAMMY consideration at the upcoming 2025 GRAMMYs, the Recording Academy has produced this helpful guide explaining the process and upcoming deadlines.

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## **What is the Online Entry Process and how does it work?**

Marking the first step toward participating in the [GRAMMY Awards process](https://www.recordingacademy.com/awards) every year, the annual Online Entry Process is the period when [registered Media Companies](https://www.recordingacademy.com/awards/media-company-registration-and-online-entry-process-oep) and [Recording Academy Members](https://recordingacademy.com/membership) (both [Voting and Professional Members](https://members.recordingacademy.com/s/?language=en_US)) can submit music and works for GRAMMY consideration at the 2025 GRAMMYs.

While the total amount of entries varies each year, the Recording Academy can receive more than 20,000 eligible entries during a GRAMMY season. Once we receive submissions, each entry is individually and manually vetted by a member of the Recording Academy's Awards staff to determine its eligibility.

After submissions are received during the Online Entry Process, the Recording Academy's Voting Members vote on said submissions across two GRAMMY voting rounds: First Round Voting determines the nominees for the majority of the categories at the annual GRAMMY Awards, while Final Round Voting determines the ultimate GRAMMY winners.

The full participation in our annual GRAMMY Awards process — from the Online Entry Period to Final Round Voting — on behalf of the Recording Academy's Membership and the music industry at large is crucial to maintaining the integrity of the GRAMMY Awards, music's only peer-voted honor.

## **Who can submit entries during the Online Entry Process?**

Only registered **Media Companies** and **Recording Academy members (Voting and Professional)** can make submissions for GRAMMY consideration through the Online Entry Process.

The Recording Academy defines a media company as a legitimate business entity whose core business function is to create, aggregate and promote audio and/or video content for multiple artists for commercial purposes, and that must have verifiable product in national U.S. commercial distribution on our approved streaming platforms within the current eligibility period. It cannot just be an imprint in name only for a single or small number of artists.

## **When does Media Company registration open?**

Media Company Registration for the 2025 GRAMMYs is **open now and closes August 23 at 6 p.m. PT/9 p.m. ET.** Existing or new Media Companies may [register here](https://grammy.submit.live/). Media Companies will receive further information by email pending registration approval. Reference the [Online Entry Process resources](https://grammy.submit.live/page/93b162c8-d696-45d1-2dd4-08dc75b0fea7) for more information.

## **When does the Online Entry Process open?**

The Online Entry Process for the 2025 GRAMMYs opens **today (Wednesday, July 17)** and **closes Friday, Aug. 30, at 6 p.m. PT/9 p.m. ET.**

**IMPORTANT:** There is only one round in which to make entries during the Online Entry Process. We encourage everyone to submit their entries as early as possible so that the Recording Academy's Awards team can assist with any questions in a timely manner. If a recording is not formally submitted, it cannot be considered for a GRAMMY Award or a GRAMMY nomination.

## **What is the eligibility period for submissions for the 2025 GRAMMYs?**

The eligibility period for the 2025 GRAMMYs is for recordings released **Sept. 16, 2023, through Aug. 30, 2024**. All releases must be available for sale, via general distribution, to the public by this date and through at least the date of the current year's voting deadline (final ballot) to be eligible for the 2025 GRAMMY Awards.

## **How do I submit recordings and releases for the 2025 GRAMMYs as a Recording Academy member?**

Recording Academy members, follow these steps to submit your music and releases during the Online Entry Process for the 2025 GRAMMYs:

[Log in to your Recording Academy Member dashboard](https://members.recordingacademy.com/s/login/?language=en_US) and find the **Submit To Online Entry Process** button on the left side of your dashboard

Once logged in, please review the available resource documents and begin making your entries

Make sure you submit your entries by the deadline: **Friday, Aug. 30,** by **6 p.m. PT/9 p.m. ET**

## **How do I submit recordings and releases for the 2025 GRAMMYs as a registered Media Company?**

Registered Media Companies, follow these steps to submit your music and releases during the Online Entry Process for the 2025 GRAMMYs:

Visit the [Entry Process &amp; Registration Updates Page](https://www.recordingacademy.com/awards/media-company-registration-and-online-entry-process-oep "Entry Process & Registration Updates Page")

Click **MAKE ENTRIES HERE** (will direct you to entry site)

Select **MEDIA COMPANY LOGIN** 

Once logged in, please review the resource documents and begin making your entries

Make sure you submit your entries by the deadline: **Friday, Aug. 30,** by **6 p.m. PT/9 p.m. ET**.

## **Who can vote for the 2025 GRAMMYs?**

Each year, GRAMMY winners and GRAMMY nominees are determined as voted by the Recording Academy's Voting membership, which is composed of music creators, including artists, producers, songwriters, and engineers. Registered Companies are **not** permitted to vote in the GRAMMY Awards process.

Learn more about our [GRAMMY Awards voting process](https://www.grammy.com/awards/voting-process) and the [full GRAMMY Awards process](https://www.recordingacademy.com/awards).

## **2025 GRAMMY Awards Key Dates:**

Here is a list of all the key dates for the 2025 GRAMMYs:

Sept. 16, 2023 – Aug. 30, 2024\
**Product Eligibility Period**\
*The period by which recordings are submitted for GRAMMY consideration. All releases must be available for sale, via general distribution, to the public by this date and through at least the date of the current year's voting deadline (final ballot) to be eligible for the 2025 GRAMMY Awards.*

July 8, 2024 – Aug. 23, 2024\
**Media Company Registration Period**\
*Media companies must [apply for registration ](https://www.recordingacademy.com/awards/media-company-registration-and-online-entry-process-oep)with the Recording Academy to submit recordings.*

July 17, 2024 – Aug. 30, 2024\
**Online Entry Period**\
*All eligible recordings must be entered prior to the close of the Online Entry Period, regardless of the public release date.*

Oct. 4, 2024 – Oct. 15, 2024\
**First Round Voting**\
*First Round Voting determines all the GRAMMY nominees for each GRAMMY Awards year.*

Nov. 8, 2024\
**Nominees Announced for the 2025 GRAMMY Awards**\
*Announcing the official nominees list for the 2025 GRAMMYs.*

Dec. 12, 2024 – Jan. 3, 2025\
**Final Round Voting**\
*Determines the GRAMMY winners across all categories revealed on GRAMMY night.*

Feb. 2, 2025\
**2025 GRAMMY Awards**\
*Music's Biggest Night, recognizing excellence in the recording arts and sciences.*

## **Informational Webinars &amp; Additional Resources**

Nomad: 2025 GRAMMYs - OEP Opens

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To ensure a seamless experience for our members, the Recording Academy's Awards team produced a live demo of the Online Entry Process and a tour of the new entry site. Rewatch the live demo and tour in the video above.

As well, the entry site has [many helpful resources](https://grammy.submit.live/page/93b162c8-d696-45d1-2dd4-08dc75b0fea7), including the **2025 GRAMMYs Category Description Guide, GRAMMY Guidelines and Definitions, Entering Tips, FAQ,** and other documents that further explain how to successfully make your entries.

For additional support, reach out to the following resources:

877.637.6816 (Awards Helpline)\
[onlineentry@grammy.com](mailto:OnlineRegistrationSe@grammy.com)

## **Early Entry Pricing**

As a benefit of membership, Recording Academy members can enjoy **five courtesy entries** for the Online Entry Process. After this, members can take advantage of **Early Entry Pricing through Wednesday, July 31,** where each additional entry will cost $40 per entry.

Registered Media Companies can take advantage of **Early Entry Pricing through Wednesday, July 31,** where each entry will cost $65. After this date, entry fees will increase.

For more information about the 2025 GRAMMY Awards season, learn more about the [annual GRAMMY Awards process](https://www.recordingacademy.com/awards), [read our FAQ (Frequently Asked Questions) section](https://www.recordingacademy.com/awards/faq), view the [official GRAMMY Awards Rules and Guidelines](https://www.grammy.com/awards/rules-guidelines), and visit the [GRAMMY Award Update Center](https://www.grammy.com/awards/awards-updates) for a list of real-time changes to the GRAMMY Awards process.

Latest Recording Academy News & Initiatives

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How To Submit Your Music For The 2025 GRAMMYs

8 Reasons Why Boyz II Men's 'II' Was The '90s Ultimate R&B Blockbuster

From historic GRAMMY wins to star-studded music videos, Boyz II Men achieved unthinkable feats with their second album. As the LP turns 30, dig into why 'II' remains one of R&B's all-time greats.

Body Text 1 - Boyz II Men II 30th anniversary

After releasing a debut album that went nine-times platinum, spawned a record-equaling 13-week chart-topper, and pioneered a new subgenre (remember hip-hop doo-wop?), [Boyz II Men](https://www.grammy.com/artists/boyz-ii-men/8125) could have been forgiven for resting on their laurels for LP number two. Instead, they made a concerted attempt to go even bigger and better.

Indeed, celebrating its 30th anniversary on Aug. 30, the simplistically titled *II* was precision-tooled into becoming the ultimate R&amp;B heavyweight of the '90s. "I personally came up with the name because I wanted people to know that this is a continuation of the first record, like a sequel to a movie or something like that," singer [Shawn Stockman](https://www.grammy.com/artists/shawn-stockman/6842) later [revealed](https://www.billboard.com/music/pop/boyz-ii-men-album-interview-anniversary-8528695/) to *Billboard* in 2019.

Bandmate [Nathan Morris](https://www.grammy.com/artists/nathan-morris/5535) was just as laser-focused on maintaining a stranglehold on the top of the charts, continually perusing sales figures across the world to work out how they could corner certain markets. Their seminal record label, Motown, meanwhile, even used market research to ensure that fans got what they wanted to hear, resulting in a collection of slick soulful ballads which utilized the vocal quartet's impressive harmonies like never before.

Such meticulousness paid off when *II* ended up surpassing its predecessor in sales, chart records, and general critical acclaim. And [Wanya Morris](https://www.grammy.com/artists/wanya-morris/13279) believes it's more than worthy, recently telling *Billboard*, "If you want an example of what music is, we want the definition in an encyclopedia or on the internet or in any dictionary to be the *II* album."

In honor of *II*'s 30th anniversary, here's a look at how the trio (and former member[Michael McCary](https://www.grammy.com/artists/michael-mccary/9404), of course), lived up to all their blockbuster talk.

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## It Achieved Three Remarkable Chart Feats

Boyz II Men were such a chart juggernaut in the mid-'90s that they joined an exclusive club populated only by [the Beatles](https://www.grammy.com/artists/beatles/16293)! Indeed, the quartet became only the second ever act to replace themselves at the top of the Billboard Hot 100 when "On Bended Knee" dethroned "I'll Make Love To You" in September 1994. This was the first such instance since the Fab Four's "Can't Buy Me Love" toppled "She Loves You" 30 years previously (in the years since, 12 more acts including [Taylor Swift](https://grammy.com/artists/taylor-swift/15450) and [Drake](https://grammy.com/artists/drake/12370) have also achieved the feat).

This wasn't the only time the Philadelphians essentially became their own rivals, either. Their 14-week run atop the Hot 100 of "I'll Make Love To You" surpassed the 13-week stint enjoyed by "End of the Road" two years earlier. As a result, the group not only set the record for longest Hot 100 reign at the time, but they also became the first artist to achieve two consecutive No. 1s with double-figure spells.

## It Made GRAMMY History 

Boyz II Men looked like they'd soon run out of space in their trophy cabinet when they won the Best R&amp;B Performance by a Duo or Group with Vocal GRAMMY for the third time in four years. The vocal troupe first picked up the coveted gong in 1992 for *Cooleyhighharmony*, and then 12 months later for its lead single "End of the Road." And while their winning streak was interrupted by [Sade](https://www.grammy.com/artists/sade/8051)'s "No Ordinary Love" in 1994, they soon reclaimed the trophy in 1995 thanks to "I'll Make Love To You."

The four-piece also made GRAMMY history that same ceremony when they became the inaugural victors of the Best R&amp;B Album Category. *II* triumphed over[Anita Baker](https://www.grammy.com/artists/anita-baker/585)'s *Rhythm of Love*,[Tevin Campbell](https://www.grammy.com/artists/tevin-campbell/1212)'s *I'm Ready*,[Gladys Knight'](https://www.grammy.com/artists/gladys-knight/16951)s *Just for You*,[Me'Shell NdegéOcello](https://www.grammy.com/artists/meshell-ndegeocello/5220)'s *Plantation Lulllabies*, and[Luther Vandross](https://www.grammy.com/artists/luther-vandross/6968)' *Songs*. But despite a further eight GRAMMY nods, this remains their last victory.

Brightcove Video Player - Boyz II Men GRAMMY Rewind 1995

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## It Boasts The Avengers Of '90s R&amp;B Producers 

Boyz II Men initially planned to give [Tim Kelley](https://www.grammy.com/artists/tim-kelley/14422) and [Bob Robinson](https://www.grammy.com/artists/bob-robinson/6063) — the Illinois duo who'd later helm Top 10 smashes for Jon B, [Sisqo](https://www.grammy.com/artists/sisqo/6203) and Tamia — the creative reins for *II*. But concerned the relative unknowns might not have the experience, Motown insisted on bringing in the big guns, too.

Tim and Bob did contribute to five tracks, including fifth single "Vibin'" and the tribute to late manager Roderick Rountree, "Khalil (Interlude)." But it was the more recognizable names that provided the monster hits, whether [Janet Jackson](https://www.grammy.com/artists/janet-jackson/13590) cohorts [Jimmy Jam](https://www.grammy.com/artists/jimmy-jam/3474) and [Terry Lewis](https://www.grammy.com/artists/terry-lewis/3915) on "On Bended Knee," one-man hit factory [Dallas Austin](https://www.grammy.com/artists/dallas-austin/1274) on "Thank You," or the four-time Producer Of The Year, Non-Classical GRAMMY winner [Babyface](https://www.grammy.com/artists/babyface/985) on "I'll Make Love To You."

There was even room for mogul[L.A. Reid](https://www.grammy.com/artists/la-reid/5780) ("I Sit Away"), *Cooleyhighharmony* contributors the Characters ("Jezzebel"), and crooner[Brian McKnight](https://www.grammy.com/artists/brian-mcknight/17080) (bonus track "Fallin'") to make their mark on a record whose credits read like a who's who of '90s R&amp;B.

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## It Spawned A String Of Star-Studded Videos 

It wasn't just behind the scenes where Boyz II Men assembled a wealth of talent. The group also bagged a whole host of stars from both the small and big screen to give their music videos that extra bit of pizazz.

In "I'll Make Love to You," *White Men Can't Jump* actor Duane Martin plays the security installation engineer who essentially becomes amorous pen pals with his latest customer. *Saved by the Bell*'s Lark Voorhies, *Living Single*'s Kim Fields, and daytime soap opera stalwarts Victoria Rowell and Renée Jones all break up and then make up with their respective Boyz in "On Bended Knee." And the supermodel holding the band inside a crystal ball in "Water Runs Dry"? Well, that's none other than Tyra Banks.

The latter promo, which Morris once told GRAMMY.com was a personal favorite, also picked up Best Cinematography and Best R&amp;B Video nods at the MTV VMAs.

**Read More:** [Boyz II Men Celebrate 25 Years Of Their Masterstroke Second Album, 'II'  ](https://www.grammy.com/news/boyz-ii-men-celebrate-25-years-their-masterstroke-second-album-ii)

## It Was Also A Sales Behemoth 

*II* instantly became Boyz II Men's second No. 1 on the Billboard 200, and by Christmas of 1994, the album was posting weekly sales of nearly 300,000 copies. Little wonder, therefore, that it became the third biggest seller of 1994 (behind *[The Lion King](https://www.grammy.com/news/lion-king-movie-soundtrack-anniversary-broadway-legacy)* soundtrack and [Ace of Base](https://www.grammy.com/artists/ace-base/8109)'s *The Sign*). In fact, it even ended up in the Top 10 best-sellers of the following year, too.  

By the end of its campaign, *II* had been awarded diamond status, making it one of the biggest selling R&amp;B albums of all time. (Depending on how you categorize[Michael Jackson](https://www.grammy.com/artists/michael-jackson/13202)'s *Thriller* and *Bad* and[Whitney Houston](https://www.grammy.com/artists/whitney-houston/3899)'s two eponymous LPs, it could even lay claim to being the biggest.) Its lead single, "I'll Make Love To You," also racked up impressive numbers, selling over 1.6 million copies during and after its lengthy residency at the top of the Hot 100.

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## It Spawned Two Spinoffs 

Boyz II Men were so determined to conquer the world with *II* that they even re-recorded several tracks in a completely different language. Yes, in an effort to reel in the Latin market, the vocal quartet gave their Beatles cover, "On Bended Knee" ("Me Rindo Ante Ti"), "I'll Make Love to You" ("Yo Te Voy A Amar") and "Water Runs Dry" ("No Dejemos Que Muera El Amor") the Spanish treatment for a bilingual special edition released a year after the original. The latter track even made No. 1 on Billboard's Latin Top 10 airplay chart.

Keen to strike while the iron was hot, Motown also issued a compilation featuring remixes of tracks from their first two albums, including a version of "Vibin'" featuring [Busta Rhymes](https://www.grammy.com/artists/trevor-smith-jr/1199) and [Method Man](https://www.grammy.com/artists/method-man/4448). *The Remix Collection*, however, reportedly didn't receive the blessing of the band themselves, and their relationship with the iconic label was never the same again.

## It Paved The Way For The Modern Boy Band Ballad  

While predecessor *Cooleyhighharmony* contained its fair share of air-grabbing, silky smooth, close harmony ballads (see "End of the Road"), it was *II* where Boyz II Men truly mastered the art. Alongside its first two singles, "50 Candles," "Fallin'" and "Trying Times" all crooned and swooned about love in a manner that had certain fans ready and willing to throw their undergarments on stage in appreciation.

And the new generation of boy bands who valued vocal ability as much as pin-up appeal were undoubtedly taking note. Listen to [Backstreet Boys](https://www.grammy.com/artists/backstreet-boys/12933) ("I'll Never Break Your Heart," "Show Me the Meaning of Being Lonely"), [NSYNC](https://www.grammy.com/artists/nsync/8321) ("Drive Myself Crazy," "This I Promise You"), and [98 Degrees](https://www.grammy.com/artists/98/17225) ("(I Do) Cherish You," "My Everything") in full-on serenade mode, and it's clear that *II* set the template.

Luckily, the group responsible were happy to pass the mantle on. As Stockman told[ABC News](https://abcnews.go.com/Entertainment/story?id=115641&page=1) at the peak of *TRL*, "As far as we're concerned, this is their era and this is their time."

How Boyz II Men's 'II' Became An R&B Blockbuster

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