An incalculable number of albums have been released in music history, but only 58 have earned the coveted distinction of Album Of The Year GRAMMY winner so far. From Henry Mancini's The Music From Peter Gunn to Taylor Swift's 1989, some of these elite albums have arguably surprised, some were seemingly consensus choices and still others have fostered lasting debate. In part two of Album Of The Year GRAMMY Winners, explore the albums that won — and were runners-up for — music's biggest prize for the 1970s.

1970 ALBUM OF THE YEAR

Bridge Over Troubled Water
Simon And Garfunkel

Simon And Garfunkel's final studio album is by far their most adventurous. With a mix of anthemic songs of support such as "Bridge Over Troubled Water," frivolous love songs ("Cecilia") and plaintive folk ballads ("El Condor Pasa [If I Could]" and "The Boxer"), Bridge Over Troubled Water would become one of the duo's biggest sellers. In total, the album and tracks from it won six GRAMMYs, including Song and Record Of The Year. Despite its reassuring title track, the duo was in the midst of breaking up during the recording of the album.

Other Nominees: 
Close To You, Carpenters
Chicago, Chicago
Déjà Vu, Crosby, Stills, Nash & Young
Elton John, Elton John
Sweet Baby James, James Taylor

1971 ALBUM OF THE YEAR

Tapestry
Carole King

This year, a classic singer/songwriter bested rock, pop, funk/soul, and a blessed Broadway show. After becoming one of the most successful Brill Building songwriters along with her then-husband and creative partner, Gerry Goffin — with confections including "Will You Love Me Tomorrow," "One Fine Day" and "Up On The Roof," among many others — Carole King's first attempts at a solo career were quietly received. But Tapestry became a benchmark recording in the singer/songwriter realm, staying on the charts for nearly six years and selling 10 million copies. King's songs on Tapestry (including Record Of The Year "It's Too Late," Song Of The Year "You've Got A Friend," "I Feel The Earth Move," and the King/Goffin/Wexler cut "[You Make Me Feel Like] A Natural Woman") are exquisitely written and undeniably compelling.

Other Nominees: 
Carpenters, Carpenters
All Things Must Pass, George Harrison
Shaft, Isaac Hayes
Jesus Christ Superstar, London Production, Producers: Andrew Lloyd Webber, Tim Rice

1972 ALBUM OF THE YEAR

The Concert For Bangla Desh
Various Artists

The triple-LP live album The Concert For Bangla Desh was one of the first culturally significant all-star charity recordings. Proceeds from the record and concert film — which continue to this day, thanks to a 2005 re-release on DVD and availability via iTunes and Spotify — went to UNICEF to benefit the Bengali homeless and poor, many suffering as a result of the 1971 war between India and Pakistan. The concert organizer, George Harrison, was made aware of the dire Bengali situation through his friendship with Indian sitar player Ravi Shankar. With participation from A-listers such as Bob Dylan, Eric Clapton, Billy Preston, Leon Russell, and Beatlemate Ringo Starr, the success of the concert would be a precursor to such efforts as Band Aid and USA For Africa.

Other Nominees: 
Moods, Neil Diamond
American Pie, Don McLean
Nilsson Schmilsson, Harry Nilsson
Jesus Christ Superstar, Original Broadway Cast, Producers: Tom Morgan, Tim Rice, Andrew Lloyd Webber

1973 ALBUM OF THE YEAR

Innervisions 
Stevie Wonder

Innervisions comprises nine songs, but even today they stand out as examples of Stevie Wonder's deft ability to tackle religion, social issues and politics within a pop palette. Showcasing his multitalented songwriting and arranging skills, "Higher Ground," "Living For The City" (a GRAMMY winner for Best Rhythm & Blues Song), "Don't You Worry 'Bout A Thing," and "He's Misstra Know It All" (aimed at then-President Richard Nixon) are astute observations of '70s social issues.

Other Nominees: 
Killing Me Softly With His Song, Roberta Flack
The Divine Miss M, Bette Midler
Behind Closed Doors, Charlie Rich
There Goes Rhymin' Simon, Paul Simon

1974 ALBUM OF THE YEAR

Fulfillingness' First Finale
Stevie Wonder

Fulfillingness' First Finale, the second of Stevie Wonder's consecutive Album Of The Year wins, sits near the end of what is often considered his "classic period" of releases (Music Of My Mind, Talking Book, Innervisions, …Finale, and Songs In The Key Of Life). Moving in a different, more relationship-oriented direction than Innervisions, Wonder still takes another swing at President Nixon ("You Haven't Done Nothin'") with a little backing help from the Jackson 5. Still, African-Americans' outrage at a relatively unchanged post-'60s social scene was well represented at the GRAMMYs this year: Richard Pryor took home Best Comedy Recording for That N*****'s Crazy.

Other Nominees: 
Back Home Again, John Denver
Caribou, Elton John
Band On The Run, Paul McCartney And Wings
Court And Spark, Joni Mitchell

1975 ALBUM OF THE YEAR

Still Crazy After All These Years
Paul Simon

Flush with some of his most accessible pop hits ("50 Ways To Leave Your Lover," "My Little Town" [featuring Art Garfunkel] and the title track), Still Crazy After All These Years was Paul Simon's third solo studio release after splitting with Garfunkel. By now, Simon and Stevie Wonder were in their '70s prime, duking it out almost yearly for best album in the eyes of the public and The Recording Academy Voting members. Memorably, Simon, in accepting his award, thanked Wonder for not releasing an album that year. Wonder would have the last laugh the next year.

Other Nominees: 
One Of These Nights, Eagles
Between The Lines, Janis Ian
Captain Fantastic And The Brown Dirt Cowboy, Elton John
Heart Like A Wheel, Linda Ronstadt

1976 ALBUM OF THE YEAR

Songs In The Key Of Life
Stevie Wonder

Songs In The Key Of Life, a double-LP collection considered by many to be the quintessential Stevie Wonder recording, tackles freedom ("Black Man"), politics ("Village Ghetto Land"), the future ("Saturn"), a father's love ("Isn't She Lovely"), and the powerful emotions behind them all. And 13 years after his Motown splash, The 12 Year Old Genius, this album finds Wonder at his most prolific in terms of experimentation and creativity. In all, Songs … would garner Wonder five GRAMMY wins, including Best Producer Of The Year honors.

Other Nominees: 
Breezin', George Benson
Chicago X, Chicago
Frampton Comes Alive!, Peter Frampton
Silk Degrees, Boz Scaggs

1977 ALBUM OF THE YEAR

Rumours 
Fleetwood Mac

Fleetwood Mac's Rumours marked the group's only GRAMMY. Following their blues-rock beginnings, it is the band's second release after the addition of young California-based singer/songwriters Lindsey Buckingham and Stevie Nicks. Many of the album's songs are clearly steeped in the varying emotions resulting from incendiary internal relationships. The turmoil and strife proved to be bittersweet. (To this day, Rumours is among the most lauded and top-selling albums of all time.) "Don't Stop," "The Chain," "Dreams," and "Gold Dust Woman" were breakout songs, and Buckingham's unique guitar stylings shine throughout this landmark recording.

Other Nominees: 
Hotel California, Eagles
Aja, Steely Dan
JT, James Taylor
Star Wars — Motion Picture Soundtrack, John Williams, Producer: George Lucas

1978 ALBUM OF THE YEAR

Saturday Night Fever — Motion Picture Soundtrack
Various Artists

During the mid-'70s, many of the sounds wafting out of car radios and club doors were clearly influenced by R&B and its dance floor cousin, disco. The big winners at the 21st Annual GRAMMYs included Best New Artist A Taste Of Honey, Donna Summer, Earth, Wind & Fire, and the soundtrack to the most popular film of 1977. Both the film and the accompanying soundtrack to Saturday Night Fever created a pop culture supernova. A third of the songs were composed and performed by the Bee Gees (including "Stayin' Alive," "How Deep Is Your Love," "More Than A Woman," and "Night Fever"). Other artists on the soundtrack read like a short list of disco royalty, including Yvonne Elliman (singing another silky Gibbs composition, "If I Can't Have You"), Kool & The Gang, Tavares, the Trammps, and KC & The Sunshine Band.

Other Nominees: 
Running On Empty, Jackson Browne
Even Now, Barry Manilow
Some Girls, the Rolling Stones
Grease — Motion Picture Soundtrack, Various Artists

1979 ALBUM OF THE YEAR

52nd Street
Billy Joel

Coming off wins for Record Of The Year and Song Of The Year for "Just The Way You Are" from his 1977 breakout album The Stranger, Billy Joel had a lot riding on 52nd Street. But with its win for Album Of The Year, Joel captured three of the most prestigious GRAMMYs inside two years. The title and slight jazz undercurrents on the album (produced by Phil Ramone) are a nod to the New York City street renowned for its jazz clubs and glitzy nightlife. Catapulted by songs such as "Big Shot," "Honesty," "My Life," the ode to Phil Spector Brill Building pop "Until The Night," and "Zanzibar" (the latter featuring bright trumpet accompaniment by Freddie Hubbard and vibes by Steps Ahead's Mike Mainieri), 52nd Street was also Joel's first No. 1 album.
 
Other Nominees:
Minute By Minute, the Doobie Brothers
The Gambler, Kenny Rogers
Bad Girls, Donna Summer
Breakfast In America, Supertramp

Jon Batiste walked into the 2022 GRAMMYs with a whopping 11 nominations, making him the most recognized artist of the evening. By the end of the night, he received five GRAMMYs for Best American Roots Performance, Best American Roots Song, Best Score Soundtrack For Visual Media, Best Music Video, and the highly coveted Album Of The Year.

In this episode of GRAMMY Rewind, watch Batiste take the stage to accept the award for Album Of The Year for his sixth studio album, We Are

Batiste began his praises by acknowledging God: "I just put my head down and work on the craft every day. I love music, he said. "I've been playing since I was a little boy. It's more than entertainment for me — it's a spiritual practice." He also thanked the "many people that went into making this album," including his grandfather, nephew, father, and executive producer, Ryan Lynn.

"This [award] is for real artists, real musicians. Let's just keep going. Be you! That's it. I love you even if I don't know you," Batiste cheered.

Press play on the video above to hear Jon Batiste's complete acceptance speech and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

Watch: Jon Batiste Delivers A Heartfelt Performance Of “Ain’t No Sunshine” & “Lean On Me” | 2024 GRAMMYs Performance

At the 2024 GRAMMYs, Taylor Swift became the artist with the most Album Of The Year awards in GRAMMY history with four total wins. But her first record-breaking AOTY moment traces back eight years ago, when she became the first woman to win the category twice.

In this episode of GRAMMY Rewind, relive the moment she won the historic golden gramophone for her iconic fifth studio album, 1989, at the 2016 GRAMMYs.

“I want to thank the fans for the last 10 years,” Swift beamed, praising her loyal fanbase, the Swifties. She later acknowledged the Recording Academy for “this unbelievable honor” and the project’s main producer, Max Martin, who “deserved to be up there for 25 years.”

Before she left the stage, she offered an inspiring message to aspiring female musicians in light of her groundbreaking win. “To all the young women, there are going to be people along the way who try to undercut your success or take credit for your accomplishments or your fame,” she explained. “But if you just focus on the work and don’t let those people sidetrack you, someday, when you get where you’re going, you’ll look around and know that it was you and the people who love you who put you there. That will be the greatest feeling in the world.”

Check out Taylor Swift’s complete acceptance speech for her second Album Of The Year win, before diving into the release of The Tortured Poets Department, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

Get Ready For Taylor Swift's ‘The Tortured Poets Department’ Album Release: Everything You Need To Know

Legendary singer/songwriter Billy Joel, a five-time GRAMMY winner with 23 nominations, has always remained in the Recording Academy's spotlight, even during his lengthy hiatus from pop/rock music.

At the 2024 GRAMMYs, Joel marked his grand comeback with his new single, "Turn the Lights Back On" — and it was like he never turned them off at all.

Now, the era of Billy Joel rolls on. Tonight, April 14, viewers can witness his record-breaking 100th consecutive performance at Madison Square Garden, a streak that started when his franchise run began on March 28. Joel holds the amazing distinction of selling out Madison Square Garden more than any other artist.

This is Joel's first-ever concert to air on a broadcast network — so don't miss the Piano Man at work, whether you watch on the night of, or stream it after the broadcast.

Here's how and when to watch "The 100th: Billy Joel At Madison Square Garden – The Greatest Arena Run Of All Time."

When Did The Special Initially Air?

The special aired Sunday, April 14 from 9-11:00 PM, ET/PT on the CBS Television Network, and is available to stream live and on demand on Paramount+. (A “network programming timing error” had cut off the last song.)

When Will The Special Air Again?

Now, you’ll have a chance to watch it again, on Friday, April 19 at 9 p.m. ET/PT on the CBS Television Network. It will be rebroadcast in its entirety.

Where Else Will The Special Air?

Sling TV offers CBS in select regions. Paramount+ with Showtime is free for the first month and $11.99 per month after the trial period ends. Plus, you can access that platform via Prime Video.

Keep checking GRAMMY.com for more info on all things Billy Joel!

Freddy Wexler On Helping Billy Joel "Turn The Lights Back On" — At The 2024 GRAMMYs And Beyond

They say to not meet your heroes. But when Freddy Wexler — a lifelong Billy Joel fan — did just that, it was as if Joel walked straight out of his record collection.

"I think the truth is none of it is that surprising," the 37-year-old songwriter and producer tells GRAMMY.com. "That's the best part. From his music, I would've thought this is a humble, brilliant everyman who probably walks around with a very grounded perspective, and that's exactly who he is."

That groundedness made possible "Turn the Lights Back On" — the hit comeback single they co-wrote, and Wexler co-produced; Joel performed a resplendent version at the 2024 GRAMMYs with Laufey. Joel hadn't released a pop album since 1993's River of Dreams; for him to return to the throne would take an awfully demonstrative song, true to his life.

"I think it's a very raw, honest, real perspective that is true to Billy," Wexler explains. "I think it's the first time we've heard him acknowledge mistakes and regret in quite this way."

Specifically, Joel's return highlights his regret over spending three decades mostly on the bench, largely absent from the pop scene. As Joel wonders aloud in the stirring, arpeggiated chorus, "Is there still time for forgiveness?"

"Forgiveness" is a curious word. Why would the five-time GRAMMY winner and 23-time nominee possibly need to seek forgiveness? Regardless — as the song goes — he's "tryin' to find the magic/ That we lost somehow." The song's message — an attempt to recapture a lost essence — transcends Joel's personal headspace, connecting with a universal longing and nostalgia.

Read on for an interview with Wexler about the impact of "Turn the Lights Back On," why he thinks Joel took such an extended sabbatical, the prospect of more new music, and much more.

This interview has been edited for clarity.

**You did a great interview with Rolling Stone ahead of the 2024 GRAMMYs. Now, we're on the other side of it; you got to see how it went down on the telecast, and resonated with the audience and world. What was that like?**

It's why I make music — to hopefully make people feel something. This song has really resonated in such a big way. More than looking at its commercial success on the charts or on radio, which has been awesome to see, the comments on Instagram and YouTube have been the most rewarding part of it.

Why do you think it resonated? Beyond the king picking up his crown again?

I don't think the song is trying to be anything it's not. I think it's a very raw, honest, real perspective that is true to Billy. I think it's the first time we've heard him acknowledge mistakes and regret in quite this way. And to hear him do it in a hopeful way where he's asking, "Is it too late for forgiveness?" is just very moving, I think.

Forgiveness? That's interesting. What would any of us need to forgive him?

He has said in other interviews, "Sometimes people say they have no regrets at the end of their life." And he said, "I don't think that's possible. If you've lived a full life, of course you have regrets." He has said that he has many things he wishes he would've done differently. This is an opportunity to express that.

I think what's interesting about the song is it has found meaning in various ways with various people and listeners. Some people imagine Billy is singing to former lovers or friends. Other people imagine Billy is singing to his fans asking, "Did I wait too long to record again?" Other people wonder if Billy is singing to the songwriting Gods and muses. Did I wait too long to write again?

In Israel, where the song was number one — or is number one, I haven't checked today — I think the song's taken on the meaning of just wanting things to be normal, wanting hostages to come home and turn the lights back on. So, you never know where a song is going to resonate, but I think that Billy just found his own meaning with it.

You know the discography front to back. What lines can you draw from "Turn the Lights Back On" to past works?

I think it draws on various pieces of his catalog, right? "She's Always a Woman" has a sort of piano arpeggio in the chorus. To me, it feels like a natural progression. It feels like, on the one hand, it's a new song. On the other, it could have come out right after River of Dreams. To me, it just kind of feels natural.

**Back when you spoke with Rolling Stone, you said you couldn't wait to hear "Turn the Lights Back On" at Madison Square Garden. How'd it sound?**

Amazing. Billy is a consummate live performer. I think he's one of the few artists where everything is better live, and everything is always a little bit different each time it's played live.

It's been really cool to watch Billy and the band continue to change and improve the song and the song's dynamics for the show. He told me tonight that tomorrow night in Tampa, I think they're going to try to play with the key of the song, potentially — try it a half a step higher.

Those are the sort of things I think great artists do, right? It's different from being on a certain type of tour where every single song is the same, the set list is the same, the key is the same, the arrangements are the same.

With Billy, there's a lot of feeling and, "Hey, why don't we try it this way? Let's play it a little faster. Let's play it a little slower. Let's try it in a different key." I just think that's super cool. You have to be a really good musician to just do that on the fly.

What have you learned from him that applies to your music making, writ large?

I've learned so much from him. As Olivia Rodrigo said to us at GRAMMY rehearsals, "He's the blueprint when it comes to songwriting."

He has helped raise the bar for me when it comes to melodies and lyrics, but the thing I keep coming back to is he's reminded me that even the greatest artists and songwriters ever sometimes forget how great they are. I think we need to be careful not to give that inner voice and inner critic too much power.

Can you talk about how the music video came to be?

Well, I had a dream that Billy was singing the opening two lines of the song, but it was a 25-year-old version of Billy. It was arresting.

When I woke up, I sort of had the vision for the video, which was one set, an empty venue of some kind, and four Billy Joels. The Billy Joel that really exists today, but then three Billys from three iconic eras where each Billy would seamlessly pick up the song where the other left off.

The idea behind that was to sort of accentuate the question of the song — did I wait too long to turn the lights back on?

And so, to kind of take us through time and through all these years, I teamed up with an amazing co-director, Warren Fu, who's done everything from Dua Lipa to Daft Punk, and an artificial intelligence company called Deep Voodoo to make that vision possible.

What I'm driven by is the opportunity to create conversations, cultural moments, things that make people feel something. What was cool here is as scary as AI is — and I think it is scary in many ways — we were able to give an example of how you can use it in a positive way to execute a creative artistic vision that previously would've been impossible to execute.

Yeah, so I'm pleased with it and I'm thankful that Billy did a video. He didn't have to do one, but he liked the idea of it. He felt it was different, and I think he was moved by it as well.

What do you think is the next step here?

It's been a really rewarding process. And Billy is open-minded, which is really cool for an artist of that level, who's not a new artist by any stretch. To actually be described as being in a place in his life where he's open-minded, means anything is possible. I could tell you that I would love there to be more music.

I'd love to get your honest appraisal. And I know you're not him. But his last pop album was released 31 years ago. In that long interim, what do you think was going on with him, creatively?

Look, I'm not Billy Joel, but I think there were a number of factors going on with him. Somewhere along the way, I think he stopped having fun with music, which is the reason he got into it, or which is a big part of the reason he got into it. When it stopped being fun, I don't think he really wanted to do it anymore.

Another piece to it is that Billy is a perfectionist, and that perfectionism is evident in the caliber of his songwriting. Having always written 100 percent of his songs, Billy at some point probably found that process to be painstaking, to try to hit that bar where he's probably wondering in his head, What would Beethoven think of this? What would Leonard Bernstein think of this?

I think part of what was different here was that, perhaps, there was something liberating about "Turn the Lights Back On" being a seed that was brought to Billy. In this way, he could be a little disconnected from it, where maybe he didn't have to have the self-imposed pressure that he would if it was an idea that he'd been trying to finish for a while.

Ironically, he still made it. Well, there's no "ironically," but I think that's it. There's something to that.

Billy Joel's Biggest Songs: 15 Tracks That Best Showcase The Piano Man's Storytelling And Pop Hooks