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 four of Album Of The Year GRAMMY Winners, explore the albums that won — and were runners-up for — music's biggest prize for the 1990s.

1990 ALBUM OF THE YEAR

Back On The Block
Quincy Jones (And Various Artists)

Almost 40 years after launching his career as a young jazz trumpeter in Lionel Hampton's band, Quincy Jones utilized his wide range of skills as a performer, composer, arranger, and producer to create Back On The Block, an album with a spectrum of musical colors spaning jazz to rap, soul, world music, and pop. Varied contributors include Joe Zawinul, Sarah Vaughan, Ella Fitzgerald, Dizzy Gillespie, Miles Davis, Chaka Khan, Herbie Hancock, Ray Charles, Kool Moe Dee, Ice-T, Melle Mel, and pre-teen R&B star Tevin Campbell. Because of its eclecticism, the album brought home GRAMMYs in divergent categories including arrangement, rap and jazz, and Jones was named Producer Of The Year (Non-Classical) for the third time.

Other Nominees:
Mariah Carey, Mariah Carey
… But Seriously, Phil Collins
Please Hammer Don't Hurt 'Em, M.C. Hammer
Wilson Phillips, Wilson Phillips

1991 ALBUM OF THE YEAR

Unforgettable With Love
Natalie Cole

Prior to releasing Unforgettable With Love, Natalie Cole — named Best New Artist for 1975 at the 18th GRAMMY Awards — had kept a fair distance from her musical heritage, creating mostly pop- and R&B-based recordings. But she seemed to come to peace with her lineage on Unforgettable …, striking a beautiful balance of jazz and R&B standards, and taking advantage of technological recording advances allowing her to "duet" with her late father, jazz icon Nat "King" Cole. (The massive success of the album led her to move even further toward jazz on subsequent albums.) In addition to Album Of The Year, Unforgettable With Love's title track was dubbed both Record Of The Year and Song Of The Year (won by songwriter Irving Gordon).

Other Nominees:
Heart In Motion, Amy Grant
Luck Of The Draw, Bonnie Raitt
Out Of Time, R.E.M.
The Rhythm Of The Saints, Paul Simon

1992 ALBUM OF THE YEAR

Unplugged
Eric Clapton

In a year of incredibly strong albums, including U2's heralded Achtung Baby and Annie Lennox's solo debut, an acoustic effort by a guitar legend was recognized as the year's standout. One of the more stellar albums of the MTV "Unplugged" series, Eric Clapton's 1992 effort (recorded in front of an intimate audience at Bray Studios in London) was a high point in his '90s output. The stripped-down yet genuine collection included a reworking of the classic "Layla," traditional blues numbers "Rollin' And Tumblin'" and "Before You Accuse Me," and "Tears In Heaven," a touching farewell to his young son Conor, who had died the previous year. The track won both Song and Record Of The Year; in total, Unplugged garnered six GRAMMYs.

Other Nominees:
Ingenue, k.d. lang
Diva, Annie Lennox
Achtung Baby, U2
Beauty And The Beast — Motion Picture Soundtrack, Various Artists

1993 ALBUM OF THE YEAR

The Bodyguard — Original Soundtrack Album 
Whitney Houston

Seven years after her splashy self-titled debut, Whitney Houston took a detour from pop superstardom into acting with the film The Bodyguard. Although the romantic thriller failed to garner critical acclaim, the explosive popularity of the soundtrack resulted in an increase in box-office receipts. The album featured such standout Houston performances as "I'm Every Woman," the soaring "I Have Nothing" and the monumental yet plaintive "I Will Always Love You." Penned by Dolly Parton, it wasn't the first time the latter song was heard in a film: The same year "I Will Always Love You" appeared on Parton's album Jolene (1974), Martin Scorsese used it in his romantic drama Alice Doesn't Live Here Anymore. The Bodyguard would spend 20 weeks at No. 1 and sell more than 17 million copies, making it the biggest-selling soundtrack album in history.

Other Nominees:
Kamakiriad, Donald Fagen
River Of Dreams, Billy Joel
Automatic For The People, R.E.M.
Ten Summoner's Tales, Sting

1994 ALBUM OF THE YEAR

MTV Unplugged
Tony Bennett

More than 40 years into his career, 68-year-old Tony Bennett — one of the most enduring and respected pop standards interpreters — suddenly gained a whole new appreciative audience, many of whom were not even born when he'd won Record Of The Year for 1962 for "I Left My Heart In San Francisco." Under the shrewd guidance of his son and manager Danny, MTV Unplugged became the apex of a refreshed phase of Bennett's career. Ably supported by his loyal and elegant Ralph Sharon Trio (and joined by guests Elvis Costello and k.d. lang) on MTV Unplugged, Bennett introduced a new generation to the Great American Songbook, once again proving that standards are hard to beat — in any era. 

Other Nominees:
The 3 Tenors In Concert 1994, Jose Carreras, Placido Domingo, Luciano Pavarotti, and Zubin Mehta
From The Cradle, Eric Clapton
Longing In Their Hearts, Bonnie Raitt
Seal, Seal

1995 ALBUM OF THE YEAR

Jagged Little Pill
Alanis Morissette

Alanis Morissette was quite successful as a child actress and teen pop star years before she took the world by storm in the mid-'90s. And storm is no exaggeration: Jagged Little Pill, her moody, angst-filled debut for Maverick Records was embraced by pretty much anyone who needed a soundtrack to a relationship gone sour. Co-written and produced by Glen Ballard, the album — which has become one of the best-selling recordings by a woman ever — features a solid lineup of tracks, including "You Oughta Know" (a double GRAMMY winner), "Ironic," "You Learn," and "Hand In My Pocket."

Other Nominees:
Daydream, Mariah Carey
History Past, Present And Future Book I, Michael Jackson
Relish, Joan Osborne
Vitalogy, Pearl Jam

1996 ALBUM OF THE YEAR

Falling Into You
Celine Dion

Celine Dion won her first GRAMMY and became a household name in 1992 primarily through her duet with Peabo Bryson on the title track to the Disney animated film Beauty And The Beast. But the expansiveness of Falling Into You, featuring the gorgeous ballad "Because You Loved Me," written by Diane Warren, foreshadowed the artistic level Dion would subsequently reach. Embellished with love-struck strings and shimmery touches of Latin American and dance-floor rhythms, the album perfectly captures the emotions and confidence of a then-recently married Dion. It also set her up perfectly to record the most recognizable song of her career: four-time GRAMMY winner "My Heart Will Go On," from the 1997 film Titanic.

Other Nominees:
Odelay, Beck
The Score, Fugees
Mellon Collie And The Infinite Sadness, the Smashing Pumpkins
Waiting To Exhale — Motion Picture Soundtrack, Various Artists

1997 ALBUM OF THE YEAR

Time Out Of Mind
Bob Dylan

After a significant creative break from original recordings, Bob Dylan returned in 1997 with Time Out Of Mind, a rough-hewn collection of dark songs produced with the help of Daniel Lanois. Written during a long snowy winter in Minnesota and recorded in Miami's Criteria Studios, Time Out Of Mind's foreboding feel was heralded by critics as a return to form for Dylan. Said to be haunted by the influence of Buddy Holly during the sessions, he was further spooked by a serious chest infection that sidelined him during the final production of the album. Dylan would recover and, interestingly, share the media spotlight during this period with his son Jakob, whose band the Wallflowers were enjoying success with Bringing Down The Horse.

Other Nominees:
The Day, Babyface
This Fire, Paula Cole
Flaming Pie, Paul McCartney
OK Computer, Radiohead

1998 ALBUM OF THE YEAR

The Miseducation Of Lauryn Hill
Lauryn Hill

After several rewarding years with the Fugees, Lauryn Hill branched out on her own with The Miseducation Of Lauryn Hill, a soulful stew of hip-hop, reggae, R&B, and Motown. The album was propelled by the hit single "Doo Wop (That Thing)," which picked up GRAMMYs for Best Female R&B Vocal Performance and Best Rhythm & Blues Song — in total, she brought home five GRAMMYs at the 41st GRAMMY Awards. Although named Best New Artist, Hill was certainly not new to the entertainment industry. Before her solo success, she'd dipped her toes into acting ("As The World Turns" and Sister Act 2) and was a member of the Fugees, two-time GRAMMY winners for 1996's The Score.

Other Nominees:
The Globe Sessions, Sheryl Crow
Version 2.0, Garbage
Ray Of Light, Madonna
Come On Over, Shania Twain

1999 ALBUM OF THE YEAR

Supernatural
Santana

With the help of then-Arista head Clive Davis, Carlos Santana reintroduced himself to the world in 1999 in a new light. Already a veteran dating back to San Francisco's Summer of Love, Supernatural found Santana paired up with an array of contemporary stars, including Matchbox Twenty's Rob Thomas ("Smooth"), Lauryn Hill and Cee Lo Green ("Do You Like The Way"), rock en español act Maná ("Corizon Espinado"), as well as fellow six-stringer Eric Clapton ("The Calling"), for an album that crossed both musical and generational divides. New fans of Santana reveled in their discovery, but tenured fans knew he'd been a master of unique collaborations for years (including work with Alice Coltrane, John McLaughlin and Nigerian drummer Babatunde Olatunji, among many others). Supernatural was anointed with nine GRAMMYs, including Album, Record and Song Of The Year (the latter for writers Rob Thomas and Itaal Shur). 

Other Nominees: 
Millennium, Backstreet Boys
Fly, Dixie Chicks
When I Look In Your Eyes, Diana Krall
Fanmail, TLC 

The 2024 Paris Olympics came to life today as the Parade of Nations glided along the Seine River for the opening ceremony. The opening spectacular featured musical performances from Lady Gaga, Celine Dion, and more. Earlier in the week, some of music’s biggest names were also spotted in the city for the Olympics, including Olympics special correspondent Snoop Dogg, BTS' Jin, Pharrell Williams, Tyla, Rosalía, and Ariana Grande.

Read More: When The GRAMMYs & Olympics Align: 7 Times Music's Biggest Night Met Global Sports Glory

Below, see a full breakdown of some of the special musical moments from the 2024 Paris Olympics opening ceremony.

In a grand entrance, Lady Gaga emerged behind a heart-shaped plume of feathers on the golden steps of Square Barye, captivating the audience with her cover of the French classic "Mon truc en plumes." Accompanied by cabaret-style background dancers, she flawlessly belted out the song, executed impressive choreography, and even played the piano.

Lady Gaga’s connection to the song is notable, as Zizi Jeanmarie, the original artist, starred in Cole Porter’s musical "Anything Goes," which was Lady Gaga’s debut jazz release.

"Although I am not a French artist, I have always felt a very special connection with French people and singing French music — I wanted nothing more than to create a performance that would warm the heart of France, celebrate French art and music, and on such a momentous occasion remind everyone of one of the most magical cities on earth — Paris," Lady Gaga shared on Instagram.

Celine Dion 

Closing out the ceremony with her first performance in four years since being diagnosed with stiff-person syndrome, Celine Dion delivered a stunning rendition of Edith Piaf’s everlasting classic, "L’Hymne à l’amour" from the Eiffel Tower. Her impressive vocals made it seem as though she had never left.

This performance marked Dion’s return to the Olympic stage; she previously performed "The Power of the Dream" with the Atlanta Symphony Orchestra and composer David Foster for the 1996 Olympics.

Axelle Saint-Cirel 

Performing the National Anthem is no small feat, yet French mezzo-soprano Axelle Saint-Cirel knocked it out of the park.

Dressed in a French-flag-inspired Dior gown, she delivered a stunning rendition of "La Marseillaise" from the roof of the Grand Palais, infusing the patriotic anthem with her own contemporary twist.

With the stirring lyrics, "To arms, citizens! Form your battalions. Let’s march, let’s march," Saint-Cirel brought the spirit of patriotism resonated powerfully throughout the city. 

Gojira 

Making history as the first metal band to perform at the Olympics Opening Ceremony is just one way Gojira made their mark at the event.

The French band took the stage at the Conciergerie, a historic site that once housed French kings during medieval times and later became a prison during the French Revolution, famously detaining Marie Antoinette – Creating a monumental moment as the first metal band to perform at the ceremony, but also stirring the pot as they used the chance to nod toward politics. 

Performing a revamped version of "Ah! Ça Ira," an anthem that grew popular during the French Revolution, the artists aren’t new to using their songs as a vehicle for political messages. The GRAMMY-nominated group are outspoken about issues concerning the environment, particularly with their song, "Amazonia," which called out the climate crisis in the Amazon Rainforest. Using music to spread awareness about political issues is about as metal as it gets. 

Aya Nakamura

Currently France’s most-streamed musician, Aya Nakamura went for gold in a striking metallic outfit as she took the stage alongside members of the French Republican Guard. As there were showstopping, blazing fireworks going off behind her, she performed two of her own hit songs, "Pookie" and "Djadja," then followed with renditions of Charles Aznavour’s "For Me Formidable" and "La Bohème." 

Although there was backlash regarding Nakamura’s suitability for performing at the ceremony, French President Emmanuel Macron dismissed the criticism. "She speaks to a good number of our fellow citizens and I think she is absolutely in her rightful place in an opening or closing ceremony," Macron told the Guardian.

The GRAMMY Awards and the Summer Olympics are unarguably the pinnacles of their respective fields. Indeed, most recording artists dream of making an acceptance speech for their magnum opus during the biggest night on the music industry calendar, while athletes competing in any of the Games’ 32 different disciplines are continually motivated by the lure of the podium.

But how often have the two intertwined since the first GRAMMY ceremony took place a year before Rome 1960?

Well, perhaps more than you think. Sure, the musical efforts from basketballers Shaquille O’Neal (gold at Atlanta 1996), Kobe Bryant (gold at Beijing 2008 and London 2012), and Damian Lillard (gold at Tokyo 2020) might not have registered with the Recording Academy. Likewise, those from track and field hero Carl Lewis (nine golds and one silver from four consecutive Games), light middleweight boxer Roy Jones Jr. (silver at Seoul 1988), and near-superhuman sprinter Usain Bolt (eight golds from Beijing, London, and Rio 2016).

But there are a handful of sportsmen (sadly, not yet sportswomen) who have competed for both gold medals and golden gramophones. There are also pop stars who have attempted to capture the blood, sweat, and tears of the quadrennial spectacle in musical form — whether as an official anthem, television theme, or simply a motivational tool — and been rewarded with GRAMMY recognition for their efforts.

With the Olympics’ return to Paris just around the corner (July 26-Aug.11), what better time to celebrate those occasions when the Games and the GRAMMYs align?

It seems fair to say that Gloria Estefan, the Cuban hitmaker who helped to bring Latin pop to the masses, and avant-garde eccentric Björk, wouldn't appear to have much in common. They have, however, both received GRAMMY nominations in the Best Female Pop Vocal Performance category for their respective Olympics themes.

Estefan was recognized at the 1997 ceremony for "Reach," the gospel-tinged power ballad that embodied the spirit of the previous year's Atlanta Games. Iceland's finest musical export picked up a nod for "Oceania," the swooping experimental number she co-produced with Warp label founder Mark Bell which helped to soundtrack the opening ceremony of Athens 2004. And both went home empty-handed, the former losing to Toni Braxton's "Un-Break My Heart" and the latter to Norah Jones' "Sunrise."

The incomparable Whitney Houston might not have added to her GRAMMY haul at the 1989 ceremony — Tracy Chapman's "Fast Car" prevented her from converting her sole nod, Best Female Pop Vocal Performance, into a win — but she still stole the show. Houston owned opened the 31st GRAMMY Awards with a performance of "One Moment in Time," the nominated track that had defined NBC's coverage of the Seoul Games.

Co-written by Albert Hammond, produced by Narada Michael Walden and featuring the London Symphony Orchestra, the UK chart-topping single certainly had a first-class pedigree. But it was Houston's lung-busting vocals that made the torch song such a sports montage favorite. The iconic diva once again stirred the emotions on the music industry's biggest night of the year with a rendition that's since become a staple of her many hits collections.

Read more: Songbook: A Guide To Whitney Houston's Iconic Discography, From Her '80s Pop Reign To Soundtrack Smashes

Shakira fought off some interesting company to win 2001's Best Latin Pop Album GRAMMY. Alongside records from Luis Miguel and Alejandro Sanz, the category also included Christina Aguilera's first Spanish-language affair, and a bilingual effort from champion boxer Oscar De La Hoya.

The American became a national sensation overnight when he won the men's lightweight boxing gold at the 1992 Barcelona Olympics. But despite new material from seasoned hitmaker Diane Warren and a cover of Bee Gees' classic "Run to Me," his 13-track self-titled debut didn't exactly set the charts alight. Despite the GRAMMY nod, De La Hoya hasn't entered the recording studio since.

But when it comes to GRAMMY-nominated boxers, then the man who famously floated like a butterfly and stung like a bee is undoubtedly the don. Shortly before he changed his name from Cassius Clay to Muhammad Ali, the light heavyweight gold medalist of the 1960 Rome Games was recognized for his amusing repartee in the Best Comedy Performance category. Hailed by some as a progenitor of the rap artform, I Am the Greatest lost out to a man slightly different in stature: portly parodist Allan Sherman.   

And the sporting icon also had to experience another rare defeat 13 years later when his reading of The Adventures Of Ali And His Gang Vs. Mr. Tooth Decay lost out to Hermione Gingold & Karl Böhm's Prokofiev: Peter and the Wolf/Saint-Saëns: Carnival of the Animals in 1977’s Best Recording for Children.

Legendary composer John Williams is one of the most-nominated artists in GRAMMY history having amassed 76 nods since his work on detective series "Checkmate" was recognized in Best Score Soundtrack for Visual Media in 1962. Two of his wins in this remarkable tally have been Games-related.

In 1985, Williams won Best Instrumental Composition for "Olympic Fanfare and Theme," which he wrote and arranged for the Los Angeles Games the year prior. In 1989, the conductor received a nod in the same category for "Olympic Spirit," another majestic instrumental produced for NBC’s coverage of Seoul '88.

Interestingly, Wiliams isn't a particularly avid sports fan, but as he told The New York Times, he can still relate to those going for gold. "The human spirit stretching to prove itself is also typical of what musicians attempt to achieve in a symphonic effort."

Magic Johnson’s Educational Guide Wins Best Spoken Word Album  

Basketball appears to produce more aspiring musicians than any sport. Marvin Bagley III, Lonzo Ball, and Brandon Clarke are just a few of the NBA names to have released albums in the last few years. But the only time a hooper has been recognized at the GRAMMYs is for an audiobook.   

The year before guiding Team USA to the men's basketball gold at Barcelona 1992, Magic Johnson had bravely revealed that he'd contracted HIV, defying the stigma that surrounded it at the time. The year after his Olympic triumph, the iconic shooting guard was honored for joining the fight against the disease. Johnson won the Best Spoken Word or Non-Musical Album GRAMMY for What You Can Do To Avoid AIDS, a compassionate guide designed to educate the youth of America whose proceeds went to the sportsman's eponymous foundation.   

Based on the real-life exploits of British runners Harold Abrahams and Eric Liddell at the 1924 Paris Olympics, period drama Chariots of Fire won Best Picture at the 1982 Oscars. But it’s the titular number from Vangelis' anachronistic synth-based score that remains its crowning glory.

First played as the aspiring Olympians train beachside in the slow-motion opening flashback, the instrumental not only topped the Billboard Hot 100, it also picked up a GRAMMY nod for Record of the Year. "Chariots of Fire" has since become synonymous with the more modern iteration of the Games, appearing in the BBC's coverage of Seoul '88, gracing the start of the men's 100m final at Atlanta '96, and perhaps most famously of all, being performed at London 2012's opening ceremony by none other than Rowan Atkinson's rubber-faced buffoon Mr. Bean.

Read more: 10 Essential Vangelis Albums: Remembering The Electronic Music Pioneer

Many years ago, veteran CBS journalist Anthony Mason lost his entire record collection when it disappeared in transit as he moved from one place to another. Mason was inconsolable, and you could still hear a tinge of sadness in his voice when he recounted this painful story at the inaugural GRAMMY Hall of Fame Gala, held on May 21 at the Novo Theater in Los Angeles. The evening’s eloquent and entertaining host, Mason was making a point with his personal anecdote of lost records: music is priceless, one of our most treasured possessions — both as individuals and as a community. Preserving its legacy is essential.

It’s been over 50 years since the GRAMMY Hall of Fame was established by the Recording Academy's National Trustees to honor records of deep historical significance that are at least 25 years old. This year, the Recording Academy and the GRAMMY Museum paid tribute to 10 newly inducted recordings (four albums and six singles) by artists including De La Soul, Lauryn Hill, Buena Vista Social Club, Donna Summer, Guns 'N Roses, Charley Pride, Kid Ory’s Creole Orchestra, the Doobie Brothers, William Bell, Wanda Jackson, and Atlantic Records, the annual Gala's inaugural label honoree. 

The first Hall of Fame Gala was a dazzling event presented by City National Bank, complete with guest speakers and performances by Andra Day, The War and Treaty, William Bell, Elle King, and HANSON covering some of the inducted works. The event underscored the sumptuous variety that continues to define popular music, spanning the sounds of hip-hop, rock, country, R&B, disco, and even the venerable Cuban dance music of decades past.

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Here are six takeaway points from an evening marked by celebration and transcendent musical memories.

Donna Summer’s “I Feel Love” Has Lost None Of Its Edge

Studious music fans are well aware that “I Feel Love” — written by Donna Summer with visionary Italian producer Giorgio Moroder and British songwriter Pete Bellotte — is a shimmering disco gem, a futuristic precursor to the entire EDM genre. What was stunning about the Gala performance of the track by singer and actress Andra Day is how edgy and fresh the 1977 track still sounds today. Day’s ethereal reading was appropriately hypnotic, with live drums, nebulous synth textures and glorious, three-part vocal harmonies.

The Future Of American Music Is In Good Hands With The War and Treaty

Formed by husband and wife Michael Trotter Jr. and Tanya Trotter, The War and Treaty were rightfully nominated for Best New Artist at the 2024 GRAMMYs earlier this year. The duo’s electrifying combination of Americana, gospel, and rock is especially effective on a live stage, and the pair delivered a memorable rendition of Charley Pride's inducted Hall Of Fame country hit, “Kiss an Angel Good Mornin’,” recorded in 1971. The War and Treaty also received a standing ovation later in the evening for their performance of Ray Charles' classic, "What'd I Say," released in 1959.

26 Years Later, The Miseducation of Lauryn Hill Is Still Ahead Of Its Time

Released in August 1998, The Miseducation of Lauryn Hill sold more than 10 million copies in the U.S. alone, and became the first hip-hop artist to win Album Of The Year at the 1999 GRAMMYs. At the Gala, Andra Day delighted the audience — including Lauryn Hill and her family — with a soulful version of hidden track “Can’t Take My Eyes Off You,” originally a Frankie Valli hit from 1967. Day's performance was marked by brassy accents and funky bass lines, creating an unapologetically lush rendition that mirrored the sonic richness of Hill's original take.

Read more: Revisiting 'The Miseducation Of Lauryn Hill': Why The Multiple GRAMMY-Winning Record Is Still Everything 25 Years Later

Atlantic Records Transformed The Face Of Global Culture

Celebrating 75 years of inaugural label honoree Atlantic Records in the span of a few minutes loomed like an impossible task, but the Gala producers paid tribute to the legacy label well. Beginning with a short video, the event segment highlighted the miraculous roster assembled by Ahmet Ertegun and Herb Abramson that included Ray Charles, Aretha Franklin, Led Zeppelin, ABBA, Phil Collins, and Bruno Mars — to name just a few. But it was the actual performances that highlighted the label’s hold on pop culture: Ravyn Lenae’s breathy take on Roberta Flack’s “Killing Me Softly With His Song” made a case for considering the 1973 hit as one of the most vulnerable recordings of all time. On the other side of the dynamic spectrum, the epic rendition of Led Zeppelin’s “Stairway to Heaven” by alt-rock quartet Shinedown was appropriately intense.

The Wondrous Legacy Of Stax Records Should Not Be Underestimated

The home of such legendary artists as Otis Redding, The Staple Singers and Carla Thomas, Memphis-based Stax Records developed a rich, ragged sound with gospel, blues, R&B and luminous pop as its foundational pillars. Currently the subject of an HBO documentary series, "Stax: Soulsville USA," the record label defined American music during the ‘60s and ‘70s. Memphis singer/songwriter William Bell was one of its most prolific artists, and he regaled guests with a performance of his Hall of Fame inducted debut 1961 single, “You Don’t Miss Your Water.” At 84 years of age — and the winner of a Best Americana Album at the 2017 GRAMMYs — Bell was in rare form, and the band backed him up seamlessly, reproducing the sinuous organ lines of the original.

Read more: 1968: A Year Of Change For The World, Memphis & Stax Records

Future Editions Of The Gala Will Continue To Surprise And Delight

The inaugural GRAMMY Hall of Fame Gala set a high standard for future celebrations of iconic recordings. The event proved to be fertile ground for the creation of indelible music moments, showcasing the beauty and authority of music across genres and generations. Other honored Hall of Fame inducted recordings including De La Soul’s 3 Feet High And Rising, Guns’N’Roses Appetite For Destruction, the Buena Vista Social Club’s debut, Wanda Jackson’s “Let’s Have A Party,” Kid Ory’s Creole Orchestra’s “Ory’s Creole Trombone” and The Doobie Brothers’ “What A Fool Believes.”  

As we look ahead, the excitement for future Galas grows, with each event promising to honor more historic recordings, and uphold the tradition of celebrating excellence in music's rich legacy.

Explore The 2024 GRAMMY Hall Of Fame Inducted Recordings: Lauryn Hill, Guns N' Roses, De La Soul, Donna Summer & Many More

As the GRAMMY Hall of Fame celebrates its 50th anniversary, the Recording Academy and GRAMMY Museum are proud to honor the 2024 inductees with the inaugural GRAMMY Hall of Fame Gala, presented by City National Bank, taking place Tuesday, May 21, at the Novo Theater in Los Angeles. This year, the GRAMMY Hall of Fame will induct 10 recordings: four albums and six singles.

This year's class of inductees highlights the diversity and historical significance of recordings that have shaped the musical landscape. From Lauryn Hill's groundbreaking album The Miseducation of Lauryn Hill to the electrifying Appetite For Destruction by Guns N' Roses, the selected recordings span genres and eras and showcase the lasting impact of these timeless works. Other notable inductees include De La Soul's 3 Feet High and Rising, Buena Vista Social Club's self-titled album, and singles by Donna Summer, Charley Pride, Wanda Jackson, Kid Ory's Creole Orchestra, the Doobie Brothers, and William Bell.

The GRAMMY Hall Of Fame Gala promises an unforgettable night, featuring performances that pay tribute to the newly inducted recordings. Artists such as Andra Day, William Bell, Elle King, and HANSON will bring these iconic songs to life while celebrating the rich heritage of the music honored this year. Hosted by veteran CBS journalist Anthony Mason, the evening will also recognize the contributions of Atlantic Records and feature an online auction benefiting the GRAMMY Museum.

The GRAMMY Hall Of Fame was established by the Recording Academy's National Trustees in 1973 to honor recordings of lasting qualitative or historical significance that are at least 25 years old. The inducted recordings are selected annually by a special member committee of eminent and knowledgeable professionals from all branches of the recording arts with final ratification by the Recording Academy's National Board of Trustees. There are currently 1,152 inducted recordings in the GRAMMY Hall Of Fame. Explore the full list of all the GRAMMY Hall Of Fame inducted recordings.

Join us as we honor the 2024 GRAMMY Hall of Fame inductees and celebrate the recordings that continue to resonate with listeners around the world by exploring the newly inducted works in depth below.

Tickets for the inaugural GRAMMY Hall of Fame Gala are available now.

De La Soul, 3 Feet High And Rising

Tommy Boy Records, 1989

Celebrating its 35th anniversary in 2024, 3 Feet High and Rising is the debut studio album from Long Island, New York-born hip-hop trio De La Soul. Released on Tommy Boy Records in 1989 — considered one of the years during hip-hop’s "Golden Age" — and produced by legendary DJ and hip-hop producer Prince Paul, the album was a critical and commercial success. Featuring samples that draw on a vast array of genres — from doo-wop and psychedelic rock to children’s music — the album was unlike any hip-hop album that came before it. Melding inventive production with clever and humorous wordplay and samples from artists as diverse as Johnny Cash (the title of the album is derived from the Cash song "Five Feet High and Rising"), Hall & Oates, Steely Dan, and the Turtles, 3 Feet High And Rising is often considered the beginning of 1990s alternative hip-hop. De La Soul’s use of skits/comedy sketches as interludes also had a huge influence on future generations of rappers. In a review of the album for The Village Voice in 1989, music critic Robert Christgau wrote, "An inevitable development in the class history of rap, [De La Soul is] new wave to Public Enemy’s punk."

Featuring the singles "The Magic Number," "Buddy," "Eye Know," and the GRAMMY-nominated "Me Myself and I," 3 Feet High and Rising spent five weeks at No. 1 on the Billboard Top R&B/Hip-Hop Albums chart. "Buddy" is one of the album’s hallmark songs and features cameos from Q-Tip, Phife Dawg, Jungle Brothers, Queen Latifah, and Monie Love — who are collectively known as the Native Tongues (along with Black Sheep, the Beatnuts and Chi Ali). 

The platinum-certified record consistently places on lists of the greatest albums of all time, including in 2023 when Paste magazine featured it at No. 4 on their list of the Greatest Debut Albums of the 1980s. In 2010 it was selected by the Library of Congress for preservation in the National Recording Registry. 3 Feet High and Rising has influenced countless artists, from the Roots and Yasiin Bey to OutKast and Common. With the album's undeniably trailblazing release, Posdnuos, Trugoy the Dove and Pasemaster Mase of De La Soul have cemented themselves as one of the best rap groups of all time. 



Kelvin "Posdnuos" Mercer – Artist/Songwriter

David "Trugoy the Dove" Jolicoeur – Artist/Songwriter

Vincent "Maseo" Mason – Artist/Songwriter

"Prince Paul" Huston – Producer/Engineer/Songwriter

Alan Watts – Engineer/Mixer

Guns N’ Roses, Appetite For Destruction

Geffen, 1987

Guns N’ Roses’ Appetite For Destruction LP will go down in history as one of the most iconic and influential rock albums ever made. But when it was released in the summer of 1987, Appetite didn’t initially garner much mainstream attention. Once the band hit the road in support of the album, singles "Welcome to the Jungle", "Paradise City" and "Sweet Child O' Mine" started getting significant airplay. By the summer of 1988, the band found themselves with a No. 1 album on the Billboard 200. Appetite For Destruction became the best-selling album of all time in the U.S. and the best-selling debut album. In a review for Pitchfork, Maura Johnston said, "The debut from Guns N' Roses was a watershed moment in '80s rock that chronicled every vice of Los Angeles led by the lye-voiced Axl Rose and a legendary, switchblade-sharp band."


Produced by Mike Clink, Appetite for Destruction is widely considered a near perfect album where the deep cuts are just as good as the hits. From the opening roar of "Welcome to the Jungle" and the iconic "Sweet Child O’ Mine," to "It's So Easy," "Nightrain," "You're Crazy," and "Mr. Brownstone," the album is an artistic triumph in sound, songwriting and production, earning its place at No. 62 on Rolling Stone’s list of the 500 Greatest Albums of All Time. In many ways, the album changed the world. In a 2018 article for Revolver, Dan Epstein noted that Appetite ushered in a new wave of bands like the Black Crowes with its "blues-based music played by an unflashy yet hard-swinging rhythm section, a rock-solid rhythm guitarist, a flashy-but-soulful lead player and a charismatic vocalist who exuded danger and decadence." It also paved the way for Nirvana and the arrival of grunge as rock fans’ "ears were primed for more raw, real and rebellious hard rock." Now, nearly 40 years since its release, Appetite for Destruction has sold over 30 million copies worldwide and is without a doubt one of the most successful debut albums of all time.

Axl Rose – Artist/Songwriter

Slash – Artist/Songwriter

Duff McKagan – Artist/Songwriter

Steven Adler – Artist/Songwriter

Izzy Stradlin – Artist/Songwriter

Mike Clink – Engineer/Producer

Steve Thompson – Mixer

Buena Vista Social Club, Buena Vista Social Club

World Circuit/Nonesuch, 1997 

In 1996, a group of veteran Cuban musicians was assembled to record an album that would pay tribute to Cuba’s "musical golden age" of the 1930s to 1950s. Showcasing styles of music that were popular at the time, such as son, bolero and danzón, the group became known as the Buena Vista Social Club, named after a 1940s-era members-only music club that was located in the Buenavista quarter of Havana. Organized by British music producer and executive Nick Gold and produced by GRAMMY-winning American guitarist Ry Cooder and Cuban director Juan de Marcos Gonzalez, Buena Vista Social Club recorded their eponymous 14-track debut album in just six days. Released in September 1997, the album featured 20 of Cuba’s most prominent musicians, including vocalist Ibrahim Ferrer (1927–2005), pianist Rubén González (1919–2003), and vocalist/guitarist Compay Segundo (1907–2003). Buena Vista Social Club was an instant hit with tracks such as the four-chord song "Chan Chan," written by Segundo, and a rendition of the romantic criolla "La Bayamesa." Everything fell into place at the right time for this album — from the chemistry between the musicians to the rich music history of Havana — to create one of the moments that can only be described as pure musical magic. Buena Vista Social Club sold more than 1 million copies, earned a spot on the Billboard 200, and won the GRAMMY Award for Best Tropical Latin Performance. 

In 1998 the ensemble held performances in Amsterdam and New York that were captured on film by German director Wim Wenders. Along with interviews with musicians that were conducted in Havana, a documentary, titled Buena Vista Social Club, was released in 1999 and earned an Oscar nomination for Best Documentary (Feature). In 2003, Buena Vista Social Club was named on Rolling Stone’s list of the 500 Greatest Albums of All Time, and in 2022, it was selected by the Library of Congress for preservation in the National Recording Registry. Further cementing its place in the music history books, Buena Vista Social Club was recognized by Guinness World Records as the best-selling album of world music with more than 8 million copies sold worldwide.

Ry Cooder – Leader/Producer

Juan Demarcos Gonzalez – Director

Larry Hirsch – Engineer

Jerry Boys – Engineer/Mixer

Donna Summer, "I Feel Love"

Casablanca, 1977

When the Queen of Disco, Donna Summer, released her hit single "I Feel Love" in 1977, it propelled Brian Eno (who was in the studio with David Bowie at the time) to rush in and declare, "This single is going to change the sound of club music for the next 15 years." Now, more than 40 years after its release, "I Feel Love" definitely changed something – it changed pop music forever. Recorded with producers Giorgio Moroder and Pete Bellotte, the goal was to create a song that signified the future — and it did. "I Feel Love" was the first song to pair repetitive synthesizer loops with four-on the-floor bass drum and an off-beat hi-hat, helping to forge the path for synth pop, New Romantics, Italo disco, Hi-NRG, electro, house, techno, and more. Along the way, the global smash influenced countless artists, including Blondie, who became one of the first punk-associated groups to embrace disco, releasing "Heart of Glass" the following year.

Upon its release, "I Feel Love" reached No. 1 in several countries, including the UK, and peaked in the Top 10 on the Billboard 200. In 2012, the Library of Congress selected it for preservation in the National Recording Registry. Many of today’s biggest artists have paid tribute to Summer’s groundbreaking track with covers or samples, including Madonna, Red Hot Chili Peppers, Bronski Beat, and Beyoncé, the latter of whom samples "I Feel Love" on "Summer Renaissance," the closing track on her 2022 GRAMMY-winning album Renaissance. To this day, "I Feel Love" is considered the No. 1 greatest dance song of all time (Rolling Stone).

The song's impact on the LGBTQ+ community is equally as great as its impact on the dance community. GRAMMY-winning artist Sam Smith, who released a cover of "I Feel Love" in 2019, wrote on X: "As a queer person, ‘I Feel Love’ has followed me to every dance floor in every queer space from the minute I started clubbing. This song, to me, is an anthem of our community." In 2023, Pride Life Global ranked the track as one of the best gay anthems. 

Donna Summer – Artist/Songwriter

Giorgio Moroder – Producer/Songwriter

Pete Bellotte – Producer/Songwriter

Jürgen Koppers – Artist/Songwriter

Charley Pride, "Kiss An Angel Good Mornin'"

RCA Victor, 1971

"Kiss An Angel Good Mornin’" is GRAMMY winner Charley Pride’s biggest hit of his career. Released in 1971 as the first single from his GRAMMY-winning album Charley Pride Sings Heart Songs, the song peaked at No. 21 on the Billboard Hot 100, his only single to break the Top 40. Considered one of Pride’s signature songs, the track marked his eighth single to top the Billboard Hot Country Songs chart and became one of the biggest country hits of the decade. "Kiss An Angel Good Mornin’" was produced by Cowboy Jack Clement (Waylon Jennings, Willie Nelson, Dolly Parton) and written by Ben Peters, who got the inspiration for the song after he and his wife Jackie welcomed their daughter Angela. It’s a song purely about love and a slight departure from Pride’s other hits, such as "I’m Just Me" and "I’d Rather Love You." In a 2021 article for CMT, Marcus K. Dowling writes, "The achievement of conveying life's simple joys with a magnificent voice over complex countrypolitan rhythms and melodies — instead of discussing complex emotions over those same types of tracks — is the greatest victory of Pride's signature song." The single also earned Pride a GRAMMY nomination for Best Country Vocal Performance, Male. Since its release, "Kiss An Angel Good Mornin’" has been covered by countless artists, including George Jones, Conway Twitty, Gene Stuart, and Roy Clark — all of whom released the song in 1972 — along with Percy Sledge, Alan Jackson and Heather Myles. 

When he signed with RCA in 1964, Pride became the first Black country music singer to get a major record label deal. He went on to have 29 No. 1 hits on the Billboard Hot Country Songs chart, selling more than 70 million records. When it comes to sales for RCA, he is second only to Elvis Presley. Though he passed away in December 2020, Pride’s impact on country music, especially Black country music artists, remains. His influence can be heard in the music of up-and-coming artists such as Brittney Spencer, Mickey Guyton and Shy Carter. As country music’s first Black superstar, Pride and his warm baritone captivated audiences, broke racial and cultural barriers, and earned him an induction into the Grand Ole Opry in 1993.

Charley Pride – Artist

Jack Clement – Producer

Ben Peters – Songwriter

Ray Butts – Artist

Mike Shockley – Producer

Wanda Jackson, "Let's Have A Party"

Capitol, 1960

Originally recorded by Elvis Presley for the 1957 musical/romance film Loving You, "Let’s Have a Party" was recorded by Wanda Jackson and released on her eponymous debut album in 1958. After Jackson’s version of "Let’s Have a Party" was discovered by an Iowa disc jockey and received an increase in interest from radio listeners, Capitol Records encouraged Jackson to release the song as a single two years later in 1960. The song became a hit, making the Top 40 in the U.S. and topping the chart in the U.K. The success of "Let’s Have a Party" inspired Jackson to rename her band the Party Timers and Capitol subsequently released the compilation album, Rockin’ With Wanda that same year. As one of the first women to have a career in rock and roll, Jackson recorded a series of singles in the 1950s that helped earn her the nickname of The Queen of Rockabilly. It was Elvis, with whom she toured with in 1955, who encouraged her to record in the rockabilly style. 

 In 2005, Jackson received the Fellowship Award from the National Endowment for the Arts, becoming the first female country and rock artist to receive the honor. In 2009, after several artists advocated on her behalf — including Elvis Costello, Bruce Springsteen and Cyndi Lauper — Jackson was inducted into the Rock and Roll Hall of Fame. Lauper has cited Jackson as one of her earliest influences, recording a cover of "Funnel of Love" for her 2016 album Detour. Other artists who have listed Jackson as an influence include Adele and Elle King. 

 Lauper told Rolling Stone in 2016: "I think for country you look at Patsy Cline or Loretta Lynn who played a guitar, or sang the songs she wrote, and Dolly Parton. But Wanda Jackson was a rocker, and so, of course, I was going to listen and learn from her because I was a rocker and that's what we did."

Jackson is also a member of the Rockabilly Hall of Fame, the Iowa Rock and Roll Hall of Fame, the Oklahoma Hall of Fame, and the Oklahoma Country Music Hall of Fame. In 2010, she was the recipient of the Lifetime Achievement Award from the Americana Music Honors. 



Wanda Jackson – Artist

Ken Nelson – Producer/Engineer

Jesse Mae Robinson – Songwriter

Kid Ory’s Creole Orchestra (As Spike’s Seven Pods Of Pepper Orchestra), "Ory's Creole Trombone"

Nordskog, 1922 

Louisiana-born composer, trombonist and bandleader Edward "Kid" Ory put New Orleans jazz on the map. Kid Ory’s 1922 hit "Ory’s Creole Trombone" was the first recording of Black/Creole New Orleans jazz. Recorded in Los Angeles, the single features Ory on trombone, along with Thomas "Papa Mutt" Carey on cornet, Oliver "Dink" Johnson on clarinet, Fred Washington on piano, Ed "Montudie" Garland on bass, and Ben Borders on drums. Upon release, the entire first pressing of 5,000 records sold out, leading to gigs for Ory and his band down the California coast in San Diego and Tijuana.

Born on Christmas Day in LaPlace, Louisiana, Ory led a band early on in his career in New Orleans that featured music legends such as Joe "King" Oliver, Johnny Dodds, Johnny St. Cyr and, later, Louis Armstrong. Ory relocated to Los Angeles after the prohibition of alcohol in 1919 changed the landscape for jazz musicians performing in New Orleans nightclubs. Many of the musicians who played on his L.A. sessions had also recently relocated from New Orleans. After moving to Chicago in 1925, where jazz was just starting to gain traction, Ory worked and recorded with artists such as Armstrong, Jelly Roll Morton, Bessie Smith, Ma Rainey, and many others. He was an original member of Louis Armstrong and His Hot Five, with whom he would later re-record "Ory’s Creole Trombone" in 1927. As demonstrated on "Ory's Creole Trombone," Ory was an early adapter of the glissando technique, now a central element of New Orleans jazz. While he might not have been the first to play a glissando on a trombone, he was certainly the most influential.

In 2005, "Ory’s Creole Trombone" was selected by the Library of Congress for preservation in the National Recording Registry. In an essay written upon the recording's selection by the Library of Congress, GRAMMY-nominated musician and jazz historian David Sager wrote, "‘Ory’s Creole Trombone’ offers a rare glimpse into the origins of New Orleans jazz and a remarkable insight to this music’s durability and universal appeal." A pioneering record and one of the most essential jazz recordings, "Ory’s Creole Trombone" helped define the New Orleans style of jazz and served as the prototype for future musicians of that genre.

Edward "Kid" Ory – Artist/Songwriter

Lauryn Hill, The Miseducation Of Lauryn Hill

Ruffhouse Records / Columbia Records, 1998 

Widely considered one of the greatest albums of all time, The Miseducation of Lauryn Hill is the debut album and only solo studio set released by GRAMMY-winning singer and rapper Lauryn Hill. The album debuted at No. 1 on the Billboard 200 and sold more than 422,000 copies in its first week, breaking the record for first-week sales by a female artist. Credited for bringing hip-hop and neo-soul to the forefront of popular music, the album earned Hill 10 GRAMMY nominations, which now has her tied with Beyoncé for the Guinness World Record for most GRAMMY nominations in a single year for a female artist. Hill turned half of those nominations into wins, taking home the awards for Album Of The Year, Best New Artist, Best R&B Album, and Best Rhythm & Blues Song and Best Female R&B Vocal Performance for "Doo Wop (That Thing)." With lyrics that present arguably the most poignant of female perspectives on life, love and relationships, while also touching on the turmoil within her former group the Fugees, three of the album’s singles — "Everything Is Everything, "Ex-Factor" and "Doo Wop (That Thing)" — peaked in the Top 40 on the Billboard 200, with the latter claiming the top spot. 

The Miseducation of Lauryn Hill was partially recorded at Bob Marley’s studio Tuff Gong Studios in Kingston, Jamaica, while Hill was pregnant with her first son, Zion. Speaking about that time, Hill told Rolling Stone, "When some women are pregnant, their hair and their nails grow, but for me it was my mind and ability to create. I had the desire to write in a capacity that I hadn't done in a while. I don't know if it's a hormonal or emotional thing ... I was very in touch with my feelings at the time." The album’s track "To Zion," which features Carlos Santana on guitar, is a song about her son. 

In 1999, Hill became the first hip-hop artist to appear on the cover of TIME magazine. Now, more than 25 years since its release and with more than 20 million copies sold, The Miseducation of Lauryn Hill continues to be one of the most influential albums ever made. 

Lauryn Hill – Artist/Producer/Songwriter

Gordon "Commissioner Gordon" Williams – Engineer

Tony Prendatt – Engineer

The Doobie Brothers, "What A Fool Believes"

Warner Bros. Records, 1978

One of the few non-disco songs to hit No. 1 on the Billboard Hot 100 in 1979, the Doobie Brothers’ "What a Fool Believes" is featured on their 1978 eighth studio album, the Album Of The Year-nominated Minute by Minute. Co-written by Michael McDonald and Kenny Loggins, "What a Fool Believes" won the Doobie Brothers two GRAMMY Awards, including Record Of The Year. Stylistically speaking, the song is unlike anything the Doobie Brothers had done before.

"What a Fool Believes" started off as a piano piece idea McDonald had. Producer Ted Templeman heard what he was working on and encouraged him to put some lyrics down with a co-writer. It turns out that McDonald and Loggins had talked about working together for some time. When they got together at McDonald’s house in Los Angeles to write, Loggins had already come up with the song’s hook — "she had a place in his life." Telling the story of a man who attempts to rekindle a romantic relationship, "What a Fool Believes" is about the lies we sometimes tell ourselves about past romances. When the protagonist in the song attempts to reconnect with an old love, he realizes that he barely registers in the woman’s mind. The Doobie Brothers and Templeman recorded numerous takes of its rhythm track over five or six days, but they couldn’t land on a version they all liked. Templeman eventually decided to cut up the master tape of a recording into sections. "In those days when you cut the tape, you’re over – that’s the master of your recording," recalled Templeman in an interview with The Guardian in 2022. "But we got lucky and I put it together on the spot." McDonald completed the rest of the arrangement, adding keyboards, vocals and strings. Before it was released by the Doobie Brothers, Loggins released his own jazzier and experimental version of the song on his 1978 album Nightwatch. 

"What a Fool Believes" was rated as the Doobie Brothers’ all-time greatest song by Ultimate Classic Rock critic Michael Gallucci and listed on Rolling Stone’s Top 500 Greatest Songs of All Time list. Today, "What a Fool Believes" is considered a "foundational yacht rock classic," as Tom Breihan wrote in a review for Stereogum in 2020.

Jeff "Skunk" Baxter – Artist

John Hartman – Artist

Keith Knudsen – Artist

Michael McDonald – Artist/Songwriter

Tiran Porter – Artist

Patrick Simmons – Artist

Ted Templeman – Producer

Kenny Loggins – Songwriter

Donn Lander – Engineer

William Bell, "You Don’t Miss Your Water"

Stax Records, 1961

As the first male solo act signed to the legendary Stax Records, Memphis-born GRAMMY-winning singer/songwriter William Bell released his solo debut with the melancholy "You Don’t Miss Your Water" in 1961. Recorded as a demo with members of the Mar-Keys and MG’s, "You Don’t Miss Your Water" was originally released as a B-side of his single "Formula of Love" and gained steam after DJs flipped the record over and started playing "You Don’t Miss Your Water." The song became the first hit for Stax Records, charting on the Billboard Hot 100 in 1962. It was later released on Bell’s 1967 album The Soul of a Bell and remains his best-known recording to this day.

 "The message is universal: appreciate what you have," said Bell in a 2022 interview with Uncut magazine. "Back then I didn’t realize what I was writing, but after I got a little older, I realized that although the world changes physically, every generation has the same wishes, desires and aspirations. If you just write truthfully about life and write things you think will help people, it will resonate."

And indeed, the song did resonate. More than six decades since its release, "You Don’t Miss Your Water" has gone on to become a Southern classic. Countless artists have recorded covers of it, including Otis Redding, Percy Sledge, Taj Mahal, Jerry Lee Lewis, the Black Crowes, Sturgill Simpson, Peter Tosh & the Wailers, Brian Eno, and, most notably, the Byrds, on their seminal 1968 country-rock album Sweetheart of the Rodeo.

In 2013, Bell performed "You Don’t Miss Your Water" before President Barack Obama during "In Performance at the White House: Memphis Soul." The following year, Bell was featured in the documentary Take Me to the River, reflecting upon American music's soul. He was inducted into the Memphis Music Hall of Fame in 2016. In 2020, the National Endowment for the Arts celebrated him as a Heritage Fellow. Bell was instrumental in ushering in the Southern soul music genre, which is now known as the globally influential "Memphis Sound."

William Bell – Artist/Songwriter

Chips Moman – Producer

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