Rightly considered one of the eminent forces of 1990s Britpop, Manchester troupe Oasis found sizable acclaim and attention with 1994's Definitely Maybe. Like Radiohead’s Pablo Honey the year before, though, it was a strong but noticeably raucous and rudimentary debut. That said, there was enough potential to assume that its follow-up would feature more refined arrangements, production and songwriting. Fortunately, 1995's (What’s the Story) Morning Glory? offered precisely that.

True, a few songs became too big for their own good (you know the ones); plus, it was a more traditionally retro second effort than, say, Radiohead's innovative and diverse The Bends or the characteristically strange first releases from Oasis’ ostensibly direct rivals, Blur; yet, (What’s the Story) Morning Glory? was a major step forward for the famously combative Gallagher brothers and crew. Twenty-five years on, it remains a top-notch slice of Britpop wistfulness.

Following the success of Definitely Maybe, Oasis were already showing signs of external triumph and internal turmoil. They’d spent much of 1994 touring and living the typical rock star lifestyle; as a result, the now-legendary tensions between Noel and Liam Gallagher truly began, with a September 1994 show in Los Angeles resulting in Liam throwing a tambourine at his brother, leading to Noel momentarily quitting the band. Thankfully, they reconciled, continued playing gigs, and focused on writing what would become (What’s the Story) Morning Glory?

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Predictably, they stayed with Creation Records, and the main quintet from Definitely Maybe carried over here; however, the sequence served as a transitional work in terms of drummers, with founder Tony McCarroll only playing on one track—"Some Might Say"—while his replacement, Alan White, played on everything else. Rather than create in several locations, they stuck to just one place—Rockfield Studios in Wales—and simplified further by using just two returning producers: Noel Gallagher and Owen Morris. By most accounts, the recording sessions were smooth, swift, and fruitful.

In the run-up to release, the press helped Oasis stir up more controversy with Blur. Specifically, both bands issued singles on August 14, 1995, with Blur’s "Country House" quickly outselling Oasis’ "Roll With It" by about 50,000 copies. In response, Noel told The Observer the following month that he wished members of Blur would "catch AIDS and die." He issued an apology shortly thereafter, but the remark continued to serve as a chief example of Oasis’ well-known bitterness.

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Despite all of that disorder, (What’s the Story) Morning Glory? outdid its predecessor commercially. In fact, it sold nearly 350,000 copies in its first week alone and entered the U.K. charts at No. 1. (It remained at the top of the charts for the rest of the year and eventually became one of the best-selling U.K. albums of ever.) Comparably, it reached #4 on the Billboard 200, with six singles being out out between April 1995 and May 1996. It also fared quite well in Canada, Sweden, New Zealand and elsewhere, so it’s fair to say that the LP was a global hit.

It’s a bit ironic, then, that initial critical reviewers weren’t entirely enthusiastic, with publications like Q, the Chicago Tribune, Melody Maker and The Independent voicing significant gripes. In contrast, Entertainment Weekly, the Los Angeles Times, NME, and Rolling Stone were more positive. Of course, the record is now considered a classic, with a high ranking in several articles and books about the greatest albums of all time. It even won "British Album of 30 Years" at the 2010 Brit Awards.  

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Although other releases from back then may have pushed more boundaries, (What’s the Story) Morning Glory? still shines in terms of recalling the splendor of the 1960s British Invasion within a modern edge. For instance, "Roll with It"—with its poppy melodies, backing chants and twangy guitar strums—sounds like a lost Lennon tune from Help! or Rubber Soul. The same can be said for the brighter and more playful "She’s Electric"; the dreamily epic "Cast No Shadows"; and the decidedly biting and symphonic "Hey Now!" That’s not to say that Oasis were being too derivative—rather, they incorporated such homages into an irresistibly invigorating and poignant new stew.

Similarly, the immensely popular "Wonderwall," "Don’t Look Back in Anger" and "Champagne Supernova" are still among the best tunes from the Britpop era. In particular, "Wonderwall" is a quintessential example of a 1990s acoustic rock ode complemented by strings, with a lovely juxtaposition of hip verses and compelling choruses. The piano-led "Don’t Look Back in Anger"—their first single with Noel on lead vocals—is just as gripping yet even more nuanced, touching and charming. As for "Champagne Supernova," its cryptically poet lyricism and fiery guitarwork (courtesy of Paul Weller) taps into 1970s classic rock while also harnessing the optimism and softness of the previous decade’s folky warmth.  

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Even the unruliest tunes—"Hello," "Some Might Say" and “Morning Glory”—manage to conjure Definitely Maybe whilst showcasing advanced techniques. The hooks are bigger, the layers are denser and the scopes are larger. There are also the two "Untitled" entries (a.k.a "The Swamp Song—Excerpt 1" and "Excerpt 2"): the first is a quick and relatively abstract interlude full of vibrant post-punk carnage, while the second cleverly reprises its forebearer beneath the soothing sounds of water. Sure, they may not be significant when heard in isolation, but the ways in which they tie together—as well as how they segue in and out of the tracks around them—give the LP a stronger sense of continuity and ambition.

Two-and-a-half decades later, (What’s the Story) Morning Glory? is still a great record. At the time, it propelled Oasis further creatively, commercially, and—at least to an extent—critically, all the while dominating the high school hangouts and dorm room memories of countless Gen Y fans. Thus, it’s a significant time capsule as much as it is a superb piece of entertainment, and while real-life incidents may have marginally marred our nostalgia for it, when considered outside of that drama, it’s well worth looking back in appreciation.

The Britpop movement first gathered pace in 1993 — its pure optimism, laddish mentality, and colorful Union Jack aesthetic an attractive proposition for those who couldn't relate to the alienation and angst that defined grunge. Drawing from the classic guitar music of the 1960s, it was also steeped in nostalgia, and, perhaps more notably, a fervent belief that anything the Americans could do, the Brits could do better.

Unsurprisingly, the deeply patriotic scene didn't travel too well: only a handful of acts, most notably Oasis and Blur, made any notable impact across the Atlantic during its four-year golden period. On home turf, however, Britpop defined the zeitgeist, turning the London town of Camden into the nation's cultural hub, sweeping up everyone from future Prime Minister Tony Blair to sheep-preserving artist Damien Hirst, and sparking a chart battle so intense it made the BBC's Six O'Clock News.

And it continues to resonate. Oasis' Liam Gallagher and Stone Roses' John Squire recently topped the UK album chart with their collaborative self-titled LP. The middle episodes of Netflix's must-watch romantic drama One Day is heavily soundtracked by the scene's finest. And Dua Lipa recently cited its two biggest bands — as well as Britpop-adjacent acts Radiohead, Massive Attack, and Primal Scream — as a key influence on her new album Radical Optimism.

With the catalyst for Britpop's domination, Blur's Parklife, recently celebrating its 30th anniversary, what better time to look back at its finest contributions. Ignoring any acts that sat on the outskirts (like Manic Street Preachers or Saint Etienne), or who broke through post-1997 (see Catatonia, Embrace), and sticking to just one track per artist, here's a look at 10 songs that embodied the term Cool Britannia.

Oasis — "Live Forever"

How do you choose from the era's two biggest blockbusters, 1994's record-breaking Definitely Maybe and 1995's (What's The Story) Morning Glory? "Wonderwall" is by far Oasis most recognizable hit, "Cigarettes and Alcohol" summed up the Mancunians' hard-partying ethos in five glorious rock and roll minutes, and "Don't Look Back in Anger" remains the scene's greatest Beatles pastiche. And then there's game-changing single "Supersonic," orchestral sing-along "Whatever," and the truly epic "Champagne Supernova."

But it's the aptly titled "Live Forever," the third single from the Gallagher brothers' near-flawless debut, which has weathered the best. Showcasing the elongated delivery that would become his forte, Liam delivers both an all-time great vocal and a positive meditation that essentially serves as a Britpop manifesto. And unlike on the more bloated Oasis albums to come, Noel's wall of guitar sounds here is anthemic, evocative and downright thrilling.

Blur — "Girls and Boys"

The audience at this year's Coachella might not be particularly familiar with Blur's "Girls and Boys," much to frontman Damon Albarn's annoyance (it did only peak at No.59 on the Hot 100 30 years previously, to be fair). But anyone old enough to remember the spring of 1994 across the pond will know every word.

Ironically, one of the defining Britpop anthems has Mediterranean roots. It was inspired by the Brits-abroad debauchery that the scene's ultimate power couple, Albarn and Elastica frontwoman Justine Frischmann, witnessed during a vacation in Spain. And with its self-described "disco drums, nasty guitars, and Duran Duran bass," Parklife's gender-fluid, multilingual ("You get nasty blisters/ Du bist sehr schön"), and insanely infectious lead single was tailor-made to soundtrack such dance floor hedonism.

Pulp — "Common People"

Pulp had been plugging away on the fringes of the UK's indie scene since the late 1970s, but had to wait until the Britpop explosion to progress beyond cult concern. After making their long-awaited breakthrough with 1994's His N Hers, the Sheffield outfit then joined the big league with Mercury Prize-winning 1995 follow-up Different Class and an instant classic lead single that established eccentric frontman Jarvis Cocker as the scene's ultimate satirist.

As referenced by Rosamund Pike's prime suspect in Saltburn, "Common People" was inspired by a real-life barroom encounter with a privileged art student with ambitions of roughing it with the lower class simply for fun. Cocker initially indulges the unnamed woman in the hope of some bedroom action. But he eventually admonishes her lust for social voyeurism over an exhilarating flurry of guitars, violins and erm stylophones. A true one-off.

Supergrass — "Alright"

Although the impressive sideburns suggested otherwise, Supergrass — aka frontman Gaz Coombes, bassist Mick Quinn, and drummer Danny Goffey — were only on the cusp of adulthood when they released their debut album, 1995's I Should Coco. And saving the best until the last, its fifth single brilliantly encapsulated their youthful exuberance.

Just ask Steven Spielberg. After seeing the video for "Alright," where the trio get up to various japes while traveling across North Wales on a king size bed, the director propositioned the band with a The Monkees-esque TV show, an offer politely declined. The song itself, which did enjoy a taste of Hollywood as part of the Clueless soundtrack, is similarly mischievous, combining jaunty piano riffs and summery surf guitars with joyous tales of teenage kicks ("Got some cash, bought some wheels/ Took it out 'cross the fields/ Lost control, hit a wall/ But we're alright").

Suede — "Trash"

The lure of the Britpop world was so impossible to resist that even Suede, a band renowned for their sexual ambiguity, animalistic art rock, and odes to the seedier side of life, eventually jumped on board. Indeed, while their self-titled debut and equally nihilistic follow-up Dog Man Star had seemed designed for wallowing in student bedsits, third album Coming Up was a far more celebratory affair primed for the indie disco.

The unlikely blockbuster, recorded in the wake of guitarist Bernard Butler's departure in 1994, spawned five consecutive UK Top 10 hits, the most immediate of which was lead single "Trash." An outsider anthem written about the band itself ("Oh maybe, maybe it's the clothes we wear/ The tasteless bracelets and the dye in our hair/ Maybe it's our kookiness"), the David Bowie-esque glam rocker instantly made you want to become an honorary member of Brett Anderson's gang.

The Bluetones — "Slight Return"

As with Suede and Pulp, London-four piece The Bluetones didn't automatically fit into the Britpop landscape. Mark Morriss was at the more unassuming end of the frontman spectrum, his tender, softly-sung voice a far cry from the more boorish delivery of Gallagher, Albarn, et al. And their sound owed just as much to the jangly guitar pop of Teenage Fanclub and melodic songcraft of Squeeze as the Fab Four.

But their debut album, 1996's Expecting to Fly — which knocked (What's The Story) Morning Glory? off the UK top spot — proved that the Cool Britannia era wasn't entirely averse to something a little more sensitive. Flagship single "Slight Return" (very nearly a British chart-topper, too), was undeniably its piece-de-resistance, its intimate verses and propulsive, life-affirming chorus neatly encapsulating their everyman charm.

Babybird — "You're Gorgeous"

Perhaps Britpop's most misunderstood classic, Babybird's "You're Gorgeous" isn't a declaration of undying love tailor made for a first dance. As countless newlyweds may be horrified to learn, it's the tale of a creepy photographer sweet-talking his models into suggestive poses ("You took an instamatic camera/ And pulled my sleeves around my heart") with the false promise of worldwide fame.

Also featured in Saltburn (on this occasion, musically), the feminist statement briefly turned Stephen Jones' one-man-band into a major chart force — "Don't Look Back in Anger" was the only Britpop song to sell more in 1996. Although it proved to be something of a one-hit wonder, its subversive themes and bittersweet melodies — reminiscent of Echo and Bunnymen at their commercial peak — have aged far more gracefully than most of Britpop's more straightforward serenades.

Elastica — "Connection"

There was a brief moment in 1995 when Justine Frischmann looked as though she would equal, or even eclipse, the success of her then-boyfriend Damon Albarn. Elastica's self-titled debut album reached No. 1 in the UK, becoming the second fastest-selling ever in the process. And it reached a creditable No.66 on the Billboard 200, a chart which had completely eluded Blur.

Even so, thanks to a combination of crippling drug addiction, constant lineup changes, and lost momentum, Elastica's reign proved to be short-lived. Still, they'll always have one of the scene's greatest singles runs, encompassing "Stutter," "Line-Up," "No More Heroes," and their biggest US hit, "Connection." The latter also boasts the scene's greatest intro, a ferocious ball of energy which includes squalling synths, guttural grunts, and a primitive guitar riff brazenly borrowed from Wire's "Three Girl Rhumba." Britpop never sounded more explosive.

Ocean Colour Scene — "The Day We Caught the Train"

Occupying the same unapologetically retro space as Cast, The Boo Radleys, and the Godfather of Britpop Paul Weller, Ocean Colour Scene were never one of the scene's most fashionable bands. But breakthrough album Moseley Shoals' mix of '60s rock, mod, and Northern Soul spawned two undeniable classics.

Firstly, there was "The Riverboat Song," a triumphant pastiche of Led Zeppelin's "Four Sticks" that became the walk-on music for Chris Evans' zeitgeist-defining TV show TFI Friday. And then the Birmingham four-piece delivered the even more majestic "The Day We Caught the Train," a nostalgic ode to escapism ("You and I should ride the coast/ And wind up in our favorite coats just miles away") complete with a carefree sun-soaked video that foreshadowed the good vibes of Summer '96. Who cares about being cool anyway?

The Verve — "Bitter Sweet Symphony"

The general consensus is that Britpop died the day Oasis released their self-indulgent third album Be Here Now in August 1997. Released just two months beforehand, The Verve's crowning glory, therefore, was something of a last hurrah, a lush orchestral affair that briefly transformed a bunch of unsung psychedelic rockers into Britain's biggest band.

"Bitter Sweet Symphony" was famously built on a sample of Andrew Loog Oldham's version of The Rolling Stones' "The Last Time"; the band were forced to relinquish all royalties as a result. But there's more to the urban hymn than those sweeping strings — its emphatic beats, for one thing, Richard Ashcroft's vocal swagger for another. Let's not forget the iconic Hoxton Street video where Ashcroft displayed a staggering unawareness of personal space. The second highest-charting Britpop track Stateside (No. 12 on the Hot 100) and only the second to receive a GRAMMY nod, too, "Bittersweet Symphony" was  a majestic Britpop send-off.

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It stands to reason that, in music, the family that plays together stays together, although that’s not always the case.

For every Kings of Leon, Haim, Jonas Brothers,  Jackson 5, Osmonds, Isley Brothers, Bee Gees or Hanson that stand the test of time, there are other family-based groups where the grueling and interdependent nature of rock stardom has led to dissension in the ranks.

 Sometimes those arguments between siblings are brief and forgiving. On other occasions, wedges are forged and sides are taken, resulting in either a permanent breakup of an act; a launch into new creative horizons; or hopefully a reconciliation.

 Here are seven well-known acts whose internal bickering between has led to either unexpected ends or surprising detours

The Everly Brothers: Don & Phil Everly

The Everlys' close-knit country pop and rock 'n' roll harmonies — which netted immortal chart-toppers "Bye Bye Love," "Wake Up, Little Susie" and "All I Have To Do Is Dream" — inspired everyone from the Beatles and Simon & Garfunkel to Gram Parsons and Emmylou Harris. As such, it's difficult to fathom that the Don and Phil Everly were so at odds for the better part of a decade that they'd spend entire evenings together on stage without exchanging a word.

A 2014 Los Angeles Times article reported that "vastly different views on politics and life," drove a wedge between  Don and Phil.  The brothers broke up at least twice; their first estrangement followed a 1973 show at the California theme park Knott's Berry Farm, when Phil smashed his guitar and walked offstage.

That split resulted in separate careers up until a 1983 reunion at London's Royal Albert Hall and the recording of several albums, including EB'84 with producer Dave Edmunds.

Phil Everly died of pneumonia in 2014 at the age of 74, while Don succumbed to undisclosed causes at the age of 84 in 2021.

 It is unknown if the GRAMMY Lifetime Achievement Award recipients ever reconciled.

 The Louvin Brothers: Ira & Charlie Louvin

Grand Ole Opry legends and brothers Charlie and Ira Louvin are known for such songs as "I Don't Believe You've Met My Baby" and "Hope That You're Hoping."

Born in Henagar, Alabama, the Louvin's country, bluegrass and gospel sound developed from their strict Baptist upbringing.  Yet the brothers preached one philosophy in song, Ira, who complemented Charlie's guitar on mandolin,  lived another: His inability to resist vices — drinking and womanizing — prompted Charlie to go solo in 1963.

Ira continued to lead a colorful life: his third wife shot him four times in the chest and twice in the hand after he allegedly tried to kill her with a telephone cord- but Louvin survived.

However, it was a 1965 car crash that eventually claimed Ira and his fourth wife, Anne: they were killed by a drunk driver. 

The tragedy cut short any chance of  a duo reunion, although Charlie enjoyed several Top 40 country hits through 1971. 

The Louvin Brothers were  enshrined in the Country Music Hall of Fame in 2001. 

The Kinks: Ray & Dave Davies

English rock rebels the Kinks have sold more than 50 million albums since forming in the '60s, although most of their  hits — "Lola," " You Really Got Me," "Apeman," "(Wish I Could Fly Like) Superman" and "Come Dancing" among others — stemmed from the pen of Ray Davies.

Contrary to popular belief, brother Dave says he is good with that equation — but admits that the relationship between them is naturally tumultuous.

Dave Davies explained the dynamics of his relationship with Ray to The Daily Mail in 2017, describing it as "a married couple who have just reached the end of the road."

"You know when one partner gives and gives and the other takes, and finally you realise (sic) you can’t do it any more?’

"You can’t divorce your brother, though. ‘No, you can’t. So we are stuck with each other, but I think I’ve accepted that this is just the way our relationship is.

In a separate interview with  The Daily Express in 2011, Ray agreed. "When we were together it was aggressive, violent, powerful but we triggered off each other."

Still, the dust-ups between them were legendary, leading to a two-decade rift.

As recently as 2018, there's been talk that Ray and Dave Davies had buried the hatchet and were intent on reuniting the Kinks... but here we are in 2023 and that possibility seems no closer to reality.

Creedence Clearwater Revival: John & Tom Fogerty

After American rockers Creedence Clearwater Revival (CCR) formed in El Cerrito, California in 1959 (they began as the Blue Velvets and rechristened themselves several times before settling on CCR in 1968), it was clear that lead singer, guitarist and songwriter John Fogerty was calling the shots — including acting as the band's manager.

CCR included Fogerty's brother Tom, who played rhythm guitar;  bass player Stu Cook and drummer Doug Clifford.  Following  a particularly lucrative period between 1969 and 1970,  John  decided that Tom would no longer sing lead on or co-write any song while he was in the band, despite previously handling lead vocals and collaborating on some pre-CCR material.

"He cut Tom Fogerty out from singing," Clifford told AZ Central in 2015.  'Without Tom...there wouldn't have been a Creedence Clearwater Revival. When Tom graciously gave up the vocals to his younger brother, he had no idea that he would never be singing another song again. So Stu and I and Tom were always at odds with John about that."

Tom Fogerty left after 1970's Pendulum, and apart from a 1980 reunion during his wedding reception, CCR never performed again.  He died in 1990 after contracting AIDS from HIV-infected blood during a transfusion during back surgery, and was posthumously inducted into the Rock And Roll Hall of Fame in 1993.

Heart: Ann & Nancy Wilson

One of the top female-led rock bands in modern music history thanks to hits like "Magic Man" and "What About Love," Heart has been the role model for thousands of musicians.

But the first public signs of friction between sisters Ann and Nancy Wilson occurred in August 2016, when Ann's husband Dean Wetter was arrested for assaulting Nancy's 16-year-old twin sons after he boys reportedly left open the door to his RV.

Rolling Stone reported that the siblings hadn't spoken  to each other since the 2016 tour ended, but relations have eventually warmed up. The sisters reunited for Heart's  53-date Love Alive tour in 2019 - and more recently, Nancy joined Ann Wilson and her band Tripsitter on stage October 10 in Santa Rosa California to perform "Barracuda."  They received the Recording Academy's Lifetime Achievement Award in 2023.

Ann Wilson has continued to release solo albums and front her band Tripsitter, while guitarist Nancy has formed Nancy Wilson's Heart.

In a 2022 Guitar World interview, Ann said she and Nancy are "okay," but have different ideas for the future of Heart. "We haven't figured out a compromise yet," she admitted.

The Black Crowes: Chris & Rich Robinson

Sometimes, money and control carry more weight than people insinuate.

Guitarist Rich Robinson left the Black Crowes in January 2015 due to an alleged ownership agreement with brother and vocalist Chris. Both men divided and  conquered with solo careers but remained largely incommunicado for almost five years.

But in an interview with the San Diego Union-Tribune, both Rich and Chris credited their children with healing the rift between them. 

"My daughter, Cheyenne (now 11), was like: ‘What’s the deal with you and Uncle Rich, and why don’t I know my cousins?’"Chris told the paper. "Those are the kind of questions that will make you think and reflect."

"Definitely. Kids are honest and curious, and they don’t have issues like Chris and I did," Rich said  in a joint interview with his brother. "So, as Chris said, that opened a door (to reconciliation)."

Together again since 2021, the Black Crowes will be shaking their moneymakers opening the final Aerosmith tour, once Steven Tyler's larynx heals. 

Oasis: Liam & Noel Gallagher

While backstage in 2009 in Paris, the tumultuous in-fighting between Oasis' Liam and Noel Gallagher reached new heights; a violent fistfight that drove a nail into the coffin of the band.

Noel's statement: "It's with some sadness and great relief to tell you that I quit Oasis tonight. 'People will write and say what they like, but I simply could not go on working with Liam a day longer."

This was the last in a number of physical altercations that had taken place over the years during tours. Since the split, Noel has been recording and touring with his band the High Flying Birds while Liam first took to the road and studio with Beady Eye, which split in 2014; he's now performing solo.

However, Liam has reportedly expressed interest in reuniting  with Noel and strike up Oasis, though whether there have been any private conversations towards this end remains to be seen.

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Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

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