Ever hear of the Ship of Theseus thought experiment? It asks the reader to picture a ship whose components have been replaced — hull, mast, sail, rudder, and every single plank of the deck. Is it still Theseus' craft? Or something else entirely? The question still bedevils philosophers.

Now apply this framing to beloved musical groups of the 20th century. That's what Rolling Stone writer David Browne did in his 2022 feature, "The Future of Classic Rock Tours: One or Two Surviving Members…or None?"

As Browne illuminated, estate-authorized acts like the Allman Brothers Band Presents: Trouble No More are bringing beloved songbooks to audiences thirsting for them — without most or all of the parent band's original members. (Lynyrd Skynyrd is down to one.)

And with the passage of time, Trouble No More could become a model for keeping acts on the road — and, in turn, streaming numbers up, and the brand in people's mouths.

Audiences may feel one way or another about seeing Woodstock-era favorites Canned Heat with one almost-original member: Adolfo "Fito" de la Parra. (Side note: they still cook.) But what if the massive turnover isn't an unfortunate hurdle due to members dying or leaving? What if, to some degree, it's the whole point?

Welcome to the sphere of music where classic ensembles act as hubs for emerging talent; they turn over like college alumni or sports teams. Many of Art Blakey's Jazz Messengers became jazz legends; John Mayall's Bluesbreakers gave the world Eric Clapton, Mick Taylor and Peter Green.

And this model applies across the board: to big band, to classical, to cumbia and salsa. Slipknot and Tower of Power arguably qualify. So do Yellowjackets. And so did Miles Davis' and David Bowie's various groups. Doo-wop is full of them. There's one titanically important electronic band, extant since 1967, passed to a new heir.

All ensembles may consist of mortals with shifting priorities, but their music doesn't have to disappear when they do. Here are 15 longstanding acts who replaced most or all of their planks — to borrow a metaphor — and made the most of it.

Art Blakey and the Jazz Messengers

Art Blakey and the Jazz Messengers aren't only a serious contender for the greatest jazz band of all time, they functioned as an unofficial jazz university, with drummer Blakey as their tempestuous headmaster. The group featured dozens of cats throughout its four-decaderun: Horace Silver, Hank Mobley, Jackie McLean, Joanne Brackeen, Wynton and Branford Marsalis were all nurtured as Messengers, and that's just scratching the surface. When Blakey died in 1990, saxophonist McLean said just about the only three words you can say: "School is closed."

Count Basie Orchestra

From the Mingus Big Band to the Duke Ellington Orchestra to the Vanguard Jazz Orchestra (once known as the Thad Jones/Mel Lewis Orchestra), jazz is replete with big bands whose leaders died long ago. Some call them "ghost bands," whether or not their musicians appreciate the tag. Whatever your chosen vocabulary, Count Basie Orchestra is one of the most prestigious ensembles without their fearless leader, who formed the group in the mid-1950s. As for the Basie band's current incarnation, led by the illustrious Scotty Barnhart? They were nominated for a GRAMMY in 2021, for Live at Birdland!.

John Mayall's Bluesbreakers

John Mayall's Bluesbreakers hold the strange distinction of being written and talked about more than listened to. Any biography of the Rolling Stones, Cream and Fleetwood Mac will invariably mention them, but when's the last time you cued them up on Spotify? That shouldn't be the case, necessarily; they made classics like 1966's Blues Breakers with Eric Clapton and fostered guitar gods in all three of those household names. And best of all, they’re still at it.

Juilliard String Quartet

Founded in 1946, the Juilliard String Quartet is critically important to the evolution of chamber music stateside. William Schumann, the then-president of the New York school, founded it; violinists Robert Mann and Robert Koff, violist Raphael Hillyer, and cellist Arthur Winograd formed the OG lineup. Areta Zhulla, Ronald Copes, Molly Carr, and Astrid Schween are currently in their seats; over the decades, they've won four GRAMMYs and been nominated for 16.

La Sonora Dinamita

Since their founding in 1960, Colombian cumbia greats La Sonora Dinamita have played an instrumental role in the form's popular resurgence. Beneath the unchanging banner, their lineup has turned over, and over, and over: original singer and musical director Lucho Argain's passing in 2002 didn't stymy their constant evolution. In the 2020's, with current players at the vanguard of cumbia, they remain absolute dinamita, releasing music with abandon.

Menudo

Do you typically think of boy bands as being relatively static, membership-wise? Maybe one or two members in and out, but the familiar faces remaining? Feast your eyes on Menudo's Wikipedia page: a whopping 38 past members. Since the brand's formation in 1977, Menudo has provided a launching pad for international stars Ricky Martin and Draco Rosa, and weathered tragedy and legal battles. But they're not ending anytime soon — thanks to Mario Lopez and his global talent search.

Parliament-Funkadelic

Who's the most prolific, dynamic and influential ensemble in funk history? It's borderline axiomatic that the answer is P-Funk. Together or apart, Parliament and Funkadelic haven't just made bona fide classics — press play on  1971's Maggot Brain or 1978's One Nation Under a Groove — they architected their own bizarre, hyper-imaginative, Afrofuturist universe. And it goes even deeper: under the tutelage of George Clinton, members like Bootsy Collins, Bernie Worrell and Eddie “Maggot Brain” Hazel became stars. The collective is still going today; looking at the astonishing headcount over the years, it seems hard to find someone who wasn’t in P-Funk. To everyone who was, is, and has been — what a feather in your cap.

Preservation Hall Jazz Band

New Orleans is Pres Hall is New Orleans: watch the wonderful 2018 documentary A Cuba to Tuba to find out why. These days, countless historical jazz sites in the Big Easy are crumbling and collapsing, but institutions like the Preservation Hall Jazz Band — as well as Dirty Dozen Brass Band, among others — ensure the music is unscathed. Founded in the early 1960s as the house band for the hallowed French Quarter venue, the ensemble has never reneged on its mission: "nurturing and perpetuating the art of New Orleans jazz."

Tangerine Dream

Founded in 1967, the German electronic music pioneers join Guided by Voices and the Grateful Dead with this distinction; you could only listen to Tangerine Dream and be well-stocked with jams for the foreseeable future. As the brainchild of Edgar Froese for decades, they made classics like 1972's Zeit, 1974's Phaedra, 1980's Tangram… the list goes on. The band could have understandably folded when Froese passed in 2015, but his successor, Thorsten Quaeschning, remains the bearer of the flame. And by the sound of their stunning 2022 album Raum, rightfully so.

The Four Seasons

If infectious, pre-Beatlemania tunes like "Sherry" and "Big Girls Don't Cry" have been basically implanted in your skull from birth, thank one man first and foremost: Frankie Valli. His Four Seasons have provided a platform for numberless singers and instrumentalists since then — through the '70s, '80s, '90s, and up to the present day. These days, 88-year-old Valli is the only remaining original member of these Jersey boys — which says much less about the integrity of the original group than his capacity to hand out hat-hanging legacies.

The Skatalites

Whether or not the ska revival swept you up or not — and regardless of the volume of checkerboard threads in your closet — the fact remains that the Skatalites are pillars of the form. Like the Four Seasons, the instrumental supergroup began during Beatlemania time, and never stopped mutating and evolving. Decades past their early hits, like "Guns of Navarone," they give younger players like New York saxophonist Anant Pradhan a chance at ska royalty while offering legends the chance to bring Jamaica's freedom sounds to new generations — like 85-year-old percussionist Larry McDonald.

The Temptations

Ah, the Temps: Detroit legends, undersung psychedelic voyagers, the first Motown signees to win a GRAMMY. (That was in 1968, for "Cloud Nine"; how could Membership back then sleep on "My Girl"? We digress.) In 2018, the Broadway show Ain’t Too Proud gave opportunities beyond the purview of the endlessly shapeshifting original band. Come the 2020s, Otis Williams is the only original Temptation; many, many men have been one. Imagine the feeling of learning you're one. A certain jam from '68 might sum it up.

The Wailers Band

We're used to hearing this band name glued to "Bob Marley &"; is their association with Marley the long and short of their importance? Heavens, no, as at least two other members were legends in their own right: Peter Tosh and Bunny Wailer. After Marley's death in 1981, the band continued under various permutations and spin-offs — including The Original Wailers — with talented members in and out the door. These days, Aston Barrett Jr. and Emilio Estefan Jr. are at the helm of the Wailers Band; Barrett's been nominated for a GRAMMY, Estefan's won two.

The Yardbirds

Despite being something of a '60s relic, the Yardbirds' whole catalog holds up; they were as psychedelic as anyone, white British boys with a deep command of the blues. In their heyday, they launched the careers of Eric Clapton, Jimmy Page and Jeff Beck; Led Zeppelin originally took flight as the New Yardbirds. And their lineup churn continues; original drummer Jim McCarty remains.

So many members of the Allmans have dropped, but their popularity remains undimmed. (Crank up 1971's At Fillmore East on a good system and you'll see why.) Their estate has tried a unique tack: sending an estate-approved band called Trouble No More on the road, platforming young talent while giving the people the jams they require. Diehards' mileage may vary regarding a completely reconstituted Allmans. But the magnitude of talent from the multiracial, multigender ensemble might make haters eat a peach.

Ian Anderson On The Historical Threads Of Fanaticism, Playing Ageless Instruments & Jethro Tull's New Album The Zealot Gene

“How it all came about was a miracle,” says Terry Britten, the co-writer and producer of Tina Turner’s “What’s Love Got To Do With It.” 

The enduring single on Turner's 1984 album Private Dancer, released 40 years ago this month, was the songstress' ultimate emancipating act. It liberated her from the strictures of a music career bound to former husband Ike Turner, and debuted a new, self-possessed persona that highlighted her own rich talents as a solo artist. Decades on, the album remains a searing testament to resilience and the power of raw, honest expression.   

Private Dancer, her fifth solo outing, was the beginning of Turner's renaissance and next era. Still, some of its most powerful songs — including “What’s Love” — almost didn’t make the cut. In fact, the song’s woeful quality and halted vocals proved an obstacle for Turner. 

“After all this time, I’ve realized what the problem was and why she didn’t like it: because she was so damn vulnerable in it,” Britten tells GRAMMY.com. “She’d never been that vulnerable before in a song.” 

Turner had long wrestled with her public image and allowing listeners into her inner world. Despite her success in the '70s and the subsequent 1976 breakdown of her abusive marriage to Ike (which left her penniless), followed by less successful Las Vegas revue shows, Turner was wary of conceding defeat. 

Her career revival was largely born after Turner had made a cameo appearance in 1982 on the synth-inspired remake of The Temptations' “Ball of Confusion.” Masterminded by pop band Heaven 17’s Martyn Ware, the song netted Turner a singles deal with Capitol Records. Her next pairing with Ware, a remake of Al Green’s “Let’s Stay Together,” was a runaway success, charting at number six in the UK and No. 26 on the Billboard Hot 100, in late 1983 and early 1984 respectively.

Chart success had eluded Turner for years, so by February 1984 Capitol quickly demanded a full album — with two weeks to deliver it. With Turner already on tour in the UK then, her manager, Roger Davies, raced around London seeking potential tracks. Davies had been old friends with Britten back in Australia, and reached out about available songs. 

Co-written with Graham Lyle, Britten's "What’s Love” had been skipped over by British rock singer Cliff Richard. Its rumination on sexual over romantic desire awaited a new voice. 

Turner's powerhouse vocals gave the track the justice it so called for. Just as her vocal prowess was put on display, "What's Love" also underscored Turner's ability to bring both fragility and sultriness to a song. The combination would soon propel Turner to worldwide domination. 

In the studio, Britten leaned on Turner’s dancing background to make the meditative ballad work. Turner struggled with the song’s languid rhythm, so Britten suggested she jog on the spot. “We jogged at the mic,” he says. “Soon enough, she got it!” 

Britten believes “What’s Love” showed Turner, for the first time, how empowering vulnerability could be. “She realized she could act out these songs,” he reflects. “The whole direction of her career changed in that moment.” 

Released in May 1984, “What’s Love” slowly scaled the charts, competing for prime position with the likes of Prince’s “When Doves Cry” and Lionel Ritchie’s “Stuck on You.” “What’s Love” ultimately landed at No. 1 in August 1984 — staying there for three weeks — and fast-tracked Turner’s forceful musical renaissance. 

The arrival of Private Dancer only galvanized the transformation. 

The album was a mixture of old and new, figuratively stitching together a reinvigorated yet still rock ’n’ roll Turner. There were completely new tracks and sounds, like the synth-infused “What’s Love” and spunky, pulsating “Show Some Respect” (another Britten number). Covers of the Beatles’ “Help!” and David Bowie’s “1984,” meanwhile, were reimagined with searching gospel energy and symphonic orchestral strings.

There was an emphasis on storytelling across Private Dancer, with lyrical explorations of respect, love, and desire, paired with Turner’s frayed timbre. “I Might Have Been Queen” was penned by Jeannette Obstoj and Rupert Hine in response to hearing Turner’s life story. From a youth picking cotton in Tennessee to her years as a double act with Ike, Obstoj took Turner’s trying life (and lifelong interest in Ancient Egypt) to craft an earthy narrative textured by stories of grief and self-understanding. The stomping funk result was an anthemic tribute, celebrating Turner as she sang proudly of being a “sole survivor.” 

Allowed into Turner’s inner sanctum, listeners could better understand and relate to the singer’s past life — whether these were real stories or imagined tales. Songs like “Private Dancer,” seemingly about a dancer who keeps a firm psychological distance from her job as a means of self-protection, couldn’t help but be tied back to Turner’s former life as the mistreated singing partner to Ike. Turner’s coarse vocals — retelling regret with the ballad “Better Be Good to Me,” or celebrating self-confidence on “Show Some Respect” — underscored her toughness as she sang about respect and recognition. 

Tina Turner’s emotional depth and lyrical confessions resonated with critics and listeners, affirming Turner as sensitive, soulful and, above all, an iconic solo artist. The success of the record at the 1985 GRAMMYs only affirmed Turner's status. 

Britten, who won two gramophones for his work and joined Turner on stage to collect the GRAMMY for Record Of The Year, said that the audience — there and even at home watching — manifested her three wins that night. “In between introductions, you could hear the whole crowd going, ‘Tina! Tina! Tina!’” he says. “It was like the whole auditorium wanted her to win. In fact, they willed her to win.” 

The entire musical project was a frenzied worldwide phenomenon: the confident comeback story of a 45-year-old liberated woman. Private Dancer represents a rare redemption for a female artist over 40 — a script contemporaries have taken cues from.   

Madonna enjoyed a return serve with her revealing 1998 spiritual album Ray of Light, a record that saw her achieve renewed commercial success — and perhaps most important to her, critical acclaim. After the abject failure of 2001’s Glitter, Mariah Carey stormed the charts (and GRAMMYs) in 2005 with her confessional but defiant album, The Emancipation of Mimi. Janet Jackson, no longer suffering public shame after the infamous Superbowl incident and finally free to release music under her own label, returned revealing a more mature, reflective artist with 2015’s Unbreakable. Each album privileged some aspect of self-exposure and sonic difference to mount a comeback where audiences were invited in.    

Publicly sharing some vulnerability while also celebrating fortitude, continues to enliven the story of Private Dancer — and the listening experience decades on. After Tina Turner's death in 2023, critics reappraised the record and the seismic impact of “What’s Love.” Some said the song was an enduring “call to action” on finding independence, while others concluded that Private Dancer alone “lifted [Turner] into the pop stratosphere.” 

The record represents one of history’s greatest musical comebacks. Its emotional depth, paired with a tough if sometimes frayed sound, gave listeners a deeply resonant tale about overcoming. 

“She gave me such trust,” Britten says of recording with Turner. “I can’t tell you what a moving experience it was.” With Private Dancer, Turner entrusted listeners with her own vulnerable admissions, many of which continue to resonate and inspire today. 

Remembering The Artistry Of Tina Turner, "The Epitome Of Power And Passion"

With one of the most recognizable voices in music, a generation-spanning array of hit songs and a life story that has become stuff of legend, Frankie Valli has staked a claim as one of the music industry's most indelible artists. One of the few acts that steadily navigated from the doo-wop age through the disco era, Valli's improbable trajectory with his group, the Four Seasons, was propeled by a golden ear for hits, aided by the songwriter/producer power duo Bob Gaudio and Bob Crewe.

That's not to say the 89-year-old is resting on his laurels. His astounding career is on full, vibrant display in the immense new box set aptly dubbed Working Our Way Back to You — The Ultimate Collection. Consisting of 45 discs of every song Valli and the Four Seasons ever recorded — from beloved hits to deep-cuts, demos and other rarities — the set also includes a biographical book filled to the brim with rare images that track their rise from a fledgling New Jersey singing group to Broadway sensations in the form of Jersey Boys.

In addition, later this month Vailli is heading to Las Vegas for a residency at Westgate Resort and Casino where he and the Four Seasons will be appearing until well into 2024.

Valli spoke to GRAMMY.com about his astounding run of hits, the artists he's influenced, the modern covers of his tracks and how his big year started off with a bang during GRAMMY weekend.

You were a surprise performer at the Clive Davis GRAMMY Gala earlier this year and, in a very special moment, everyone in the audience, from Cardi B to Joni Mitchell, jumped up and sang along with you to "Can't Take My Eyes Off Of You." What was that moment like for you?

Oh, it was incredible. I never expected it. When Clive first invited me, he said "I want to invite you to my GRAMMY party, but I want you to do a song." I said, "With the generation gap, should I really do a song?" But I was in shock when everybody stood up to sing along. 

It was a really a moment I'll never forget. It's a good thing we have people like Clive who really has an insight on what's happening and where it's going. 

That night, the Italian rock band Måneksin covered your song "Beggin'" which was their breakout hit. The band was just the latest in a long line of artists who have covered Four Seasons music, with "Can't Take My Eyes Off Of You" done by everyone from Lauryn Hill to Shawn Mendes, to name just two examples. What do you think of all of these artists wanting to cover your work?

It's quite complimentary. When you've been around a long time and people find value in what you've done, it just makes you feel good about what you've done.

In your career, you've also covered so many songs from Cole Porter's "I've Got You Under My Skin" to Bob Dylan's "Don't Think Twice (It's Alright)." How did you go about choosing which songs to cover, and how would you put your own spin on these classics to make them your own?

It was really more or less music that we listened to and we loved. We tried to pick songs that were very meaningful for us, but the trick was to be able to do them a little differently than they had been done. 

We were quite successful with it, we did it with songs like "Will You Still Love Me Tomorrow?" We did a version of "Book of Love" and so many others.

Your version of "Don't Think Twice (It's Alright)" is probably one of the most unusual songs in your vast discography considering its subject matter, your exaggerated falsetto, and those background harmonies. How did that come about? I also understand you heard from Bob Dylan himself about it.

We did it in a very campy way, and it really was quite by accident. I was in a studio, and the guy at the soundboard asked me to sing a little bit to get a level on me. So I was clowning around singing in a falsetto like that.

The next thing I know, the button clicks and I hear [Crewe and Gaudio's] voices saying, "Do it like that." I said, "Do what like what?" They said, "Sing it just the way you're singing it." I said, "Come on, you're kidding!" 

We did it and that version of it was a take-off on a singer named Rose Murphy, who had several hits. Many years later, I was shopping at Fred Segal in LA and Bob Dylan came up behind me and tapped me on the shoulder. We shook hands and he said, "I love the version of 'Don't Think Twice' that you guys did."

Speaking of your singular vocal stylings, I'm wondering how you and the group went about plotting how you'd all harmonize. For example, in a song like "Candy Girl," there's your iconic falsetto, and then suddenly we hear in a very low baritone voice the line "Our love is real!" Is something like that written out? How does it come together in the studio?

It just comes naturally. A lot of credit goes to the fact that we were never chased away from a song because we didn't know what to do with it. We toyed with it until we found what we thought was right for it. There were no direct plans; everything was done from within the group. 

Nick Massi had his job doing a lot of the vocal arrangements, and Gaudio did most of them after Nick had left. We worked together until everybody was satisfied with it. Does it fit? Does it work? It's like a puzzle. You don't want to overdo anything, and you don't want to under-do.

So then let's say in a song like "Walk Like A Man" when the harmonies sing that iconic "Oo-Oooo-Oo-Oo-Oo-Oo-Oo-Ooooo." Where does that come from?

It comes from Bob Gaudio, who wrote the song to sound like that. The first three songs we did were more like a chant, and that's what we created to make what everybody knows as our sound. 

We wanted to be very easily identifiable. If you heard something by us on the radio, you knew that it was us. We were constantly looking for new ways and new things while having fun doing it. We weren't following or listening to anybody else on the radio; we weren't a copycat group. 

Billy Joel has gone on to say that a lot of the inspiration he got came from us. "I love you just the way you are" is the last line in "Rag Doll."

He also said that "Uptown Girl" was an homage to you. Musically it sounds like "Big Girls Don't Cry" but lyrically it's the opposite of "Rag Doll." What do you think when you hear a song like that?

First of all, I'm a big Billy Joel fan. There isn't anything he's ever done that I haven't liked. My favorite of everything is "Just The Way You Are." It sounds so honest and lyrically it's so right, it had to be a hit.

What about a song like "Bennie and the Jets"? It's been said that Elton John was directly inspired by you.

I loved it. He's another guy who has done very little wrong musically. He's an amazing writer and performer. 

You and the group have a lot of name songs: "Sherry," "Marlena," "Dawn." Was that conscious effort, or was it just natural?

It was natural. Bob wrote the songs… He and I have been partners now for over 50 years and he never ceases to amaze me. He's so tuned into everything that's going on, it's really amazing.

Is it true that "Sherry" was originally called "Jackie" in honor of Jackie Kennedy?

No, it was originally called "Perry." Before "Sherry," we weren't signed to a label, so this small independent company owned by a millionaire had a daughter named Perry. And that's what he wanted us to call it, but it was written to be "Sherry" and we just felt very strongly about that and kept it.

What did the owner think of that?

We ended up going with a different company. So we never heard much after that.

One of your biggest hits was "December 1963 (Oh What A Night!)." I always wondered if that was a random date, or if you chose it because that period was a unique moment in history: a month after the Kennedy assassination, but two months before the Beatles were on Ed Sullivan. 

It was originally a song with lyrics about the '20s, '30s and '40s. The lyrics were "Flippers flopping on the floor." It was a totally different song. When Bob brought it into the studio, he was disappointed we weren't crazy about it and he wanted to junk the song. We said, "No, you can come up with something better than this," and he rewrote it to fit the time. 

Is there one song that you thought should have been bigger than it was?

The funny thing about records during the days when we recorded, and the record business was as big as it was, to become a hit it was important that the record company do the legwork and get radio stations to play it, or try it for two weeks. I thought there was a lot of what we did that was overlooked because the record company wasn't that crazy about it. 

For example, I put the single "We're All Alone" out, and the record company didn't want to work it. I did mine with the London Symphony Orchestra. Later, Rita Coolidge came out with the same song and it went to No. 1. Sometimes things like that happen.

A song like "Can't Take My Eyes Off Of You" was in the can for two or three years. We had to force the record company to release it and hire independent promotion people to work the record and get it on the radio. 

"My Eyes Adored You" was recorded for Motown Records and that one was in the can for three years because they weren't too sure about it. Finally, when we left Motown, we asked if we can buy back the track, and they agreed for us to purchase it. We did and we brought it to every record company in the business and they all said no. 

Eventually, we found Larry Uttal with a brand new record company, Private Stock Records, and he said, "That'll be my first No. 1 record for my new company." And it was!  

From when you first started recording in the early '50s to when "Sherry" hit No. 1 was a period of nine years. That's a long time. Why did you stick with it? 

It was always music first. If I had no success at all, I'd probably still be doing music somewhere in New Jersey or New York. I knew exactly what I wanted to do and wanted to be. 

At first, I rejected the fact that I might have to do pop music, but as I started to do it and it became successful, I realized it was a music that people could understand. And what are you doing music for? You're doing it for people. Without an audience you wouldn't have anything. 

My love of music started out for the very first time with me seeing Frank Sinatra as a boy when my mom took me to the Paramount Theater in New York City. I couldn't believe what I was seeing and I was so inspired; I made up my mind that that's what I wanted to do. 

Living Legends: Nancy Sinatra Reflects On Creating "Power And Magic" In Studio, Developing A Legacy Beyond "Boots" & The Pop Stars She Wants To Work With

Since its premiere in October 1972, "Papa Was a Rollin' Stone" remains one of the highest-performing singles in the Temptations' catalog — and one of Motown's timeless classics. The song quickly rose to the top of the Billboard Hot 100 chart at the end of 1972, and snagged the group two GRAMMY wins at the 1973 GRAMMYs.

In this episode of GRAMMY Rewind, Motown legend Smokey Robinson takes the stage to accept the Temptations' award for Best Duo/Group R&B Vocal Performance at the 15th GRAMMY Awards. Robinson was a longtime collaborator of the group, writing some of their most notable hits, including "My Girl," "The Way You Do the Things You Do" and "Get Ready."

"I would like to say it's a great pleasure for me to come and accept this award for the Temptations, who have always been fantastic and are doing special, fantastic things," Robinson praised, alluding to their "musical marriage" to songwriter and producer Norman Whitfield.

Press play on the video above to watch Smokey Robinson accept the Temptations' golden gramophone for "Papa Was a Rollin' Stone" at the 1973 GRAMMYs, and keep checking back to GRAMMY.com for more new episodes of GRAMMY Rewind.

A History Of Casablanca Records In 10 Songs, From Kiss To Donna Summer To Lindsay Lohan

Jeff Goldblum has enjoyed a prolific (and massive) career as one of Hollywood's most beloved actors. But long before making it as a film and television star, he enjoyed an entirely different passion: American standards and jazz.

Now, as Goldblum says, he's "a humble student" of the genres. Four years after releasing his first jazz album with the Mildred Snitzer Orchestra (2018's The Capitol Studios Sessions), the actor-turned-musician unveiled his third project, Plays Well With Others, on March 24. 

Across the EP's six tracks, Goldblum and the orchestra deliver inventive renditions of songs like the Frank Sinatra standard "In The Wee Small Hours of the Morning" and Irving Berlin's "Don't Fence Me In." Though he's already proven that he plays well with others — his previous two releases have featured the likes of Miley Cyrus, Fiona Apple and Hailey Reinhart — Goldblum recruited a disparate list of guest stars including pop star Kelly Clarkson and Brazilian singer/songwriter Rodrigo Amarante for his latest set.

In celebration of the EP's release, Goldbum took GRAMMY.com inside the songs, artists and albums that made the biggest impact on him — and ultimately lead to a whole new career. 

Erroll Garner

My dad was a fan of his, and he's one of the first pianists I heard. He used to sit on a telephone book to play piano. What a genius he is. I've been listening to his recording of "Eldorado" from his 1972 album Gemini. Ooh, how about that one?

Henry Mancini's "Moon River"

That was one of the first songs my first piano teacher, Tommy Emmel, gave me the sheet music for. I really sat and worked on that, and I started to get better at playing by playing that song.

When it comes to Henry Mancini, I saw the first run of The Pink Panther with my sister and it made a big impact on me. [*Sings* The Pink Panther theme]. That killed me. 

Frank Sinatra

I have always loved Frank Sinatra. It was in his swimming pool at his former home in Palm Springs where we shot a photograph for the cover of my second album. We put a piano in the middle of his pool!

He's such a good actor, and the gift of his voice. He acts all of these songs so deeply, originally and spontaneously.

Sinatra at the Sands

I've been listening to Sinatra at the Sands a lot lately. What an album. He's with the Count Basie Orchestra, conducted by a very young Quincy Jones. It has all sorts of amazing moments: "Shadow of Your Smile," which he introduces by saying 'Here's a brand new song,' which is amazing. "One for My Baby" is another one, the way he does it on that record is unbelievable with his spoken introduction kills me.

This version of "You Make Me Feel So Young" is one I've listened to several times while I was filming the upcoming Wicked movie with Ariana Grande, Cynthia Erivo and Michele Yeoh. I was listening to a lot of music to stimulate me even more, and this album and that song was one of them. 

Jennifer Warnes' "It Goes Like It Goes"

It's originally from the movie Norma Rae from 1979 that Sally Field won the Oscar for. The title song is sung by Jennifer Warnes. It knocks me out. I get weepy, rich tears of delicious joy and sorrow.

Thelonis Monk

Right around the time I was taking piano lessons, Thelonis Monk was on the cover of TIME magazine. I checked him out, and developed a lifelong love of what he did and what a genius he is. 

Brian Stokes Mitchell and Audra McDonald's "Wheels of a Dream"

This is from the musical Ragtime, which recently celebrated its 25th anniversary. When I hear this song lately, it reminds me of the time I worked with Brian Stokes Mitchell [on Fox's hit TV series "Glee"]. We actually played a married couple who was raising our child, played by Lea Michele. As a matter of fact, the week we did that show, we went to the Capitol Records building to record a duet of "You're the Top."

Peggy Lee's "Is That all There Is?"

That song kills me. I first heard it in 1969 when it first came out. Randy Newman actually did the orchestral arrangement.

Glenn Gould

My bandmate and coach, Alex Frank, who plays the bass in our band, turned me on to Glenn Gould, who is from Toronto where my wife is actually from. I've been watching some documentaries on him that I've been eating up. What a great guy he was; a masterful, interesting and original artist. 

Alex's dad was involved in music prominently, so when he was a kid, he once went to a rehearsal of Glenn Gould's because his father had some relationship with the orchestra leader. It was a rehearsal and in the middle of it Glenn Gould said, "Stop, stop, I can't continue. I need a paper bag." 

So Alex, who was 10 at the time, went around the corner to get a paper bag. When he came back with it, Glenn Gould took off his shoes and socks and put his bare feet in this paper bag and said, "Now I'm ready" and continued his rehearsal. Why did he do that? I don't know. 

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