A pivotal year in Latin music, 1972 signified a coming-of-age. Latin music, at large, was expressing a desire to grow into something more meaningful and transcendent.

As always, Latin American countries fell under the spell of everything musical that was happening in England and the U.S. at the time: the eye-opening ambition of progressive rock, the healing fever of funk, the earnest instrumental virtuosity of jazz fusion. Perhaps reflecting a culture where individuality was so cherished, many Latin musicians absorbed the foreign sounds and ran with them into surprising, unexpected directions.

In New York and Puerto Rico, salsa became pluralistic and progressive. In Brazil, the military government’s invasive censorship only managed to sharpen artistic creativity instead of stifling it. From Argentina to Colombia and Mexico, rock delved into a singular strain of poetic symbolism, psychedelia and the adoption of a desired childlike innocence as a reaction to the stalemate of industrialized society.

Fifty years later, here are 11 essential Latin albums to treasure:

Milton Nascimento & Lô Borges - Clube da Esquina

A visionary singer/songwriter, Milton Nascimento emerged from the Brazilian state of Minas Gerais armed with an instinctive understanding of Afro idioms and a wide-eyed reverence to the Beatles.

Clube da Esquina signaled a before-and-after for Brazilian culture. Conceptualized by an artistic collective that also included songwriter Lô Borges and a prodigious team of musicians and lyricists, the double-LP veers effortlessly from the sweet psychedelia of “Um Girassol Da Cor Do Seu Cabelo” to the country-pop nostalgia of “Paisagem da Janela” and the hymn-like fervor of “San Vicente.” The club reconvened for a second (and equally inspired)  installment in 1978. 

Tito Puente & Celia Cruz - Algo Especial Para Recordar

Until the end of her life, Cuban diva Celia Cruz never understood why the series of sessions she recorded with Nuyorican bandleader Tito Puente between the late ‘60s and early ‘70s received little to no promotion. The duo made an attempt to update its sound to compete for the attention of young, rock-obsessed listeners — to no avail.

Their last collaboration during that specific time, Algo Especial Para Recordar boasts a punchy, adrenaline-fueled sound, as Puente selects trusted nuggets from Celia’s catalog (“Tatalibabá,” “Cao Cao Maní Picao”) and demonstrates what a fantastic arranger he was. Even the bolero “Extraño Amor” is electrifying. Not surprisingly, this evergreen classic is still cherished by collectors. 

Sui Generis - Vida

Ah, the innocence. South America fell head over heels in love with the Beatles and the Stones, folk-rock and the blues, and an entire generation of long-haired idealists decided to pick up guitars and record their own protest anthems — en español.

South American rock was stretching and expanding in 1972, and Sui Generis — led by Argentina’s resident genius Charly García — was one of its first supergroups (its career would end abruptly three years later with two massive shows at Buenos Aires’ Luna Park and a double live album.) This luminous debut is a historical artifact, and while the singalong naiveté of “Necesito” sounds a bit peculiar 50 years later, a track like opening gem “Canción para mi muerte” is melancholy and haunting. 

Willie Colón & Héctor Lavoe - El Juicio

An intriguing paradox defines the salsa albums that Nuyorican trombonist, producer and songwriter Willie Colón recorded during the first half of the ‘70s with boricua singer Héctor Lavoe. On the one hand, tropical jams like “Piraña” and “Aguanile” brim with the kind of trombone-fueled intensity that makes them ideal for the dancefloor.

At the same time, these timeless classics are imbued in darkly-hued humor and a cosmovision that’s almost disturbing in its fatalism. The songs are fantastic and Lavoe’s dense, soulful, tragic vocalizing  is unforgettable. Lavoe died in 1993, at 46.  

Novos Baianos - Acabou Chorare

The soundscapes of bossa nova are gorgeous, but the movement’s obsession with its own sadness can get a bit tiring at times. With that in mind, the young group Novos Baianos used their second album (which translates to “Enough Crying) as an excuse to celebrate the more joyful aspects of Brazilian folk.

The result is an exhilarating collection that delves into samba-rock with panache and electric guitars, anchored on the gorgeous vocal interplay of Moraes Moreira, Paulinho Boca de Cantor and the lovely Baby Consuelo (whose post-Novos Baianos solo work is worth seeking out). Opening track “Brasil Pandeiro” sums up everything that is wondrous about Brazilian music — the effortless bonhomie, the percolating syncopation. No wonder it was named the country’s greatest album of all time in a 2007 poll conducted by the local edition of Rolling Stone magazine.  

Fania All Stars: Live at the Cheetah, Vol. 1

No album has managed to capture the New York salsa explosion in all its glorious combustion — but this is as close as it gets.

Recorded live at the Cheetah Lounge in New York with a spectacular orchestra at the top of its game — every single artist, a star in their own right — Live at the Cheetah is the first installment of a two-volume epic. The album includes an explosive version of Cheo Feliciano’s “Anacaona” with Larry Harlow on piano and a simmering “Descarga Fania” with Ray Barretto vocalist Adalberto Santiago. Cheo and Adalberto are joined by Héctor Lavoe, Pete ‘El Conde’ Rodríguez, Ismael Miranda and veteran singer Santos Colón on the 16 minute-long “Quítate Tú,” trading vocal lines in mock competitive spirit.  

Juan Gabriel - Juan Gabriel (aka El Alma Joven II)

The Mexican balada movement was on fire during the early ‘70s, as young stars like José José and Juan Gabriel turned three-minute love songs into mini-pop symphonies marked by sophisticated orchestrations. Juan Gabriel’s second album was an artistic and commercial winner from its inception: a batch of his buoyant pop hooks and lavish arrangements by Eduardo Magallanes and Chucho Ferrer. The opening brass line and supple drum beat of “No Puedo Olvidar” set up the stage for the sonic delights that follow.

Erasmo Carlos - Sonhos E Memórias – 1941/1972

Most people know Roberto Carlos as the Julio Iglesias of Brazil — the best-selling artist in Brazilian pop. Only studious fans are aware of the fact that Roberto wrote most of his hits in partnership with singer/songwriter Erasmo Carlos (the artists are not related).

Even better: while breaking records with Roberto, Erasmo also recorded a series of stunning solo LPs exploring art-rock and psychedelia, folk-pop and jazz-soul. This elusive, introspective autobiographical trip is Erasmo’s masterpiece — criminally underrated when released but reevaluated in subsequent decades. “Meu Mar” is probably the dreamiest Brazilian track you will ever encounter. 

La Sonora Ponceña - Desde Puerto Rico a Nueva York

Inspired by Bill Evans and Oscar Peterson, Puerto Rican pianist Papo Lucca inherited his father’s orchestra in Ponce and brought his idols’ exquisite harmonies to a rugged salsa orchestra. The combination created an edgy balance, a pungent contrast, and La Ponceña would quickly become one of the most aristocratic outfits in tropical music.

This 1972 session finds the band in a particularly aggressive mood, anchored on a tight rhythm section and the imposing vocals of stars Tito Gómez and Luigi Texidor. Opening cut “Prende El Fogón” is worth the price of admission.

Malo - Malo

The hazy mystique of early ‘70s Chicano rock — the fusion of laid-back Afro-Cuban grooves with jazzy chords and velvety vocals — has resisted the passing of time particularly well, as the elegant debut by this 12-piece San Francisco combo can attest. A down-to-earth version of the more celestial Santana, Malo featured the guitar of Carlos’ brother, Jorge Santana, as well as the percussion chops of Coke Escovedo (Sheila E’s uncle) and the expressive singing of Arcelio García, Jr. Sweet and funky, “Suavecito” is a California classic.

Gato Barbieri - Last Tango in Paris (Original Soundtrack)

In 1972, Italian director Bernardo Bertolucci pushed the envelope with his new film: a radical psycho-sexual narrative with Marlon Brando as a suicidal middle-aged man. Argentine saxophonist Gato Barbieri, already known for his ambitious Latin jazz epics, happened to be touring Italy.

He played a few original tunes for Bertolucci, and the director selected the now legendary theme on the spot. Recording the soundtrack involved getting a piano to a fifth floor apartment in Rome, but it was well worth it. Seeped in an almost delirious ocean of sadness, “Last Tango in Paris” is arguably Barbieri’s most gorgeous composition. 

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Those who follow underground Spanish music have known the name Nathy Peluso for a while, but in 2020 the Argentine-Spanish artist came to the attention of a broader audience. That year,  the rapper and singer released her official debut album Calambre, which won a Latin GRAMMY for Best Alternative Album and received a GRAMMY nomination for Best Latin Rock or Alternative Album in 2021. 

Four years later, Peluso is back with Grasa [Grease]. Out May 24, the 16 track follow-up is simultaneously bolder, more vulnerable and more revealing than its predecessor, crystalizing the artist's iconoclastic and often cinema-inspired vision.

At Legacy Records, a hotspot for haute Mediterranean fare in Manhattan's Hudson Yards neighborhood, Nathy is draped in an oversized blazer and pants. She looks like a relaxed, elegant CEO and the style becomes her, especially as she balances it with ultra-feminine touches. Today, its long nails tipped in fire-engine red.

Her fashion choices are as pointed as her manicure, on and off stage. In the recent video for "Aprender a Amar," she raps ferociously into a mirror, sharply dressed in a pin-stripe tie, a jacket with exaggerated shoulders, and delicate black lace gloves. These sartorial choices ask, Why settle for a mob-wife aesthetic when you can be a don yourself?

Both visually and aurally, Nathy Peluso is part cinematic diva and part underworld kingpin, with a fair amount of Missy Elliott swagger. Her tough, independent persona was on full display on her now-multimillion streamed 2020 Bizarrap session, which smoldered and crackled with her bombast. It was fully formed on "Business Woman," from Calambre, and returned with a roar on her 2021 single "Mafiosa," a high drama salsa track.  

Her powerful energy is pure hip-hop in steel-toe Timbs, but she performs with the generous spirit of a burgeoning pop star ministering to a big house of fans. On Grasa, Nathy Peluso brings humanity to her braggadocio. This doesn’t stop her from picking up the mafia saga where she left off on Calambre. The opening track is titled "Corleone." 

Ahead of the release of her first album in four years, Nathy Peluso spoke with GRAMMY.com about overcoming creative burnout, taking inspiration from mob movies, and the true meaning of "grasa."

This album is more personal than your previous releases. What led you to open up more lyrically?

I think it just happened because I am growing. I am learning and I need to tell my truth. The way for me to do that is music. It’s been four years, but, when the moment came, I was ready.

Speaking of four years ago, 2020 was a very big year for you. A lot happened. What are your most vivid memories from that time?

Calambre was the moment. It was really special for me. Winning the GRAMMY was the moment, and then touring with that album was an amazing learning experience for me. I grew up on the stage. 

I grew up as a woman, as an artist, as a performer, maybe as a lover too. You are traveling around the world with so much pressure. Physically, it was a difficult show. I was alone on stage, with my musicians, but no dancers. It was a challenge. 

I grew up in so many ways, but when I finished that tour I was broken. My soul was broken. I was empty. I started looking for myself. It was very tough. 

It sounds like you were experiencing creative burnout.

Yes, my brain was broken, but it was necessary in order to start again. I did an album then, but I decided not to go with that album and to start again. So, it was a very long path. 

You wrote a whole album and then discarded it? What wasn’t working about it?

It was working, but it wasn’t the feelings I wanted to share and the music I wanted to share. Sometimes there are projects whose purpose is just to learn from. It was a process of learning for me. That was a very special moment. 

You start feeling like a failure, but no. It was necessary to go through that to get to Grasa. The things I learned were exactly the things I needed to know to then make this music. 

So, how did you overcome this period of burnout and get to the point where you were feeling creative again?

A lot of therapy. A lot of working on my s— and confronting it.

Is there one song on Grasa that is more intense to perform, or more emotional for you than the others?

"Envidia" is talking real s—. Things happen around you and you need to know who you are and what your intention is. You have to be focused on what you want to bring to the world and not care about anything besides your craft. People are going to talk. Things are going to be crazy. You’ve got to know your choice, your path.

Can you tell me about the song "Corleone"? How do gangster movies inspire you?

I have a song called "Mafiosa." It’s a character I love to perform and I see myself in that character. It’s relatable. The mafia have codes that represent me — not everything [laughs] — but, you know, the family, the legacy, working hard, respect. That kind of feeling in music, in cinema, is what I was looking for. I love the aesthetic. I love Tarantino. I love Tony Montana, the character. On stage, I feel like him sometimes. 

I love for a woman to be that type of character. I think it’s interesting. Usually, those kinds of feelings in music or cinema are represented by men. It’s always that way in salsa. If you look at Celia or Gloria, they were always more romantic. Maybe La Lupe was dangerous. For me, it’s important to bring that energy to the music, like, rude, strong, dangerous. Be careful, bitch!

What were some of your specific musical influences while working on this album?

Always folklore and roots, salsa and bolero, but then I was paying attention to Kendrick Lamar and Kanye West. They are a big inspiration for me. 

How do you bridge the gap, or find the connections among your different influences?

I don’t even know. I just do music, really. I go to the studio and I start singing. I just feel it.  I go to the studio, and suddenly I want to sing, and I want to cry. And then another day, I feel powerful and I want drama and aggressive stuff. It’s very honest. The starting point is always the way I feel.

Is it important to you to make music that empowers other women?

Yes. For sure. But it wasn’t ever a strategy, like, "I want to do music for empowering women." I just did my music without direction. Then I discovered people were feeling the power and using it. I feel inspired by that, but it wasn’t the point. 

What does the word "grasa" mean to you?

I chose that word because it’s the strongest word. It’s dirty. It’s funky. But it’s a word that, at least in Spanish, has a lot of meanings. So, I want people to choose the meaning. After listening to the album, you can choose the meaning and maybe redefine it with the album.

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As a founding member of the National Recording Preservation Board, the Recording Academy was instrumental in lobbying and getting the board created by Congress. Now, the Library of Congress has added new treasures to the National Recording Registry, preserving masterpieces that have shaped American culture.

The 2024 class not only celebrates modern icons like Green Day’s punk classic Dookie and Biggie Smalls' seminal Ready to Die, but also honors vintage gems like Gene Autry’s "Rudolph, the Red-Nosed Reindeer" and Perry Como’s hits from 1957. These recordings join over 650 titles that constitute the registry — a curated collection housed within the Library’s vast archive of nearly 4 million sound recordings. 

Librarian of Congress Carla Hayden announced these additions as essential pieces of our nation’s audio legacy, each selected for their cultural, historical, or aesthetic importance. This selection process is influenced by public nominations, which hit a record number this year, emphasizing the public's role in preserving audio history.

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"The Library of Congress is proud to preserve the sounds of American history and our diverse culture through the National Recording Registry," Hayden said. "We have selected audio treasures worthy of preservation with our partners this year, including a wide range of music from the past 100 years, as well as comedy. We were thrilled to receive a record number of public nominations, and we welcome the public’s input on what we should preserve next."

The latest selections named to the registry span from 1919 to 1998 and range from the recordings of the all-Black 369th U.S. Infantry Band led by James Reese Europe after World War I, to defining sounds of jazz and bluegrass, and iconic recordings from pop, dance, country, rock, rap, Latin and classical music.

"For the past 21 years the National Recording Preservation Board has provided musical expertise, historical perspective and deep knowledge of recorded sound to assist the Librarian in choosing landmark recordings to be inducted into the Library’s National Recording Registry," said Robbin Ahrold, Chair of the National Recording Preservation Board. "The board again this year is pleased to join the Librarian in highlighting influential works in our diverse sound heritage, as well as helping to spread the word on the National Recording Registry through their own social media and streaming media Campaigns."

Tune in to NPR's "1A" for "The Sounds of America" series, featuring interviews with Hayden and selected artists, to hear stories behind this year’s picks. Stay connected to the conversation about the registry via social media and listen to many of the recordings on your favorite streaming service.

For more details on the National Recording Registry and to explore more about the selections, visit The Library of Congress's official National Recording Registry page.

National Recording Registry, 2024 Selections (chronological order)

1. "Clarinet Marmalade" – Lt. James Reese Europe’s 369th U.S. Infantry Band (1919)

2. "Kauhavan Polkka" – Viola Turpeinen and John Rosendahl (1928)

3. Wisconsin Folksong Collection (1937-1946)

4. "Rose Room" – Benny Goodman Sextet with Charlie Christian (1939)

5. "Rudolph, the Red-Nosed Reindeer" – Gene Autry (1949)

6. "Tennessee Waltz" – Patti Page (1950)

7. "Rocket ‘88’" – Jackie Brenston and His Delta Cats (1951)

8. "Catch a Falling Star" / "Magic Moments" – Perry Como (1957)

9. "Chances Are" – Johnny Mathis (1957)

10. "The Sidewinder" – Lee Morgan (1964)

11. "Surrealistic Pillow" – Jefferson Airplane (1967)

12. "Ain’t No Sunshine" – Bill Withers (1971)

13. "This is a Recording" – Lily Tomlin (1971)

14. "J.D. Crowe & the New South" – J.D. Crowe & the New South (1975)

15. "Arrival" – ABBA (1976)

16. "El Cantante" – Héctor Lavoe (1978)

17. "The Cars" – The Cars (1978)

18. "Parallel Lines" – Blondie (1978)

19. "La-Di-Da-Di" – Doug E. Fresh and Slick Rick (MC Ricky D) (1985)

20. "Don’t Worry, Be Happy" – Bobby McFerrin (1988)

21. "Amor Eterno" – Juan Gabriel (1990)

22. "Pieces of Africa" – Kronos Quartet (1992)

23. Dookie – Green Day (1994)

24. Ready to Die – The Notorious B.I.G. (1994)

25. "Wide Open Spaces" – The Chicks (1998)

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The 2024 GRAMMY nominations are right around the corner — and as always, inspired Latin musical offerings will lie within the heart of the list.

While the Recording Academy’s sister academy, the Latin Recording Academy, naturally honors this world most comprehensively, it plays a crucial role in the GRAMMYs landscape just as in that of the Latin GRAMMYs — and there’s been crossover time and time again!

On Nov. 10, the world will behold nominations in all categories — including several within the Latin, Global, African, Reggae & New Age, Ambient, or Chant field. Within the world of Latin music, the awards are: Best Latin Pop Album, Best Música Urbana Album, Best Latin Rock or Alternative Album, Best Música Mexicana Album (Including Tejano), and Best Tropical Latin Album. The Recording Academy also offers a GRAMMY Award for Best Latin Jazz album, though that award is a part of a different field. 

Like the Recording Academy and GRAMMYs themselves, these categories have evolved over the years. Along the way, various Latin music luminaries have forged milestones in Academy history.

Ahead of the 2024 GRAMMYs nominations, here are some key facts to know about Latin music’s history at the GRAMMYs.

The First Award For Latin Music At The GRAMMYs Was Given In 1975

The first winner for Best Latin Recording was pianist and composer Eddie Palmieri, for 1974’s The Sun of Latin Music. Now an eight-time GRAMMY winner, Palmieri took home the golden gramophone in this category at both the 1976 GRAMMYs and the following year for Unfinished Masterpiece.

At the 1980 GRAMMYs, the first group winner was the thrice nominated Afro-Cuban jazz band Irakere, for their 1978 self-titled debut.

Percussionist Mongo Santamaria holds the record for the most nominations within the Best Latin Recording category.

The Sound Of Latin Pop — And The Title Of The Award — Has Shifted Over 40 Years  

Back in 1983, this category was called Best Latin Pop Performance. The first winner was José Feliciano, who took home the golden gramophone for his album Me Enamoré at the 26th GRAMMY Awards.

Best Latin Pop Performance eventually pivoted to Best Latin Pop Album and Best Latin Pop or Urban Album, then back to Best Latin Pop Album — just another example of how the Academy continually strives for precision and inclusion in its categories.

As for most wins, it’s a tie between Feliciano and Alejandro Sanz, at four. Feliciano also holds the distinction of having two consecutive wins, at the 1990 and 1991 GRAMMYs.

The Best Latin Urban Album Category Was Introduced In 2007

The first winner in this category was the urban hip-hop outfit Calle 13, for their 2007 album Residente o Visitante.

The first female nominee was Vanessa Bañuelos, a member of the Latin rap trio La Sinfonia, who were nominated for Best Latin Urban Album for their 2008 self-titled album at the 2009 GRAMMYs.

Here’s Who Dominated The Best Norteño Album Category

The first GRAMMY winner in the Best Norteño Album category was Los Tigres Del Norte, for their 2006 album Historias Que Contar, at the 2007 GRAMMYs. To date, they have landed four consecutive wins — at the 2007, 2008, 2009, and 2010 GRAMMYs.

The Intersection Between Latin, Rock & Alternative Has Shifted

Best Latin Rock Or Alternative Album; Best Latin Rock, Alternative Or Urban Album; Best Latin Rock/Alternative Performance… so on and so forth.

If that’s a mouthful, again, that shows how the Academy continually hones in on a musical sphere for inclusion and accuracy’s sake.

Within this shifting category, the first winner was Los Fabulosos Cadillacs, who won Best Latin Rock/Alternative Performance for 1997’s Fabulosos Calavera at the 1998 GRAMMYs.

At the 2016 GRAMMYs, there was a tie for the golden gramophone for Best Latin Rock, Urban Or Alternative Album, between Natalia Lafourcade and Pitbull. Overall, the most wins underneath this umbrella go to Maná, with a total of three.

These Artists Made History In Tropical Latin Categories

Over the years, this component of Latin music has been honored with GRAMMYs for Best Traditional Tropical Latin Performance, Best Traditional Tropical Latin Album, Best Tropical Latin Performance, and Best Tropical Latin Album.

The first winner of a GRAMMY for Best Tropical Latin Performance was Tito Puente & His Latin Ensemble, for "On Broadway," from the 1983 album of the same name.

Under the same category, the first female winner was Celia Cruz, for "Ritmo En El Corazón." Overall, Rubén Blades has taken home the most GRAMMYs under this umbrella, with a total of six.

This Was The First Latin Artist To Win Album Of The Year

Ten-time GRAMMY winner and 14-time nominee Carlos Santana holds this distinction for 1999’s "Supernatural," at the 2000 GRAMMYs.

This Was The First Spanish-Language Album To Be Nominated For Album Of The Year

That would be Bad Bunny’s Un Verano Sin Ti, at the 2023 GRAMMYs; Bad Bunny also performed at the ceremony, but Harry Styles ended up taking home that golden gramophone.

Ditto Música Mexicana — Formerly Known As Best Regional Mexican Music Album

Música mexicana — a broad descriptor of regional sounds, including Tejano — is having a moment in recent years, which points to the incredibly rich GRAMMYs legacy of these musical worlds.

The first winner for Best Mexican-American Performance was Los Lobos, for 1983’s "Anselma." For Best Regional Mexican or Tejano Album, that was Pepe Aguilar, for 2010’s "Bicentenario."

The Inaugural Trophy For Best Música Urbana Album Went To…

The one and only Bad Bunny, for 2020’s El Último Tour Del Mundo. He took home the golden gramophone again at the 2023 GRAMMYs for Un Verano Sin Ti. 

Keep checking back as more information comes out about the 2024 GRAMMYs — and how the Recording Academy will honor and elevate Latin genres once again!

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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."

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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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