grammy awards
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The walls that separate genres are coming down, which is a good thing in many ways. But it complicates things for the screening committees that decide where records should compete in the annual Grammy Awards process.
Here are some albums that probably gave the screening committee pause – and where they are competing in the 65th annual Grammy Awards process.
Demi Lovato’s Holy F*ck, Avril Lavigne’s Love Sux and Tears for Fears’ The Tipping Point were all on the line between pop and rock; all are competing for best rock album. Coldplay’s Music of the Spheres and 5 Seconds of Summer’s 5SOS5 are also somewhere on that line; they are competing for best pop vocal album.
Florence + the Machine’s Dance Fever is vying for best alternative music album. Two previous albums by the English indie rock band – Ceremonials and How Big, How Blue, How Beautiful – were nominated for best pop vocal album.
Zach Bryan’s American Heartbreak topped Billboard’s folk, country and rock album charts — and reached No. 5 on the all-genre Billboard 200. At the Grammys, it’s competing for best country album.
Lizzo’s Special and Beyoncé’s Renaissance danced on the line between pop, dance and R&B. Special is competing for best pop vocal album. Renaissance is vying for best dance/electronic music album. (Bey won best contemporary R&B album three times (for Dangerously in Love, B’Day and I Am…Sasha Fierce) and best urban contemporary album twice (for Lemonade and Everything Is Love, a collab with her husband Jay-Z as The Carters).
The line between R&B and progressive R&B is often blurry. The Grammys have classified Summer Walker’s Still Over It and Chris Brown’s Breezy as R&B, but have slotted Steve Lacy’s Gemini Rights and Brent Faiyaz’s Wasteland as progressive R&B.
Taylor Swift’s Red (Taylor’s Version) is vying for a nod as best country album. The original Red album was nominated in that category nine years ago but lost to Kacey Musgraves’ Same Trailer, Different Park. In terms of genre album awards, Swift has won best country album once (for Fearless) and best pop vocal album once (for 1989).
Jason Aldean is competing for best country album with Macon, Georgia, a combination of his two single-disc albums Macon (released on Nov. 12, 2021) and Georgia (released on April 22).
The Encanto soundtrack is competing for best compilation soundtrack for visual media, not best pop vocal album, even though it topped the Billboard 200 for nine weeks.
The four Latin albums that made the top 10 on the Billboard 200 in the Grammy eligibility year (Oct. 1, 2021, through Sept. 30) are competing in three different categories. Bad Bunny’s Un Verano Sin Ti and Daddy Yankee’s Legendaddy are vying for best música urbana album. Romeo Santos’ Formula Volume 3 is competing for best tropical Latin album. Eslabon Armando’s Nostalgia is vying for best regional Mexican music album (including Tejano).
Several stars didn’t submit their albums for Grammy consideration, for a broad range of reasons. Silk Sonic didn’t submit An Evening With Silk Sonic. They probably figured (correctly) that they were amply rewarded last year when they won four Grammys for “Leave the Door Open” and they would be better off letting some other artists have some Grammy shine. No artist wants to run the risk of having fans say, “Haven’t they won enough?”
Drake and The Weeknd didn’t submit Honestly, Nevermind and Dawn FM, respectively. They are probably still nursing past disappointments. Drake, one of the most successful musicians of the past 15 years (and, really, in recording history) has won just four Grammys. The Weeknd was inexplicably snubbed in the year that he released “Blinding Lights,” one of the biggest and most universally admired hits of recent years, but has also collected four Grammys over the years.
Other albums that aren’t to be found on the entry list include Meek Mill’s Expensive Pain, Roddy Ricch’s Live Life Fast, Lil Durk’s 7220, Rod Wave’s Beautiful Mind and Tory Lanez’s Sorry 4 What.
All Grammys count the same toward someone’s career Grammy total, but we all know they’re not really on an equal footing. Every media outlet on Earth will report the winners of album of the year and record of the year next Feb. 5, but good luck trying to find out who won best regional roots music album (we’ll have it, of course).
Some categories are far more competitive than others. There are more than 20 times as many entries in this year’s most populated category, song of the year (686), as in this year’s least populated category, best opera recording (30). (More than 22 times, actually, but I didn’t want to sound too nerdy.)
Since final-round voting for the 65th Grammy Awards opened Thursday, Grammy voters have been conscientiously wading through the entry lists for 85 of the 91 Grammy categories. (Or so Academy leaders fervently hope.) The nominees in the other six categories are determined by committees.
Voters may find some surprises as they study the entry lists. The number of entries in each of the Big Four categories dropped significantly compared to last year, perhaps due to the Academy’s new policy of charging a fee for entries beyond five “courtesy entries.”
There are 619 entries for record of the year, down from 1,172 last year; 518 entries for album of the year, down from 837; 686 entries for song of the year, down from 1,163; and 368 entries for best new artist, down from 463.
This is actually a positive trend. The entry lists were far too long. It’s asking too much of busy people to expect them to diligently wade through a list of 1,172 entries – and that was just for one category!
Here’s the new rule, and the rationale behind it, taken from the 65th Grammy Awards rules and guidelines booklet: “The per-entry fee structure encourages entrants to consider the value of each entry and make mindful decisions to put forward work that they truly believe is Grammy-worthy. All professional and voting members of the Recording Academy will receive five courtesy entries every year. Any member who would feel burdened by the entry fees can request the fees be waived by reaching out to the awards department.”
In other surprises, best music video has more entries (661) than all but one category (song of the year). Given how competitive it is, this should really regarded as one of the top awards, but it’s tucked away in the music/video film field, not in the general field (usually called the Big Four).
There are nearly five times as many entries for best score soundtrack for visual media (including film and television) (250) as there are for best compilation soundtrack for visual media (51).
The most populated songwriting category (outside of song of the year) is best American roots song (333). Country, though generally thought of as a songwriter-driven genre, lags behind all other genres with 128 entries.
Here are all songwriting categories, ranked from most to least number of entries this year: song of the year (686), best American roots song (333), best rock song (300), best rap song (219), best R&B song (218), best contemporary Christian music performance/song (172), best song written for visual media (154), best gospel performance/song (134) and best country song (128).
All five of the categories that were added this year had a healthy number of entries. There are 270 entries for best alternative music performance, 226 for best Americana performance, 84 for best spoken word poetry album, 71 for best score soundtrack for video games and other interactive media and 62 for songwriter of the year, non-classical.
The number of entries for songwriter of the year, non-classical is only about one-quarter of the number of entries for producer of the year, non-classical (214), probably because of the new category’s restrictive rules, which were intended to put the focus on songwriters who are not also artists or producers.
The Recording Academy keeps track of the number of entries in each category. Here’s the relevant rule from the rules and guidelines booklet: “Each category shall have at least 40 distinct artist entries. If a category receives between 25 and 39 entries, only three recordings will receive nominations in that year.” That’s the case for both best opera recording, which as noted above, had 30 entries this year, and best choral performance, which had 35.
The rules further state: “Should there be fewer than 25 entries in a category, that category will immediately go on hiatus for the current year – no award given – and entries will be screened into the next most logical category. If a category received fewer than 25 entries for three consecutive years, the category will be discontinued, and submissions will be entered in the next most appropriate category.” (That doesn’t apply to any categories this year.)
If you’re curious, the six categories where the nominations are determined by committees, rather than by voters at large, are all four categories in the package, notes and historical field (best recording package, best boxed/special/limited edition, best album notes, best historical album) and two categories in the production field (best remixed recording, best immersive audio album).
First-round voting continues through Oct. 23. Nominees will be announced on Nov. 15. Final-round voting runs from Dec. 14 to Jan. 4, 2023. The winners will be revealed at the 65th annual Grammy Awards on Feb. 5, 2023.
Here are the categories with most and least entries.
Categories with the most entries
(in descending order)
Song of the year, 686
Best music video, 661
Record of the year, 619
Album of the year, 518
Best new artist, 368
Best rock performance, 350
Best American roots song, 333
Best instrumental composition, 321
Best arrangement, instruments and vocals, 318
Best pop solo performance, 309
Best rock song, 300
Best improvised jazz solo, 284
Best American roots performance, 283
Best engineered album, non-classical, 282
Best global music performance, 280
Categories with the fewest entries
(in ascending order)
Best opera recording, 30
Best choral performance, 35
Best regional roots music album, 40
Best música urbana album, 41
Best large jazz ensemble album, 41
Best musical theater album, 42
Best country duo/group performance, 44
Best roots gospel album, 47
Best bluegrass album, 48
Best compilation soundtrack for visual media, 51
Best gospel album, 54
Best Latin rock or alternative album, 56
Best Latin jazz album, 56
Best tropical Latin album, 58
Best classical solo vocal album, 60
The list of 62 songwriters or songwriting teams that are vying for the newly created Grammy Award for songwriter of the year, non-classical includes such major names as Desmond Child, James Fauntleroy, Natalie Hemby, Hillary Lindsey, Shane McAnally, Julia Michaels and Justin Tranter.
It also includes some surprises. The-Dream, who had a pair of top five albums on the Billboard 200 in 2009-10, and Michael Wilson Hardy, who records as HARDY, are both eligible. This award was specifically designed to celebrate songwriters who primarily write for other artists, rather than songwriters who are also artists or producers.
So how did they make the list? The-Dream’s entered work this year focused on his work as a songwriter for Beyoncé, Brent Fayiaz and Pusha T. Hardy’s entries include songs for such artists as Blake Shelton and Brantley Gilbert featuring Jason Aldean. HARDY is featured as an artist on only one of his entries (Cole Swindell’s “Down to the Bar”).
One songwriting team is entered – Denisia “Blue June” Andrews and Brittany “Chi” Coney, who comprise the record production and songwriting duo Nova Wav. They submitted songs that they wrote for Mary J. Blige and Beyoncé.
The eligibility list includes nine Grammy winners – The-Dream (five awards), Fauntleroy (four), Jason Ingram (three), Lindsey (three), McAnally (three), Hemby (two), David Leonard (two), Jonathan Smith (two), and Edgar Barrera (one).
Most of the eligible songwriters submitted credits reflecting work with multiple artists, to show their range. But three of the writers show credits with just one artist — Steve Cooper (The Group Fire), Ed Miranti (Vischious Fishious), and Adam Garzilli (Adam King).
Four of Ryan Hurd’s submitted credits are for songs he wrote for his wife, Maren Morris, but he also has a credit for Jordan Davis. Most of Jozzy’s credits are for work with Latto, though the writer also has a credit for Beyoncé.
Lauren Christy is entered with songs she wrote for such artists as Korn and Jenn Bostic. Christy was nominated for producer of the year (non-classical) in 2003 as part of The Matrix (along with Graham Edwards and Scott Spock).
This new category is analogous to producer of the year, non-classical, which was introduced in 1974. Thom Bell, one of the architects of the Philadelphia soul sound, was the first winner in that category. The Recording Academy should be so lucky to have as esteemed a first winner in this category.
First-round voting in this and all Grammy categories began on Thursday (Oct. 13) and continues through Oct. 23. Nominees will be announced on Nov. 15. Final-round voting runs from Dec. 14 to Jan. 4, 2023. The winners will be revealed at the 65th annual Grammy Awards on Feb. 5, 2023.
Here are the 62 songwriters who are in the running for songwriter of the year. They are listed in alphabetical order.
Sarah Aarons
Andy Albert
Amy Allen
Denisia “Blu June” Andrews and Brittany “Chi” Coney (of Nova Wav)
Edgar Barrera
Evan Kidd Bogart
Nija Charles
Desmond Child
Lauren Christy
Steve Cooper
Kat Dahlia
Sean Douglas
Tom Douglas
Ed Miranti
James Fauntleroy
Omer Fedi
Douglas Ford
James Aaron Foster
Edgar Galeano
Adam Garzilli
Natalie Nicole Gilbert
Andrew Goldstein
Ashley Gorley
Michael Wilson Hardy
Joyce V Harrison
Scott Harris
Natalie Hemby
Cory Henry
Jacob “Jkash” Hindlin
Sarah Hudson
Ethan Hulse
Ryan Hurd
Jason Ingram
Ink
Tobias Jesso Jr.
Steph Jones
Jozzy
David Leonard
Hillary Lindsey
Natalie Litza
Marcus Lomax
Madison Love
Shane McAnally
Chase McGill
Julia Michaels
Kayla Morrison
Michael Pollack
Elena Rose
Tia Scola
Shekinah Grace Moyes
Jonathan Smith
Skyler Stonestreet
Ali Tamposi
The-Dream
Theron Thomas
Jake Torrey
Justin Tranter
Laura Veltz
Billy Walsh
Besy Walter
Emily Warren
Victoria “Ryann” Zaro
Bruno Mars and Anderson .Paak are choosing to sit out this year’s Grammy Awards. In a statement to Billboard on Thursday (Oct. 13), Mars confirmed that the duo will not submit the acclaimed debut by their Silk Sonic duo, An Evening With Silk Sonic, for Grammy consideration.
“Andy and I, and everyone that worked on this project, won the moment the world responded to first single ‘Leave The Door Open.’ Everything else t just icing on the cake,” Mars said of the retro soul track that won four Grammy awards in April, including song of the year, record of the year, best R&B song and best R&B performance; the An Evening album was released in Nov. 2021, which would have made it eligible for nominations at the 2023 ceremony.
“We thank the Grammys for allowing us to perform on their platform – not once but twice – and awarding us at last years ceremony. We’d be crazy to ask for anything more,” he said of the duo’s spirited performance at this year’s show of “777” and “Hot Music” and a 2021 run through “Leave the Door Open” at that year’s broadcast. “Thank you to everyone that supported this project and championed for it. We truly put our all on this record, but Silk Sonic would like to gracefully, humbly and most importantly, sexually, bow out of submitting our album this year. We hope we can celebrate with everyone on a great year of music and partake in the party. Thank you for letting Silk Sonic Thrive.”
In a statement to Billboard, Recording Academy CEO Harvey Mason Jr. said, “Silk Sonic has been such a fun highlight of our last couple of shows and they deservedly had an amazing night at the 64th GRAMMYs earlier this year. We appreciate their decision not to submit this year but look forward to celebrating an amazing year in music together.”
Given the Grammy love Silk Sonic’s debut single received — as well as Mars’ impressive to-date haul of 15 Grammy wins on 31 nominations, as well as four wins for .Paak — the SS album was expected to vie with such fellow potential album of the year contenders as Harry Styles, Adele, Beyoncé, Kendrick Lamar and Taylor Swift at the awards slated to take place at Crypto.com Arena in Los Angeles on Feb. 5, 2023.