33RD GRAMMY AWARDS - FEBRUARY 20TH, 1991
| Record of the Year | “Another Day in Paradise,” Phil Collins |
| Album of the Year | Back on the Block, Quincy Jones (Qwest/Warner Bros.) |
| Song of the Year | “From a Distance,” Julie Gold, songwriter |
| Best New Artist | Mariah Carey |
| Best Pop Vocal Performance, Male | “Oh Pretty Woman,” Roy Orbison |
| Best Pop Vocal Performance, Female | “Vision of Love,” Mariah Carey |
| Best Pop Performance By a Duo or Group With Vocal | “All My Life,” Linda Ronstadt with Aaron Neville |
| Best Pop Instrumental Performance | “Twin Peaks Theme,” Angelo Badalamenti |
| Best Rock/Contemporary Gospel Album | Beyond Belief, Petra (Dayspring/Word) |
| Best Rock Vocal Performance, Male | “Bad Love,” Eric Clapton |
| Best Rock Vocal Performance, Female | “Black Velvet,” Alannah Myles |
| Best Pop Performance By a Duo or Group With Vocal | “Janie's Got a Gun,” Aerosmith |
| Best Rock Instrumental Performance | “D/FW,” Vaughan Brothers |
| Best Hard Rock Performance | Time's Up, Living Colour |
| Best Metal Performance | “Stone Cold Crazy,” Metallica |
| Best Alternative Music Performance | I Do Not Want What I Haven't Got, Sinead O'Connor |
| Best Rhythm and Blues Song | “U Can't Touch This,” Rick James, Alonzo Miller and M.C. Hammer, songwriters |
| Best Rhythm and Blues Vocal Performance, Male | “Here and Now,” Luther Vandross |
| Best Rhythm and Blues Vocal Performance, Female | Compositions, Anita Baker |
| Best Rhythm and Blues Performance By a Duo or Group With Vocal | “I'll Be Good to You,” Ray Charles and Chaka Khan |
| Best Rap Solo Performance | “U Can't Touch This,” M.C. Hammer |
| Best Rap Performance By a Duo or Group | “Back on the Block,” Ice T, Melle Mel, Big Daddy Kane, Kool Moe Dee, Quincy D. III and Quincy Jones |
| Best Jazz Vocal Performance, Male | We Are in Love, Harry Connick, Jr. |
| Best Jazz Vocal Performance, Female | All That Jazz, Ella Fitzgerald |
| Best Jazz Instrumental Performance, Soloist | The Legendary Oscar Peterson Trio Live at the Blue Note, Oscar Peterson |
| Best Jazz Instrumental Performance, Group | The Legendary Oscar Peterson Trio Live at the Blue Note, Oscar Peterson Trio |
| Best Jazz Instrumental Performance, Big Band | “Basie's Bag,” George Benson featuring the Count Basie Orchestra |
| Best Jazz Fusion Performance | “Birdland,” Quincy Jones |
| Best Country Song | “Where've You Been,” Jon Vezner and Don Henry, songwriters |
| Best Country Vocal Performance, Male | “When I Call Your Name,” Vince Gill |
| Best Country Vocal Performance, Female | “Where've You Been,” Kathy Mattea |
| Best Country Performance By a Duo or Group With Vocal | Pickin' on Nashville, Kentucky Headhunters |
| Best Country Vocal Collaboration | “Poor Boy Blues,” Chet Atkins and Mark Knopfler |
| Best Country Instrumental Performance | “So Soft, Your Goodbye,” Chet Atkins and Mark Knopfler |
| Best Bluegrass Recording | I've Got That Old Feeling, Alison Krauss (Rounder) |
| Best Traditional Soul Gospel Album | Tramaine Hawkins Live, Tramaine Hawkins (Sparrow Corp.) |
| Best Contemporary Soul Gospel Album | So Much 2 Say, Take 6 (Reprise/Warner/Alliance) |
| Best Pop Gospel Album | Another Time…Another Place, Sandi Patti (A&M/Word) |
| Best Southern Gospel Album | The Great Exchange, Bruce Carroll (Word) |
| Best Gospel Album By a Choir or Chorus | Having Church, Rev. James Cleveland (Savoy) |
| Best Latin Pop Performance | “Por Que Te Tengo Que Olvidar?,” José Feliciano |
| Best Tropical Latin Performance | “Lambada Timbales,” Tito Puento |
| Best Mexican/American Performance | “Soy de San Luis,” Texas Tornados |
| Best Traditional Blues Recording | Live at San Quentin, B.B. King (MCA) |
| Best Contemporary Blues Recording | Family Style, Vaughan Brothers (Epic Associated) |
| Best Traditional Folk Recording | On Praying Ground, Doc Watson (Sugar Hill) |
| Best Contemporary Folk Recording | Steady On, Shawn Colvin (Columbia/CBS) |
| Best Reggae Recording | Time Will Tell—A Tribute to Bob Marley, Bunny Wailer (Shanachie) |
| Best New Age Performance | Mark Isham, Mark Isham |
| Best Polka Recording | When It's Polka Time at Your House, Jimmy Sturr and His Orchestra (Starr) |
| Best Arrangement on an Instrumental | “Birdland,” Quincy Jones, Ian Prince, Rod Temperton and Jerry Hey, arrangers |
| Best Instrumental Arrangement Accompanying Vocal(s) | “The Places You Find Love,” Jerry Hey, Glen Ballard, Clif Magness and Quincy Jones, arrangers |
| Best Instrumental Composition | “Change of Heart” Pat Metheny, composer |
| Best Musical Cast Show Album | Les Misèrables, The Complete Symphonic Recording (Relativity) |
| Best Instrumental Composition Written for a Motion Picture or for Television | Glory, James Horner, composer (Virgin) |
| Best Song Written Specifically for a Motion Picture or for Television | “Under the Sea” (From The Little Mermaid), Alan Menken and Howard Ashman, composers |
| Best Contemporary Composition | Arias and Barcarolles, Leonard Bernstein, composer |
| Best Classical Album | Ives, Symphony No. 2 and Three Short Works, Leonard Bernstein conducting New York Philharmonic (Deutsche Grammophon) |
| Best Chamber Music or Other Small Ensemble Performance | Brahms, The Three Violin Sonatas, Itzhak Perlman, violinist; Daniel Barenboim, pianist |
| Best Classical Performance, Instrumental Soloist(s) (With Orchestra) | Shostakovich, Violin Concerto No. 1; Glazunov, Violin Concerto, Itzhak Perlman, violinist; Zubin Mehta conducting Israel Philharmonic |
| Best Classical Performance, Instrumental Soloist(s) (Without Orchestra) | The Last Recording (Chopin, Haydn, Liszt and Wagner), Vladimir Horowitz |
| Best Opera Recording | Wagner, Das Rheingold, James Levine conducting The Metropolitan Opera Orchestra; solos: Morris, Ludwig, Jerusalem, Wlaschiha, Moll, Zednik and Rootering (Deutsche Grammophon) |
| Best Choral Performance (Other Than Opera) | Walton, Belshazzar's Feast; Bernstein, Chichester Psalms, Missa Brevis, Robert Shaw conducting Atlanta Symphony Orchestra and Chorus |
| Best Classical Vocal Performance | Carreras, Domingo and Pavarotti in Concert, José Carreras, Placido Domingo and Luciano Pavarotti, tenors; Zubin Mehta conducting Orchestra del Maggio Musicale Fiorentino and Orchestra del teatro dell'Opera di Roma |
| Best Comedy Recording | P.D.Q. Bach, Oedipus Tex and Other Choral Calamities, Professor Peter Shickele (Telarc) |
| Best Spoken Word or Non-Musical Recording | Gracie: A Love Story, George Burns (Simon and Schuster Audio) |
| Best Recording for Children | The Little Mermaid—Original Motion Picture Soundtrack, Howard Ashman and Alan Menken, composers (Disneyland Records) |
| Best Album Package | Days of Open Hand (Special Edition Hologram Digapack), Len Peltier, Jeffrey Gold and Suzanne Vega, art directors (A&M) |
| Best Album Notes | Brownie: The Complete Emarcy Recordings of Clifford Brown, Dan Morgenstern, annotator (Emarcy) |
| Best Historical Album | Robert Johnson: The Complete Recordings, Robert Johnson (Columbia/CBS) |
| Best Music Video, Short Form | “Opposites Attract,” Paula Abdul |
| Best Music Video, Long Form | “Please Hammer Don't Hurt 'Em the Movie,” M.C. Hammer |
| Producer of the Year (Non-Classical) | Quincy Jones |
| Classical Producer of the Year | Adam Stern |
33RD GRAMMY AWARDS
| Date | February 20, 1991 |
|---|---|
| Location | Radio City Music Hall, New York, New York |
| Hosted by | Garry Shandling |
BEST SONG – FROM A DISTANCE
BEST ROCK SONG – BAD LOVE
BEST R&B SONG – U CAN’T TOUCH THIS
34TH GRAMMY AWARDS - FEBRUARY 25TH, 1992
| Record of the Year | “Unforgettable,” Natalie Cole with Nat King Cole |
| Album of the Year | Unforgettable, Natalie Cole with Nat King Cole (Elektra) |
| Song of the Year | “Unforgettable,” Irving Gordon, songwriter |
| Best New Artist | Marc Cohn |
| Best Pop Vocal Performance, Male | “When a Man Loves a Woman,” Michael Bolton |
| Best Pop Vocal Performance, Female | “Something to Talk About,” Bonnie Raitt |
| Best Pop Performance By a Duo or Group With Vocal | “Losing My Religion,” R.E.M. |
| Best Traditional Pop Performance | “Unforgettable,” Natalie Cole with Nat King Cole |
| Best Pop Instrumental Performance | Robin Hood: Prince of Thieves, Michael Kamen conducting Greater Los Angeles Orchestra |
| Best Rock/Contemporary Gospel Album | Under Their Influence, Russ Taff (Myrrh) |
| Best Rock Song | “Soul Cages,” Sting, songwriter |
| Best Rock Vocal Performance, Solo | Luck of the Draw, Bonnie Raitt |
| Best Rock Performance By a Duo or Group With Vocal | “Good Man, Good Woman,” Bonnie Raitt and Delbert McClinton |
| Best Rock Instrumental Performance | “Cliffs of Dover,” Eric Johnson |
| Best Hard Rock Performance With Vocal | For Unlawful Carnal Knowledge, Van Halen |
| Best Metal Performance With Vocal | Metallica, Metallica |
| Best Alternative Music Album | Out of Time, R.E.M. (Warner Bros.) |
| Best Rhythm and Blues Song | “Power of Love/Love Power,” Luther Vandross, Marcus Miller and Teddy Vann, songwriters |
| Best Rhythm and Blues Vocal Performance, Male | Power of Love, Luther Vandross |
| Best Rhythm and Blues Vocal Performance, Female (tie) | Burnin', Patti LaBelle / “How Can I Ease the Pain,” Lisa Fischer |
| Best Rhythm and Blues Performance By a Duo or Group With Vocal | Cooleyhigh Harmony, Boyz II Men |
| Best Rap Solo Performance | “Mama Said Knock You Out,” L.L. Cool J |
| Best Rap Performance By a Duo or Group | “Summertime,” D.J. Jazzy Jeff and the Fresh Prince |
| Best Jazz Vocal Performance | He Is Christmas, Take 6 |
| Best Jazz Instrumental, Solo | “I Remember You,” Stan Getz |
| Best Jazz Instrumental Performance, Group | Saturday Night at the Blue Note, Oscar Peterson Trio |
| Best Large Jazz Ensemble Performance | Live at the Royal Festival Hall, Dizzy Gillespie and the United Nation Orchestra |
| Best Contemporary Jazz Performance | “Sassy,” Manhattan Transfer |
| Best Country Song | “Love Can Build a Bridge,” Naomi Judd, John Jarvis and Paul Overstreet, songwriters |
| Best Country Vocal Performance, Male | Ropin' the Wind, Garth Brooks |
| Best Country Vocal Performance, Female | “Down at the Twist and Shout,” Mary Chapin Carpenter |
| Best Country Performance By a Duo or Group With Vocal | “Love Can Build a Bridge,” Judds |
| Best Country Vocal Collaboration | “Restless,” Steve Wariner, Ricky Skaggs and Vince Gill |
| Best Country Instrumental Performance | The New Nashville Cats, Mark O'Conner |
| Best Bluegrass Album | Spring Training, Carl Jackson and John Starling (and the Nash Ramblers) (Sugar Hill) |
| Best Pop Gospel Album | For the Sake of the Call, Steven Curtis Chapman (Sparrow) |
| Best Traditional Soul Gospel Album | Pray for Me, Mighty Clouds of Joy (Word) |
| Best Contemporary Soul Gospel Album | Different Lifestyles, BeBe and CeCe Winans (Capitol/Sparrow) |
| Best Southern Gospel Album | Homecoming, Gaither Vocal Band (Star Song) |
| Best Gospel Album By a Choir or Chorus | The Evolution of Gospel, Sounds of Blackness; Gary Hines, choir director (Perspective/A&M) |
| Best Latin Pop Album | Cosas del Amor, Vikki Carr (Sony Discos International) |
| Best Tropical Latin Album | Bachata Rosa, Juan Luis Guerra 4.40 (Karen) |
| Best Mexican/American Album | 16 de Septiembre, Little Joe (Sony Discos International) |
| Best Traditional Blues Album | Live at the Apollo, B.B. King (GRP) |
| Best Contemporary Blues Album | Damn Right, I've Got the Blues, Buddy Guy (Silvertone) |
| Best Traditional Folk Album | The Civil War (Original Soundtrack), various artists (Elektra/Nonesuch) |
| Best Contemporary Folk Album | The Missing Years, John Prine (Oh Boy) |
| Best Reggae Album | As Raw as Ever, Shabba Ranks (Epic) |
| Best New Age Album | Fresh Aire 7, Mannheim Steamroller (American Gramaphone) |
| Best World Music Album | Planet Drum, Mickey Hart (Rykodisc) |
| Best Polka Album | Livel At Gilley's, Jimmy Sturr and His Orchestra (Starr) |
| Best Arrangement on an Instrumental | “Medley: Bess You Is My Woman/I Love You Porgy,” Dave Grusin, arranger |
| Best Instrumental Arrangement Accompanying Vocal(s) | “Unforgettable,” Johnny Mandel, arranger |
| Best Instrumental Composition | “Basque,” Elton John, composer |
| Best Musical Show Album | The Will Rogers Follies (Original Broadway Cast Album), Keith Carradine and cast (Columbia) |
| Best Instrumental Composition Written Specifically for a Motion Picture or for Television | Dances With Wolves, John Barry, composer |
| Best Song Written Specifically for a Motion Picture or for Television | “(Everything I Do) I Do It for You” (From Robin Hood: Prince of Thieves), Bryan Adams, Robert John “Mutt” Lange and Michael Kamen, songwriters (A&M/Morgan Creek) |
| Best Contemporary Composition | Symphony No. 1, John Corigliano, composer |
| Best Classical Album | Bernstein, Candide, Leonard Bernstein conducting London Symphony Orchestra; solos: Hadley, Anderson, Ludwig, Green, Gedda and Jones (Deutsche Grammophon) |
| Best Orchestral Performance | Corigliano, Symphony No. 1, Daniel Barenboim conducting Chicago Symphony Orchestra |
| Best Chamber Music Performance | Brahms, Piano Quartets, Isaac Stern and Jamime Laredo, violinists; Yo-Yo Ma, cellist; Emanuel Ax, pianist |
| Best Classical Performance, Instrumental Soloist(s) (With Orchestra) | Barber, Piano Concertos, John Browning, pianist; Leonard Slatkin conducting St. Louis Symphony Orchestra |
| Best Classical Performance, Instrumental Soloist(s) (Without Orchestra) | Granados, Goyescas, Allegro de Concierto, Danza Lenta, Alicia de Larrocha, pianist |
| Best Opera Recording | Wagner, Götterdämmerung, James Levine conducting The Metropolitan Opera Orchestra and Choir; solos: Behrens, Studer, Schwartz, Goldberg, Weikl, Wlaschiha and Salminen (Deutsche Grammophon) |
| Best Performance of a Choral Work | Bach, Mass in B Minor, Sir Georg Solti conducting Chicago Symphony Chorus and Orchestra; Margaret Hills, choral director |
| Best Classical Vocal Performance | The Girl With Orange Lips, De Falla, Ravel, Kim, Stravinsky and Delage; Dawn Upshaw, soprano |
| Best Comedy Album | P.D.Q. Bach, WTWP Classical Talkity-Talk Radio, Professor Peter Shickele (Telarc) |
| Best Spoken Word or Non-Musical Album | The Civil War (Geoffrey Ward With Rick Burns and Ken Burns), Ken Burns (Sound Editions) |
| Best Album for Children | A Cappella Kids, Marantha! Kids (Marantha) |
| Best Album Package | Billie Holiday, The Complete Decca Recordings, Vartan, art director (GRP) |
| Best Album Notes | Star Time, James Brown, Cliff White, Harry Weinger, Nelson George and Alan M. Leeds, annotators (Polydor) |
| Best Historical Album | Billie Holiday, The Complete Decca Recordings, Billie Holiday (GRP) |
| Best Music Video, Short Form | “Losing My Religion,” R.E.M. |
| Best Music Video, Long Form | Madonna: Blonde Ambition World Tour Live, Madonna |
| Producer of the Year (Non-Classical) | David Foster |
| Classical Producer of the Year | James Mallinson |
34TH GRAMMY AWARDS
| Date | February 25, 1992 |
|---|---|
| Location | Radio City Music Hall, New York City |
| Hosted by | Whoopi Goldberg |
BEST SONG – UNFORGETTABLE
BEST ROCK SONG – SOUL CAGES
BEST R&B SONG – POWER OF LOVE
35TH GRAMMY AWARDS - FEBRUARY 24TH, 1993
| Record of the Year | “Tears in Heaven,” Eric Clapton |
| Album of the Year | Unplugged, Eric Clapton (Reprise) |
| Song of the Year | “Tears in Heaven,” Eric Clapton, songwriter |
| Best New Artist | Arrested Development |
| Best Pop Vocal Performance, Male | “Tears in Heaven,” Eric Clapton |
| Best Pop Vocal Performance, Female | “Constant Craving,” k.d. lang |
| Best Pop Performance By a Duo or Group With Vocal | “Beauty and the Beast,” Celine Dion and Peabo Bryson |
| Best Traditional Pop Vocal Performance | Perfectly Frank, Tony Bennett |
| Best Pop Instrumental Performance | “Beauty and the Beast,” Richard Kaufman conducting Nurenberg Symphony Orchestra |
| Best Rock/Contemporary Gospel Album | Unseen Power, Petra (Dayspring) |
| Best Rock Song | “Layla,” Eric Clapton and Jim Gordon, songwriters |
| Best Rock Vocal Performance, Male | Unplugged, Eric Clapton |
| Best Rock Vocal Performance, Female | “Ain't It Heavy,” Melissa Etheridge |
| Best Rock Performance By a Duo or Group With Vocal | Achtung Baby, U2 |
| Best Rock Instrumental Performance | “Little Wing,” Stevie Ray Vaughan and Double Trouble |
| Best Hard Rock Performance With Vocal | “Give It Away,” Red Hot Chili Peppers |
| Best Metal Performance With Vocal | “Wish,” Nine Inch Nails |
| Best Alternative Music Album | Bone Machine, Tom Waits (Island) |
| Best Rhythm and Blues Song | “End of the Road,” L.A. Reid, Babyface and Daryl Simmons, songwriters |
| Best Rhythm and Blues Vocal Performance, Male | Heaven and Earth, Al Jarreau |
| Best Rhythm and Blues Vocal Performance, Female | The Woman I Am, Chaka Khan |
| Best Rhythm and Blues Performance By a Duo or Group With Vocal | “End of the Road,” Boys II Men |
| Best Rhythm and Blues Instrumental Performance | Doo-Bop, Miles Davis |
| Best Rap Solo Performance | “Baby Got Back,” Sir Mix-A-Lot |
| Best Rap Performance By a Duo or Group | “Tennessee,” Arrested Development |
| Best Jazz Vocal Performance | “'Round Midnight,” Bobby McFerrin |
| Best Jazz Instrumental Performance, Solo | “Lush Life,” Joe Henderson |
| Best Jazz Instrumental Performance, Individual or Group | I Heard You Twice the First Time, Branford Marsalis |
| Best Large Jazz Ensemble Performance | The Turning Point, McCoy Tyner Big Band |
| Best Contemporary Jazz Performance, Instrumental | Secret Story, Pat Metheny |
| Best Country Song | “I Still Believe in You,” Vince Gill and John Barlow Jarvis, songwriters |
| Best Country Vocal Performance, Male | I Still Believe in You, Vince Gill |
| Best Country Vocal Performance, Female | “I Feel Lucky,” Mary Chapin Carpenter |
| Best Country Performance By a Duo or Group With Vocal | Emmylou Harris and the Nash Ramblers at the Ryman, Emmylou Harris and the Nash Ramblers at the Ryman |
| Best Country Vocal Collaboration | “The Whiskey Ain't Workin',” Travis Tritt and Marty Stuart |
| Best Country Instrumental Performance | Sneakin' Around, Chet Atkins and Jerry Reed |
| Best Bluegrass Album | Every Time You Say Goodbye, Alison Krauss and Union Station (Rounder) |
| Best Traditional Soul Gospel Album | He's Working It Out for You, Shirley Caesar (Word) |
| Best Contemporary Soul Gospel Album | Handel's Messiah—A Soulful Celebration, various artists (Reprise) |
| Best Pop Gospel Album | The Great Adventure, Steven Curtis Chapman (Sparrow) |
| Best Southern Gospel Album | Sometimes Miracles Hide, Bruce Carroll (Word) |
| Best Gospel Album By a Choir or Chorus | Edwin Hawkins Music and Arts Seminar Mass Choir—Recorded Live in Los Angeles, Music and Arts Seminar Mass Choir; Edwin Hawkins, choir director (Fixit) |
| Best Latin Pop Album | Otro Dia Mas Sin Verte, Jon Secada (Capitol-EMI-Latin) |
| Best Tropical Latin Album | Frenesi, Linda Ronstadt (Elektra Entertainment) |
| Best Mexican/American Album | Mas Canciones, Linda Ronstadt (Elektra) |
| Best Traditional Blues Album | Goin' Back to New Orleans, Dr. John (Warner Bros.) |
| Best Contemporary Folk Album | Another Country, Chieftains (RCA Victor) |
| Best Contemporary Blues Album | The Sky Is Crying, Stevie Ray Vaughan and Double Trouble (Epic) |
| Best Traditional Folk Album | An Irish Evening Live at the Grand Opera House, Belfast, Chieftains (RCA Victor) |
| Best Reggae Album | X-Tra Naked, Shabba Ranks (Epic) |
| Best New Age Album | Shepherd Moons, Enya (Reprise) |
| Best World Music Album | Brasileiro, Sergio Mendes (Elektra Entertainment) |
| Best Polka Album | 35th Anniversary, Walter Ostanek (World Renowned Sounds) |
| Best Arrangement on an Instrumental | “Strike Up the Band,” Rob McConnell, arranger |
| Best Instrumental Arrangement Accompanying Vocal(s) | “Here's to Life,” Johnny Mandel, arranger |
| Best Instrumental Composition | “Harlem Renaissance Suite,” Benny Carter, composer |
| Best Musical Show Album | Guys and Dolls—The New Broadway Cast Recording, New Broadway cast (RCA Victor) |
| Best Instrumental Composition Written for a Motion Picture or for Television | Beauty and the Beast, Alan Menken, composer |
| Best Song Written Specifically for a Motion Picture or for Television | “Beauty and the Beast,” Howard Ashman and Alan Menken, songwriters |
| Best Contemporary Composition | The Lovers, Samuel Barber, composer |
| Best Classical Album | Mahler, Symphony No. 9, Leonard Bernstein conducting Berlin Philharmonic Orchestra (Deutsche Grammophon) |
| Best Orchestral Performance | Mahler, Symphony No. 9, Leonard Bernstein conducting Berlin Philharmonic Orchestra |
| Best Chamber Music Performance | Brahms, Sonatas for Cello and Piano, Yo-Yo Ma, cello; Emanuel Ax, piano |
| Best Classical Performance, Instrumental Soloist(s) (With Orchestra) | Prokofiev, Sinfonia Concertante; Tchaikovsky, Variations on a Rococo Theme, Yo-Yo Ma, cello; Lorin Maazel conducting Pittsburgh Symphony Orchestra |
| Best Classical Performance, Instrumental Soloist(s) (Without Orchestra) | Horowitz—Discovered Treasures (Chopin, Clementi, Liszt, Scarlatti and Scriabin), Vladimir Horowitz, piano |
| Best Opera Recording | Strauss, Die Frau Ohne Schatten, Sir Georg Solti conducting Vienna Philharmonic; solos: Domingo, Varady, Van Dam, Behrens, Runkel and Jo (London) |
| Best Performance of a Choral Work | Orff, Carmina Burana, Herbert Blomstedt conducting San Francisco Girls and Boys Chorus, SFS Chorus and San Francisco Symphony Orchestra |
| Best Classical Vocal Performance | Kathleen Battle at Carnegie Hall (Handel, Mozart, Liszt, Strauss, Charpentier, etc.), Kathleen Battle, soprano; Margo Garrett, accompanist |
| Best Comedy Album | P.D.Q. Bach, Music for an Awful Lot of Winds and Percussion, Professor Peter Schickele (Telarc) |
| Best Spoken Word or Non-Musical Album | What You Can Do to Avoid AIDS, Earvin “Magic” Johnson and Robert O'Keefe (Random House Audiobooks) |
| Best Album for Children | Beauty and the Beast—Original Motion Picture Soundtrack, various artists (Walt Disney) |
| Best Album Package | Spellbound—Compact (Special Package), Melanie Nissen, art director (Capitol/Virgin) |
| Best Album Notes | Queen of Soul—The Atlantic Recordings, Dave Marsh, Jerry Wexler, David Ritz, Thulani Davis, Ahmet Ertegun, Tom Dowd and Arif Mardin, annotators (Rhino) |
| Best Historical Album | The Complete Capitol Recordings of the Nat King Cole Trio, Nat King Cole Trio (Mosaic) |
| Best Music Video, Short Form | “Digging in the Dirt,” Peter Gabriel |
| Best Music Video, Long Form | “Diva,” Annie Lennox |
| Producers of the Year (Non-Classical) (tie) | Daniel Lanois and Bria |
35TH GRAMMY AWARDS
| Date | February 24, 1993 |
|---|---|
| Location | Shrine Auditorium |
| Hosted by | Garry Shandling |
BEST SONG – TEARS IN HEAVEN
BEST ROCK SONG – LAYLA
BEST R&B SONG – END OF THE ROAD
36TH GRAMMY AWARDS - MARCH 1ST, 1994
| Record of the Year | “I Will Always Love You,” Whitney Houston |
| Album of the Year | The Bodyguard—Original Soundtrack Album, Whitney Houston (Arista) |
| Song of the Year | “A Whole New World” (Theme From Aladdin), Alan Menken and Tim Rice, songwriters |
| Best New Artist | Toni Braxton |
| Best Pop Vocal Performance, Male | “If I Ever Lose My Faith in You,” Sting |
| Best Pop Vocal Performance, Female | “I Will Always Love You,” Whitney Houston |
| Best Pop Performance By a Duo or Group With Vocal | “A Whole New World” (Theme From Aladdin), Peabo Bryson and Regina Belle |
| Best Traditional Pop Vocal Performance | Steppin' Out, Tony Bennett |
| Best Pop Instrumental Performance | “Barcelona Mona,” Bruce Hornsby and Branford Marsalis |
| Best Rock Gospel Album | Free at Last, DC Talk (ForeFront) |
| Best Rock Song | “Runaway Train,” David Pirner, songwriter |
| Best Rock Vocal Performance, Solo | “I'd Do Anything for Love” (But I Won't Do That), Meat Loaf |
| Best Rock Performance By a Duo or Group With Vocal | “Livin' on the Edge,” Aerosmith |
| Best Rock Instrumental Performance | “Sofa,” Zappa's Universe Rock Group Featuring Steve Vai |
| Best Hard Rock Performance With Vocal | “Plush,” Stone Temple Pilots |
| Best Metal Performance With Vocal | “I Don't Want to Change the World,” Ozzy Osbourne |
| Best Alternative Music Album | Zooropa, U2 (Island) |
| Best Rhythm and Blues Song | “That's the Way Love Goes,” Janet Jackson, James Harris III and Terry Lewis, songwriters |
| Best Rhythm and Blues Vocal Performance, Male | “A Song for You,” Ray Charles |
| Best Rhythm and Blues Vocal Performance, Female | “Another Sad Love Song,” Toni Braxton |
| Best Rhythm and Blues Performance By a Duo or Group With Vocal | “No Ordinary Love,” Sade |
| Best Rap Solo Performance | “Let Me Ride,” Dr. Dre |
| Best Rap Performance By a Duo or Group | “Rebirth of Slick” (Cool Like Dat), Digable Planets |
| Best Jazz Vocal Performance | Take a Look, Natalie Cole |
| Best Jazz Instrumental Solo | “Miles Ahead,” Joe Henderson |
| Best Jazz Instrumental Performance, Individual or Group | So Near, So Far (Musings for Miles), Joe Henderson |
| Best Contemporary Jazz Performance (Instrumental) | The Road to You, Pat Metheny Group |
| Best Large Jazz Ensemble Performance | Miles and Quincy Live at Montreux, Miles Davis and Quincy Jones |
| Best Country Song | “Passionate Kisses,” Lucinda Williams, songwriter |
| Best Country Vocal Performance, Male | “Ain't That Lonely Yet,” Dwight Yoakam |
| Best Country Vocal Performance, Female | “Passionate Kisses,” Mary Chapin Carpenter |
| Best Country Performance By a Duo or Group With Vocal | “Hard Workin' Man,” Brooks and Dunn |
| Best Country Vocal Collaboration | “Does He Love You,” Reba McEntire and Linda Davis |
| Best Country Instrumental Performance | “Red Wing,” Asleep at the Wheel featuring Eldon Shamblin, Johnny Gimble, Chet Atkins, Vince Gill, Marty Stuart and Reuben “Lucky Orleans” Gosfield |
| Best Bluegrass Album | Waitin' for the Hard Times to Go, Nashville Bluegrass Band (Sugar Hill) |
| Best Traditional Soul Gospel Album | Stand Still, Shirley Caesar (Word Record and Music) |
| Best Contemporary Soul Gospel Album | All Out, Winans (Qwest/Warner Alliance) |
| Best Pop/Contemporary Gospel Album | The Live Adventure, Steven Curtis Chapman (Sparrow) |
| Best Southern Gospel, Country Gospel or Bluegrass Gospel Album | Good News, Kathy Mattea (Mercury) |
| Best Gospel Album By a Choir or Chorus | Live…We Come Rejoicing, Brooklyn Tabernacle Choir; Carol Cymbala, choir director (Warner Alliance) |
| Best Latin Pop Album | Aries, Luis Miguel (WEA Latina) |
| Best Tropical Latin Album | Mi Tierra, Gloria Estefan (Epic) |
| Best Mexican/American Album | Live, Selena (Capitol/EMI Latin) |
| Best Traditional Blues Album | Blues Summit, B.B. King (MCA) |
| Best Contemporary Blues Album | Feels Like Rain, Buddy Guy (Silvertone) |
| Best Traditional Folk Album | The Celtic Harp, Chieftains (RCA Victor) |
| Best Contemporary Folk Album | Other Voices/Other Rooms, Nanci Griffith (Elektra) |
| Best Reggae Album | Bad Boys, Inner Circle (Big Beat/Atlantic) |
| Best New Age Album | Spanish Angel, Paul Winter Consort (Living Music) |
| Best World Music Album | A Meeting by the River, Ry Cooder and V.M. Bhatt (Walter Lily Acoustics) |
| Best Polka Album | Accordionally Yours, Walter Ostanek and His Band (WRS) |
| Best Arrangement on an Instrumental | “Mood Indigo,” Dave Grusin, arranger |
| Best Instrumental Arrangement Accompanying Vocal(s) | “When I Fall in Love,” Jeremy Lubbock and David Foster, arrangers |
| Best Instrumental Composition | “Forever in Love,” Kenny G, composer |
| Best Musical Show Album | The Who's Tommy—Original Cast Recording, original cast (RCA Victor) |
| Best Instrumental Composition Written for a Motion Picture or for Television | Aladdin, Alan Menken, composer |
| Best Song Written for a Motion Picture or for Television | “A Whole New World” (Theme From Aladdin), Alan Menken and Tim Rice, songwriters |
| Best Contemporary Composition | Violin Concerto, Elliott Carter, composer |
| Best Classical Album | Bartók, The Wooden Prince and Cantata Profana, Pierre Boulez conducting Chicago Symphony Orchestra and Chorus; John Aler, tenor; John Tomlinson, baritone (Deutsche Grammophon) |
| Best Chamber Music Performance | Ives, String Quartets nos. 1 and 2; Barber String Quartet Op. 11 (American Originals), Emerson String Quartet |
| Best Classical Performance, Instrumental Soloist(s) (With Orchestra) | Berg, Violin Concerto; Rihm, Time Chant, Anne-Sophie Mutter, violinist; James Levine conducting Chicago Symphony Orchestra |
| Best Classical Performance, Instrumental Soloist(s) (Without Orchestra) | Barber, The Complete Solo Piano Music, John Browning, pianist |
| Best Orchestral Performance | Bartók, The Wooden Prince, Pierre Boulez conducting Chicago Symphony |
| Best Opera Recording | Handel, Semele, John Nelson conducting English Chamber Orchestra and Ambrosian Opera Chorus; solos: Battle, Horne, Ramey, Aler, McNair, Chance, Mackie and Doss (Deutsche Grammophon) |
| Best Performance of a Choral Work | Bartók, Cantata Profana, Pierre Boulez conducting Chicago Symphony Orchestra and Chorus; Margaret Hillis, choral director |
| Best Classical Vocal Performance | The Art of Arleen Auger (Works of Larsen, Purcell, Schumann, Mozart), Arleen Auger, soprano; Joel Revzen, accompanist |
| Best Spoken Comedy Album | Jammin' in New York, George Carlin (Eardrum/Atlantic) |
| Best Spoken Word or Non-Musical Album | On the Pulse of Morning, Maya Angelou (Random House Audio Books) |
| Best Musical Album for Children | Aladdin (Original Motion Picture Soundtrack), various artists (Walt Disney Records) |
| Best Spoken Word Album for Children | Audrey Hepburn's Enchanted Tales, Audrey Hepburn (Dove Audio) |
| Best Recording Package | The Complete Billie Holiday on Verve 1945–1959, David Lau, art director (Verve) |
| Best Album Notes | The Complete Billie Holiday on Verve 1945–1959, Buck Clayton, Phil Schaap and Joel E. Siegel, annotators (Verve) |
| Best Historical Album | The Complete Billie Holiday on Verve 1945–1959, Billie Holiday (Verve) |
| Best Music Video, Short Form | “Steam,” Peter Gabriel |
| Best Music Video, Long Form | “Ten Summoner's Tales,” Sting |
| Producer of the Year (Non-Classical) | David Foster |
| Classical Producer of the Year | Judith Sherman |
36TH GRAMMY AWARDS
| Date | March 1, 1994 |
|---|---|
| Location | Radio City Music Hall, New York, New York |
| Hosted by | Garry Shandling |
BEST SONG – A WHOLE NEW WORLD
BEST ROCK SONG – RUNAWAY TRAIN
BEST R&B SONG – THAT’S THE WAY LOVE GOES
37TH GRAMMY AWARDS - MARCH 1ST, 1995
| Record of the Year | “All I Wanna Do,” Sheryl Crow |
| Album of the Year | MTV Unplugged, Tony Bennett (Columbia) |
| Song of the Year | “Streets of Philadelphia” (Theme from Philadelphia), Bruce Springsteen, songwriter |
| Best New Artist | Sheryl Crow |
| Best Pop Vocal Performance, Male | “Can You Feel the Love Tonight,” Elton John |
| Best Pop Vocal Performance, Female | “All I Wanna Do,” Sheryl Crow |
| Best Pop Performance By a Duo or Group With Vocal | “I Swear,” All-4-One |
| Best Traditional Pop Vocal Performance | MTV Unplugged, Tony Bennett |
| Best Pop Instrumental Performance | “Cruisin',” Booker T and the MG's |
| Best Pop Vocal Collaboration | “Funny How Time Slips Away,” Al Green and Lyle Lovett |
| Best Pop Album | Longing in Their Hearts, Bonnie Raitt (Capitol) |
| Best Rock Album | Voodoo Lounge, The Rolling Stones (Virgin) |
| Best Rock Gospel Album | Wake-Up Call, Petra (Dayspring) |
| Best Rock Song | “Streets of Philadelphia,” Bruce Springsteen, songwriter |
| Best Rock Vocal Performance, Male | “Streets of Philadelphia,” Bruce Springsteen |
| Best Rock Vocal Performance, Female | “Come to My Window,” Melissa Etheridge |
| Best Rock Performance By a Duo or Group With Vocal | “Crazy,” Aerosmith |
| Best Rock Instrumental Performance | “Marooned,” Pink Floyd |
| Best Hard Rock Performance | “Black Hole Sun,” Soundgarden |
| Best Metal Performance | “Spoonman,” Soundgarden |
| Best Alternative Music Performance | Dookie, Green Day |
| Best Rhythm and Blues Album | II, Boyz II Men (Motown) |
| Best Rhythm and Blues Song | “I'll Make Love to You,” Babyface, songwriter |
| Best Rhythm and Blues Vocal Performance, Male | “When Can I See You,” Babyface |
| Best Rhythm and Blues Vocal Performance, Female | “Breathe Again,” Toni Braxton |
| Best Rhythm and Blues Performance By a Duo or Group With Vocal | “I'll Make Love to You,” Boyz II Men |
| Best Rap Solo Performance | “U.N.I.T.Y.,” Queen Latifah |
| Best Rap Performance By a Duo or Group | “None of Your Business,” Salt-N-Pepa |
| Best Jazz Vocal Performance | Mystery Lady (Songs of Billie Holiday), Etta James |
| Best Jazz Instrumental Solo | “Prelude to a Kiss,” Benny Carpenter |
| Best Jazz Instrumental Performance, Individual or Group | A Tribute to Miles, Ron Carter, Herbie Hancock, Wallace Roney, Wayne Shorter and Tony Williams |
| Best Contemporary Jazz Performance | “Out of the Loop,” Brecker Brothers |
| Best Large Jazz Ensemble Performance | “Journey,” McCoy Tyner Big Band |
| Best Latin Jazz Performance | “Danzon,” Arturo Sandoval |
| Best Country Album | Stones in the Road, Mary Chapin Carpenter (Columbia) |
| Best Country Song | “I Swear,” Gary Baker and Frank J. Meyers, songwriters |
| Best Country Vocal Performance, Male | “When Love Finds You,” Vince Gill |
| Best Country Vocal Performance, Female | “Shut Up and Kiss Me,” Mary Chapin Carpenter |
| Best Country Performance By a Duo or Group With Vocal | “Blues for Dixie,” Asleep at the Wheel with Lyle Lovett |
| Best Country Vocal Collaboration | “I Fall to Pieces,” Aaron Neville and Trisha Yearwood |
| Best County Instrumental Performance | “Young Thing,” Chet Atkins |
| Best Bluegrass Album | The Great Dobro Sessions, various artists (Sugar Hill) |
| Best Traditional Soul Gospel Album | Songs of the Church—Live in Memphis, Albertina Walker (Benson) |
| Best Contemporary Soul Gospel Album | Join the Band, Take 6 (Reprise/Warner Alliance) |
| Best Pop/Contemporary Gospel Album | Mercy, Andrae Crouch (Qwest/Warner Alliance) |
| Best Southern Gospel, Country Gospel or Bluegrass Gospel Album | I Know Who Holds Tomorrow, Alison Krauss and the Cox Family (Rounder) |
| Best Gospel Album By a Choir or Chorus (tie) | Through God's Eyes, Thompson Community Singers; Rev. Milton Brunson, choir director (Word) |
| Live in Atlanta at Morehouse College, Love Fellowship Crusade Choir; Hezekiah Walker, choir director (Benson) | |
| Best Latin Pop Performance | “Segundo Romance,” Luis Miguel |
| Best Tropical Latin Performance | Master Sessions Volume 1, Chachao |
| Best Mexican-American Performance | “Recuerdo a Javier Solis,” Vikki Carr |
| Best Traditional Blues Album | From the Cradle, Eric Clapton (Reprise) |
| Best Contemporary Blues Album | Father Father, Pops Staples (Pointblank) |
| Best Traditional Folk Album | World Gone Wrong, Bob Dylan (Columbia) |
| Best Contemporary Folk Album | American Recordings, Johnny Cash (American Recordings) |
| Best Reggae Album | Crucial! Roots Classics, Bunny Wailer (Shanachie) |
| Best New Age Album | Prayer for the Wild Things, Paul Winter (Living Music Records) |
| Best World Music Album | Talking Timbuktu, Ali Farka Toure with Ry Cooder (Hannibal) |
| Best Polka Album | Music and Friends, Walter Ostanek Band (WRS) |
| Best Instrumental Arrangement | “Three Cowboy Songs,” Dave Grusin, arranger |
| Best Instrumental Arrangement With Accompanying Vocal(s) | “Circle of Life,” Lebo Morake and Hans Zimmer, arrangers |
| Best Instrumental Composition | “African Skies,” Michael Brecker, composer |
| Best Musical Show Album | Passion, Original Broadway cast (Angel) |
| Best Instrumental Composition Written for a Motion Picture or for Television | Schindler's List, John Williams, composer |
| Best Song Written Specifically for a Motion Picture or for Television | “Streets of Philadelphia” (From Philadelphia), Bruce Springsteen, songwriter |
| Best Classical Contemporary Composition | “Cello Concerto,” Stephen Albert, composer |
| Best Classical Album | Bartok, Concerto for Orchestra; Four Orchestral Pieces, Op. 12, Pierre Boulez conducting Chicago Symphony Orchestra (Deutsche Grammophon) |
| Best Chamber Music Performance | Beethoven and Mozart, Quintets, Daniel Barenboim, piano; Dale Clevenger, horn; Larry Combs, clarinet; Daniele Damiano, bassoon; Hansjorg Schellenberger, oboe |
| Best Classical Performance, Instrumental Soloist(s) (With Orchestra) | The New York Album (Works of Albert, Bartok and Bloch), David Zinman conducting Baltimore Symphony Orchestra; Yo-Yo Ma, cellist and alto violinist |
| Best Classical Performance, Instrumental Soloist(s) (Without Orchestra) | Haydn, Piano Sonatas nos. 32, 47, 53 and 59, Emmanuel Ax, pianist |
| Best Orchestral Performance | Bartok, Concerto for Orchestra; Four Orchestral Pieces, Op. 12, Pierre Boulez, conducting Chicago Symphony Orchestra |
| Best Opera Recording | Floyd, Susannah, Kent Nagano conducting Orchestra and Chorus of Opera de Lyon; solos: Studer, Hadley, Ramey and Chester (Virgin Classics) |
| Best Performance of a Choral Work | Berlioz, Messe Solennelle, John Eliot Gardiner, choir director, the Monteverdi Choir, Orchestra Revolutionnaire et Romantique and various artists |
| Best Classical Vocal Performance | The Impatient Lover (Italian Songs by Beethoven, Schubert, Mozart, etc.), Cecilia Bartoli, mezzo-soprano; Andras Schiff, piano |
| Best Spoken Comedy Album | Live From Hell, Sam Kinison (Priority Records) |
| Best Spoken Word or Non-Musical Album | Get in the Van: On the Road With Black Flag, Henry Rollins (Time Warner Audiobooks) |
| Best Musical Album for Children | The Lion King—Original Motion Picture Soundtrack, various artists (Walt Disney Records) |
| Best Spoken Word Album for Children | The Lion King Read-Along, original cast (Walt Disney Records) |
| Best Recording Package | Tribute to the Music of Bob Willis and the Texas Playboys, Buddy Jackson, art director (Liberty) |
| Best Recording Package—Boxed | The Complete Ella Fitzgerald Song Books, Chris Thompson, art director (Verve) |
| Best Album Notes | Louis Armstrong: Portrait of the Artist as a Young Man, 1923—1934, Dan Morgenstern and Loren Schoenberg, album notes writers (Columbia/Legacy/Smithsonian) |
| Best Historical Album | The Complete Ella Fitzgerald Song Books on Verve (Verve) |
| Best Music Video, Short Form | “Love Is Strong,” The Rolling Stones |
| Best Music Video, Long Form | Zoo TV: Live From Sydney, U2 |
| Producer of the Year (Non-Classical) | Don Was |
| Classical Producer of the Year | Andrew Cornall |
37TH GRAMMY AWARDS
| Date | March 1, 1995 |
|---|---|
| Location | Shrine Auditorium, Los Angeles, California |
| Hosted by | Paul Reiser |
BEST SONG – STREETS OF PHILADELPHIA
BEST ROCK SONG – STREETS OF PHILADELPHIA
BEST R&B SONG – I’LL MAKE LOVE TO YOU
38TH GRAMMY AWARDS - FEBRUARY 28TH, 1996
| Album of the Year | Jagged Little Pill, Alanis Morissette (Maverick/Reprise) |
| Song of the Year | “Kiss From a Rose,” Seal, songwriter |
| Best New Artist | Hootie and the Blowfish |
| Best Pop Vocal Performance, Male | “Kiss From a Rose,” Seal |
| Best Pop Vocal Performance, Female | “No More `I Love You's,” Annie Lennox |
| Best Pop Performance By a Duo or Group With Vocal | “Let Her Cry,” Hootie and the Blowfish |
| Best Traditional Pop Vocal Performance | “Duets II,” Frank Sinatra |
| Best Pop Instrumental Performance | “Mariachi Suite,” Los Lobos |
| Best Pop Vocal Collaboration | “Have I Told You Lately That I Love You?,” The Chieftains with Van Morrison |
| Best Pop Album | Turbulent Indigo, Joni Mitchell (Reprise) |
| Best Rock Album | Jagged Little Pill, Alanis Morissette (Maverick/Reprise) |
| Best Rock Gospel Album | Lesson of Love, Ashley Cleveland (Reunion) |
| Best Rock Song | “You Oughta Know,” Glen Ballard and Alanis Morissette, songwriters |
| Best Rock Vocal Performance, Male | “You Don't Know How It Feels,” Tom Petty |
| Best Rock Vocal Performance, Female | “You Oughta Know,” Alanis Morissette |
| Best Rock Performance By a Duo or Group With Vocal | “Run-Around,” Blues Traveler |
| Best Rock Instrumental Performance | “Jessica,” The Allman Brothers Band |
| Best Hard Rock Performance | “Spin the Black Circle,” Pearl Jam |
| Best Metal Performance | “Happiness Is Slavery,” Nine Inch Nails |
| Best Alternative Music Performance | MTV Unplugged in New York, Nirvana (DGC) |
| Best Rhythm and Blues Album | CrazySexyCool, TLC (LaFace Records) |
| Best Rhythm and Blues Song | “For Your Love,” Stevie Wonder, songwriter |
| Best Rhythm and Blues Vocal Performance, Male | “For Your Love,” Stevie Wonder |
| Best Rhythm and Blues Vocal Performance, Female | “I Apologize,” Anita Baker |
| Best Rhythm and Blues Performance By a Duo or Group With Vocal | “Creep,” TLC |
| Best Rap Album | Poverty's Paradise, Naughty by Nature (Tommy Boy) |
| Best Rap Solo Performance | “Gangsta's Paradise,” Coolio |
| Best Rap Performance By a Duo or Group | “I'll Be There for You”/“You're All I Need to Get By,” Method Man/Mary J. Blige |
| Best Jazz Vocal Performance | “An Evening With Lena Horne,” Lena Horne |
| Best Jazz Instrumental Solo | “Impressions,” Michael Brecker |
| Best Jazz Instrumental Performance, Individual or Group | “Infinity,” McCoy Tyner Trio featuring Michael Brecker |
| Best Contemporary Jazz Performance | “We Live Here,” Pat Metheny Group |
| Best Large Jazz Ensemble Performance | “All Blues,” GRP All-Star Big Band and Tom Scott |
| Best Latin Jazz Performance | “Antônio Brasileiro,” Antônio Carlos Jobim |
| Best Country Album | The Woman in Me, Shania Twain (Mercury Nashville) |
| Best Country Song | “Go Rest High on That Mountain,” Vince Gill, songwriter |
| Best Country Vocal Performance, Male | “Go Rest High on That Mountain,” Vince Gill |
| Best Country Vocal Performance, Female | “Baby, Now That I've Found You,” Alison Krauss |
| Best Country Performance By a Duo or Group With Vocal | “Here Comes the Rain,” The Mavericks |
| Best Country Vocal Collaboration | “Somewhere in the Vicinity of the Heart,” Shenandoah with Alison Krauss |
| Best Country Instrumental Performance | “Hightower,” Asleep at the Wheel featuring Bela Fleck and Johnny Gimble |
| Best Bluegrass Album | Unleashed, The Nashville Bluegrass Band (Sugar Hill) |
| Best Traditional Soul Gospel Album | Shirley Caesar Live…He Will Come, Shirley Caesar (Word) |
| Best Contemporary Soul Gospel Album | Alone in His Presence, CeCe Winans (Sparrow Communications Group) |
| Best Pop/Contemporary Gospel Album | I'll Lead You Home, Michael W. Smith (Reunion) |
| Best Rock Gospel Album | Lesson of Love, Ashley Cleveland (Reunion) |
| Best Southern Gospel, Country Gospel or Bluegrass Gospel Album | Amazing Grace—A Country Salute to Gospel, various artists (Sparrow Communications Group) |
| Best Gospel Album By a Choir or Chorus | Praise Him…Live!, The Brooklyn Tabernacle Choir (Warner Alliance) |
| Best Latin Pop Performance | “Amor,” Jon Secada |
| Best Tropical Latin Performance | “Abriendo Puertas,” Gloria Estefan |
| Best Mexican-American Performance | “Flaco Jimenez,” Flaco Jimenez |
| Best Traditional Blues Album | Chill Out, John Lee Hooker (Point-Blank) |
| Best Contemporary Blues Album | Slippin' In, Buddy Guy (Silvertone) |
| Best Traditional Folk Album | South Coast, Ramblin' Jack Elliott (Red House) |
| Best Contemporary Folk Album | Wrecking Ball, Emmylou Harris (Asylum/Elektra) |
| Best Reggae Album | Boombastic, Shaggy (Virgin) |
| Best New Age Album | Forest, George Winston |
| Best World Music Album | Bohème, Deep Forest (Windham Hill) |
| Best Polka Album | I Love to Polka, Jimmy Sturr (Rounder) |
| Best Instrumental Arrangement | “Lament,” Robert Farnon, arranger |
| Best Instrumental Arrangement With Accompanying Vocal(s) | “I Get a Kick out of You,” Rob McConnell, arranger |
| Best Instrumental Composition | “A View From the Side,” Bill Holman |
| Best Musical Show Album | Smokey Joe's Cafe—The Songs of Leiber and Stoller, Jerry Leiber, lyricist; Mike Stoller, composer (Atlantic Theater) |
| Best Instrumental Composition Written for a Motion Picture or for Television | “Crimson Tide,” Hans Zimmer, composer |
| Best Song Written Specifically for a Motion Picture or for Television | “Colors of the Wind” (From Pocahontas), Alan Menken and Stephen Schwartz, songwriters |
| Best Classical Contemporary Composition | “Messiaen: Concert a Quatre,” Olivier Messiaen, composer |
| Best Classical Album | Debussy: La Mer; Nocturnes; Jeux, etc. Pierre Boulez conducting the Cleveland Orchestra (Deutsche Grammophon) |
| Best Chamber Music Performance | Brahms/Beethoven/Mozart: Clarinet Trios, Emanuel Ax, piano; Yo-Yo Ma, cello; Richard Stoltzman, clarinet |
| Best Classical Performance, Instrumental Soloist(s) (With Orchestra) | The American Album (Works of Bernstein, Barber, Foss), Itzhak Perlman, violin (EMI Classics) |
| Best Classical Performance, Instrumental Soloist(s) (Without Orchestra) | Schubert: Piano Sonatas (B-Flat Major and A Major), Radu Lupu, piano (London Records) |
| Best Orchestral Performance | Debussy: La Mer, Nocturnes; Jeux, etc., Pierre Boulez conducting the Cleveland Orchestra (Deutsche Grammophon) |
| Best Opera Recording | Berlioz: Les Troyens, Charles Dutoit conducting the Orchestre Symphonie de Montreal |
| Best Performance of a Choral Work | Brahms: Ein Deutsches Requiem, Herbert Blomstedt conducting San Francisco Symphony, San Francisco Symphony Chorus and various artists |
| Best Classical Vocal Performance | The Echoing Air—The Music of Henry Purcell (If Music Be the Food of Love; Sweeter Than Roses, etc.), Sylvia McNair, soprano |
| Best Spoken Comedy Album | Crank Calls, Jonathan Winters (Audio Select) |
| Best Spoken Word or Non-Musical Album | Phenomenal Woman, Maya Angelou (Random House Audio Books) |
| Best Musical Album for Children | Sleepy Time Lullabys, Barbara Bailey Hutchison (Jaba) |
| Best Spoken Word Album for Children | Prokofiev: Peter and the Wolf, Patrick Stewart (Erato) |
| Best Recording Package | Turbulent Indigo, Robbie Cavolina and Joni Mitchell, art directors (Reprise) |
| Best Recording Package—Boxed | Civilization Phaze III, Frank Zappa and Gail Zappa, art directors (Barking Pumpkin) |
| Best Album Notes | The Complete Stax/Volt Soul Singles, Volume 3: 1972–1975, Rob Bowman, album notes writer (Stax) |
| Best Historical Album | The Heifitz Collection (RCA Victor Gold Seal) |
| Best Music Video, Short Form | “Scream,” Michael Jackson and Janet Jackson |
| Best Music Video, Long Form | “Secret World Live,” Peter Gabriel |
| Best Engineered Album (Non-Classical) | Wildflowers, Dave Bianco, Richard Dodd, Stephen McLaughlin and Jim Scott, engineers (Warner Bros.) |
| Best Classical Engineered Recording | Bartók: Concerto for Orchestra/Kossuth: Symphonic Poem, Michael Mailes and Jonathan Stokes, engineers (London Records) |
| Producer of the Year (Non-Classical) | Babyface |
| Classical Producer of the Year | Steven Epstein |
38TH GRAMMY AWARDS
| Date | February 28, 1996 |
|---|---|
| Location | Shrine Auditorium, Los Angeles |
| Hosted by | Ellen DeGeneres |
BEST SONG – KISS FROM A ROSE
BEST ROCK SONG – YOU OUGHTA KNOW
BEST R&B SONG – FOR YOUR LOVE
39TH GRAMMY AWARDS - FEBRUARY 26TH, 1997
| Record of the Year | “Change the World,” Eric Clapton |
| Album of the Year | Falling Into You, Celine Dion (550 Music/Epic) |
| Song of the Year | “Change the World,” Gordon Kennedy, Wayne Kirkpatrick and Tommy Sims, songwriters |
| Best New Artist | LeAnn Rimes |
| Best Male Pop Vocal Performance | “Change the World,” Eric Clapton |
| Best Female Pop Vocal Performance | “Un-break My Heart,” Toni Braxton |
| Best Pop Performance by a Duo or Group With Vocal | “Free As a Bird,” The Beatles |
| Best Pop Collaboration With Vocals | “When I Fall in Love,” Natalie Cole with Nat King Cole |
| Best Pop Instrumental Performance | “The Sinister Minister,” Béla Fleck and the Flecktones |
| Best Pop Album | Falling Into You, Celine Dion (550 Music/Epic) |
| Best Traditional Pop Vocal Performance | Here's to the Ladies, Tony Bennett |
| Best Female Rock Vocal Performance | “If It Makes You Happy,” Sheryl Crow |
| Best Male Rock Vocal Performance | “Where It's At,” Beck |
| Best Rock Performance by a Duo or Group With Vocal | “So Much to Say,” Dave Matthews Band |
| Best Hard Rock Performance | “Bullet With Butterfly Wings,” Smashing Pumpkins |
| Best Metal Performance | “Tire Me,” Rage Against the Machine |
| Best Rock Instrumental Performance | “SRV Shuffle,” Jimmie Vaughan, Eric Clapton, Bonnie Raitt, Robert Cray, B.B. King, Buddy Guy, Dr. John and Art Neville |
| Best Rock Song | “Give Me One Reason,” Tracy Chapman, songwriter |
| Best Rock Album | Sheryl Crow, Sheryl Crow (A&M) |
| Best Alternative Music Performance | Odelay, Beck |
| Best Female R&B Vocal Performance | “You're Makin' Me High,” Toni Braxton |
| Best Male R&B Vocal Performance | “Your Secret Love,” Luther Vandross |
| Best R&B Performance by a Duo or Group With Vocal | “Killing Me Softly With His Song,” Fugees |
| Best R&B Song | “Exhale (Shoop, Shoop),” Kenneth “Babyface” Edmonds, songwriter |
| Best R&B Album | Words, The Tony Rich Project (LaFace) |
| Best Rap Solo Performance | “Hey Lover,” LL Cool J |
| Best Rap Performance by a Duo or Group | “Tha Crossroads,” Bone Thugs-N-Harmony |
| Best Rap Album | The Score, Fugees; Lauryn Hill, Prakazrel “Pras” and Wyclef, producers (Ruffhouse/Columbia) |
| Best Female Country Vocal Performance | “Blue,” LeAnn Rimes |
| Best Male Country Vocal Performance | “Worlds Apart,” Vince Gill |
| Best Country Performance by a Duo or Group With Vocal | “My Maria,” Brooks and Dunn |
| Best Country Collaboration With Vocals | “High Lonesome Sound,” Vince Gill featuring Alison Krauss and Union Station |
| Best Country Instrumental Performance | “Jam Man,” Chet Atkins |
| Best Country Song | “Blue,” Bill Mack, songwriter |
| Best Country Album | The Road to Ensanada, Lyle Lovett; Billy Williams and Lyle Lovett, producers (Curb/MCA) |
| Best Bluegrass Album | True Life Blues: The Songs of Bill Monroe, various artists (Sugar Hill) |
| Best New Age Album | The Memory of Trees, Enya (Reprise) |
| Best Contemporary Jazz Performance | High Life, Wayne Shorter |
| Best Jazz Vocal Performance | New Moon Daughter, Cassandra Wilson |
| Best Jazz Instrumental Solo | “Cabin Fever,” Michael Brecker |
| Best Jazz Instrumental Performance, Individual or Group | Tales From the Hudson, Michael Brecker |
| Best Large Jazz Ensemble Performance | Live at Manchester Craftmen's Guild, Count Basie Orchestra (with The New York Voices); Grover Mitchell, conductor |
| Best Latin Jazz Performance | Portraits of Cuba, Paquito D'Rivera |
| Best Rock Gospel Album | Jesus Freak, dc Talk (ForeFront Communications) |
| Best Pop/Contemporary Gospel Album | Tribute — The Songs of Andrae Crouch, various artists; Norman Miller and Neal Joseph, producers (Warner Alliance) |
| Best Southern Gospel, Country Gospel or Bluegrass Gospel Album | I Love to Tell the Story: 25 Timeless Hymns, Andy Griffith (Sparrow Communications Group) |
| Best Traditional Soul Gospel Album | Face to Face, Cissy Houston (House of Blues Music Co.) |
| Best Contemporary Soul Gospel Album | Whatcha Lookin' 4, Kirk Franklin and the Family (Gospo Centric) |
| Best Gospel Album by a Choir or Chorus | Just a Word, Shirley Caesar's Outreach Convention Choir (Word Gospel) |
| Best Latin Pop Performance | Enrique Iglesias, Enrique Iglesias |
| Best Tropical Latin Performance | La Rosa de los Vientos, Ruben Blades |
| Best Mexican-American/Tejano Music Performance | Un Millon de Rosas, La Mafia |
| Best Traditional Blues Album | Deep in the Blues, James Cotton (Verve) |
| Best Contemporary Blues Album | Just Like You, Keb' Mo' (Okeh/Epic) |
| Best Traditional Folk Album | Pete, Pete Seeger (Living Music) |
| Best Contemporary Folk Album | The Ghost of Tom Joad, Bruce Springsteen (Columbia) |
| Best Reggae Album | Hall of Fame — A Tribute to Bob Marley's 50th Anniversary, Bunny Wailer (RAS Records) |
| Best World Music Album | Santiago, The Chieftains (RCA Victor) |
| Best Polka Album | Polka! All Night Long, Jimmy Sturr (Rounder) |
| Best Musical Album for Children | Dedicated to the One I Love, Linda Ronstadt; George Massenburg and Linda Ronstadt, producers (Elektra) |
| Best Spoken Word Album for Children | Stellaluna, David Holt; Virginia Callaway, Steven Heller and David Holt, producers (High Windy Audio) |
| Best Spoken Word or Non-Musical Album | It Takes a Village, Hillary Rodham Clinton (Simon and Schuster Audioworks) |
| Best Spoken Comedy Album | Rush Limbaugh Is a Big Fat Idiot, Al Franken (Dove Audio) |
| Best Musical Show Album | Riverdance, various artists; Bill Whelan, producer, composer and lyricist (Celtic Heartbeat/Atlantic) |
| Best Instrumental Composition | “Manhattan (Island of Lights and Love),” Herbie Hancock and Jean Hancock, composers |
| Best Instrumental Composition for a Motion Picture or for Television | Independence Day, David Arnold, composer |
| Best Song Written Specifically for a Motion Picture or for Television | “Because You Loved Me” (From Up Close and Personal ), Diane Warren, songwriter |
| Best Instrumental Arrangement | “An American Symphony (Mr. Holland's Opus),” Michael Kamen, arranger |
| Best Instrumental Arrangement With Accompanying Vocal(s) | “When I Fall in Love,” Alan Broadbent, David Foster and Gordon Jenkins, arrangers |
| Best Recording Package | Ultra-Lounge (Leopard Skin Sampler), Andy Engel and Tommy Steele, art directors (Capitol) |
| Best Recording Package — Boxed | The Complete Columbia Studio Recordings, Chika Azuma and Arnold Levine, art directors (Columbia) |
| Best Album Notes | The Complete Columbia Studio Recordings, George Avakian, Bob Belden, Bill Kirchner and Phil Schaap, album-notes writers (Columbia) |
| Best Historical Album | The Complete Columbia Studio Recordings, Bob Belden and Phil Schaap, compilation producers; Phil Schaap and Mark Wilder, mastering engineers (Columbia) |
| Best Engineered Album, Non-Classical | Q's Jook Joint, Francis Buckley, Al Schmitt, Bruce Swedien and Tommy Vicari, engineers (Qwest/Warner Bros.) |
| Producer of the Year | Kenneth “Babyface” Edmonds |
| Best Classical Engineered Recording | Copland: Dance Symphony; Short Symphony; Organ Symphony, Etc., William Hoekstra and Lawrence Rock, engineers (RCA Victor Red Seal) |
| Classical Producer of the Year | Joanna Nickrenz |
| Best Classical Album | Corgiliano: of Rage and Remembrance (Symphony No. 1, etc.), Leonard Slatkin, conductor; Joanna Nickrenz, producer; various artists (RCA Victor Red Seal) |
| Best Orchestral Performance | Prokofiev: Romeo and Juliet (Scenes From the Ballet), Michael Tilson Thomas, conductor |
| Best Opera Recording | Britten: Peter Grimes, Richard Hickox, conductor; Philip Langridge, Alan Opie and Janice Watson, principal soloists; Brian Couzens, producer |
| Best Choral Performance | “Walton: Belshazzar's Feast,” Andrew Litton, conductor; Neville Creed and David Hill, chorus masters |
| Best Instrumental Soloist(s) Performance (With Orchestra) | Bartok: The Three Piano Concertos, Yefim Bronfman, piano |
| Best Instrumental Soloist Performance (Without Orchestra) | The Romantic Master (Works of Saint-Saens; Handel, etc.), Earl Wild, piano |
| Best Chamber Music Performance | “Corigliano: String Quartet, etc.,” Cleveland Quartet |
| Best Small Ensemble Performance (With or Without Conductor) | “Boulez:...Explosante-Fixe...,” Pierre Boulez, conductor |
| Best Classical Vocal Performance | Opera Arias (Works of Mozart, Wagner, Borodin, etc.), Bryn Terfel, bass baritone |
| Best Classical Contemporary Composition | “Corigliano: String Quartet,” John Corigliano, composer |
| Best Music Video, Short Form | “Free As a Bird,” The Beatles; Joe Pytka, video director |
| Best Music Video, Long Form | The Beatles Anthology, The Beatles; Geoff Wonfor, video director; Chips Chipperfield, video producer |
39TH GRAMMY AWARDS
| Date | February 26, 1997 |
|---|---|
| Location | Madison Square Garden, New York City |
| Hosted by | Ellen DeGeneres |
BEST SONG – CHANGE THE WORLD
BEST ROCK SONG – GIVE ME ONE REASON
BEST R&B SONG – EXHALE
40TH GRAMMY AWARDS - FEBRUARY 25TH, 1998
| Record: | “Sunny Came Home,” Shawn Colvin |
| Album: | Time Out of Mind, Bob Dylan (Columbia Records) |
| Song: | “Sunny Came Home,” Shawn Colvin and John Leventhal, songwriters |
| New Artist: | Paula Cole |
| Female Pop Vocal: | “Building a Mystery,” Sarah McLachlan |
| Male Pop Vocal: | “Candle in the Wind 1997,” Elton John |
| Pop Duo or Group with Vocals: | “Virtual Insanity,” Jamiroquai |
| Pop Collaboration with Vocals: | “Don't Look Back,” John Lee Hooker with Van Morrison |
| Pop Instrumental: | “Last Dance,” Sarah McLachlan |
| Dance Recording: | “Carry On,” Donna Summer and Giorgio Moroder |
| Pop Album: | Hourglass, James Taylor (Columbia Records) |
| Traditional Pop Album: | Tony Bennett on Holiday, Tony Bennett |
| Female Rock Vocal: | “Criminal,” Fiona Apple |
| Male Rock Vocal: | “Cold Irons Bound,” Bob Dylan |
| Rock Duo or Group with Vocals: | “One Headlight,” the Wallflowers |
| Hard Rock: | “The End Is the Beginning Is the End,” the Smashing Pumpkins |
| Metal: | “Ænima,” Tool |
| Rock Instrumental: | “Block Rockin' Beats,” the Chemical Brothers |
| Rock Song: | “One Headlight,” Jakob Dylan, songwriter |
| Rock Album: | Blue Moon Swamp, John Fogerty (Warner Bros. Records) |
| Alternative Album: | OK Computer, Radiohead |
| Female R&B Vocal: | “On and On,” Erykah Badu |
| Male R&B Vocal: | “I Believe I Can Fly,” R. Kelly |
| R&B Duo or Group with Vocals: | “No Diggity,” Blackstreet |
| \R&B Song: | “I Believe I Can Fly,” R. Kelly, songwriter |
| \R&B Album: | Baduizm, Erykah Badu (Kedar/Universal Records) |
| \Rap Solo: | “Men in Black,” Will Smith |
| \Rap Duo or Group: | “I'll Be Missing You,” Puff Daddy and Faith Evans featuring 112 |
| \Rap Album: | No Way Out, Puff Daddy and the Family |
| \Female Country Vocal: | “How Do I Live,” Trisha Yearwood |
| \Male Country Vocal: | “Pretty Little Adriana,” Vince Gill |
| \Country Duo or Group with Vocals: | “Looking in the Eyes of Love,” Alison Krauss and Union Station |
| \Country Collaboration with Vocals: | “In Another's Eyes,” Trisha Yearwood and Garth Brooks |
| \Country Instrumental: | “Little Liza Jane,” Alison Krauss and Union Station |
| \Country Song: | “Butterfly Kisses,” Bob Carlisle and Randy Thomas, songwriters |
| \Country Album: | Unchained, Johnny Cash (American Records) |
| \Bluegrass Album: | So Long So Wrong, Alison Krauss and Union Station (Rounder Records) |
| New Age Album: | Oracle, Michael Hedges (Windham Hill Records) |
| Contemporary Jazz: | Into the Sun, Randy Brecker |
| Jazz Vocal: | Dear Ella, Dee Dee Bridgewater |
| Jazz Instrumental, Solo: | “Stardust,” Doc Cheatham and Nicholas Payton |
| Jazz Instrumental, Individual or Group: | Beyond the Missouri Sky, Charlie Haden and Pat Metheny (Verve Records) |
| Large Jazz Ensemble: | Joe Henderson Big Band, Joe Henderson Big Band |
| Latin Jazz: | Habana, Roy Hargrove's Crisol |
| Rock Gospel Album: | Welcome to the Freak Show: dc Talk Live in Concert, dc Talk (ForeFront Records) |
| Pop/Contemporary Gospel Album: | Much Afraid, Jars of Clay (Silvertone/Essential Records) |
| Southern Gospel, Country Gospel or Bluegrass Gospel Album: | Amazing Grace 2: A Country Salute to Gospel, various artists (Sparrow Records) |
| Traditional Soul Gospel Album: | I Couldn't Hear Nobody Pray, the Fairfield Four (Warner Bros. Records Nashville) |
| Contemporary Soul Gospel Album: | Brothers, Take 6 (Warner–Alliance Records) |
| Gospel Album by a Choir or Chorus: | God's Property From Kirk Franklin's Nu Nation, God's Property; Kirk Franklin, Choir Director (B–Rite Music) |
| Latin Pop: | Romances, Luis Miguel |
| Latin Rock/Alternative: | Fabulosos Calavera, Los Fabulosos Cadillacs |
| Tropical Latin: | Buena Vista Social Club, Ry Cooder |
| Mexican-American/Tejano: | En Tus Manos, La Mafia |
| Traditional Blues: | Don't Look Back, John Lee Hooker (Pointblank/Virgin Records America) |
| Contemporary Blues: | Senor Blues, Taj Mahal (Private Music) |
| Traditional Folk: | L'Amour ou la Folie, BeauSoleil (Rhino Records) |
| Contemporary Folk: | Time Out of Mind, Bob Dylan (Columbia Records) |
| Reggae Album: | Fallen is Babylon, Ziggy Marley and the Melody Makers (Elektra Records/EEG) |
| World Music Album: | Nascimento, Milton Nascimento (Warner Bros. Records) |
| Polka Album: | Living on Polka Time, Jimmy Sturr (Rounder Records) |
| Musical Album for Children: | All Aboard!, John Denver (Sony Wonder Records) |
| Spoken Word Album for Children: | Winnie-The-Pooh, Charles Kuralt (Penguin Audiobooks) |
| Spoken Word or Non-Musical Album: | Charles Kuralt's Spring, Charles Kuralt (Simon and Schuster Audioworks) |
| Spoken Comedy Album: | Roll With the New, Chris Rock (DreamWorks Records) |
| Musical Show Album: | Chicago: the Musical (RCA Victor) |
| Instrumental Composition: | “Aung San Suu Kyi,” Wayne Shorter, composer |
| Instrumental Composition for a Motion Picture or for Television: | The English Patient, Gabriel Yared, composer |
| Song Written Specifically for a Motion Picture or for Television: | “I Believe I Can Fly” (from Space Jam), R. Kelly, songwriter |
| Instrumental Arrangement: | “Straight, No Chaser,” Bill Holman, arranger |
| Instrumental Arrangement with Accompanying Vocals: | “Cotton Tail,” Slide Hampton, arranger |
| Best Recording Package: | Various Artists: Titanic—Music as Heard on the Fateful Voyage, Hugh Brown, Al Q., and Jeff Smith, art directors (Rhino Records) |
| Best Recording Package—Boxed: | Various Artists: Beg, Scream and Shout! The Big Ol' Box of '60s Soul, Hugh Brown, David Gorman and Rachel Gutek, art directors (Rhino Records) |
| Best Album Notes: | Various Artists: Anthology of American Folk Music (1997 Edition Expanded), John Fahey, Luis Kemnitzer, Joh Pankake, Chuck Pirtle, Jeff Place, Neil V. Rosenberg, Luc Sante, Peter Stampfel and Eric Von Schmidt, album notes writers |
| Historical Album: | Anthology of American Folk Music (1997 Edition Expanded) (Smithsonian Folkways Recordings) |
| Best-Engineered Album, Non-Classical: | James Taylor: Hourglass, Frank Filipetti, engineer (Columbia Records) |
| Producer: | Babyface |
| Remixer: | Frankie Knuckles |
| Best-Engineered Album, Classical: | Copland: The Music of America, Michael Bishop and Jack Renner, engineers |
| Classical Producer: | Steven Epstein |
| Classical Album: | Premieres: Cello Concertos (Works of Danielpour, Kirchner, Rouse), Philadelphia Orchestra (Sony Classical) |
| Orchestral: | Berlioz: Symphonie Fantastique; Tristia, Pierre Boulez conducting the Cleveland Orchestra and Chorus (Deutsche Grammophon) |
| Opera: | Wagner: Die Meistersinger von Nurnberg, Sir Georg Solti conducting the Chicago Symphony Orchestra and Chorus (London Records) |
| Choral: | Adams: Harmonium/Rachmaninoff: The Bells, Robert Shaw, conductor (Telarc) |
| Instrumental Soloist with Orchestra: | Premieres: Cello Concertos (Works of Danielpour, Kirchner, Rouse), Yo-Yo Ma, violoncello; David Zinman, conductor |
| Instrumental Soloist without Orchestra: | Bach: Suites for Solo Cello Nos. 1–6, Janos Starker, cello |
| Chamber Music: | Beethoven: The String Quartets, Emerson String Quartet |
| Small Ensemble Performance (with or without Conductor): | “Hindemith: Kammermusik No. 1 With Finale 1921, Op. 24 No. 1,” Claudio Abbado conducting members of the Berliner Philharmonic |
| Classical Vocal: | An Italian Songbook (Works of Bellini, Donizetti, Rossini), Cecilia Bartoli |
| Classical Contemporary Composition: | “Adams: El Dorado,” John Adams, composer |
| Music Video, Short Form: | “Got 'Till It's Gone,” Janet Jackson; Mark Romanek and Aris McGarry, video directors |
| Music Video, Long Form: | Alanis Morissette: Jagged Little Pill, Live, Alanis Morissette and Steve Purcell, video directors |
40TH GRAMMY AWARDS
| Date | February 25, 1998 |
|---|---|
| Location | Radio City Music Hall, New York City |
| Hosted by | Kelsey Grammer |
BEST SONG – SUNNY CAME HOME
BEST ROCK SONG – ONE HEADLIGHT
BEST R&B SONG – I BELIEVE I CAN FLY
41ST GRAMMY AWARDS - FEBRUARY 24TH, 1999
| Record: | “My Heart Will Go On,” Celine Dion |
| Album: | The Miseducation of Lauryn Hill, Lauryn Hill (Ruffhouse/Columbia Records) |
| Song: | “My Heart Will Go On,” James Horner and Will Jennings, songwriters |
| New Artist: | Lauryn Hill |
| Female Pop Vocal: | “My Heart Will Go On,” Celine Dion |
| Male Pop Vocal: | “My Father's Eyes,” Eric Clapton |
| Pop Duo or Group with Vocals: | “Jump Jive An' Wail,” The Brian Setzer Orchestra |
| Pop Collaboration with Vocals: | “I Still Have That Other Girl,”Elvis Costello and Burt Bacharach |
| Pop Instrumental: | “Sleepwalk,” The Brian Setzer Orchestra |
| Dance Recording: | “Ray of Light,” Madonna |
| Pop Album: | Ray of Light, Madonna (Maverick/Warner Bros. Records) |
| Traditional Pop Album: | Live at Carnegie Hall—The 50th Anniversary Concert, Patti Page |
| Female Rock Vocal: | “Uninvited,” Alanis Morissette |
| Male Rock Vocal: | “Fly Away,” Lenny Kravitz |
| Rock Duo or Group with Vocals: | “Pink,”Aerosmith |
| Hard Rock: | “Most High,” Jimmy Page and Robert Plant |
| Metal: | “Better Than You,” Metallica |
| Rock Instrumental: | “The Roots of Coincidence,” Pat Metheny Group |
| Rock Song: | “Uninvited,” Alanis Morissette, songwriter |
| Rock Album: | The Globe Sessions, Sheryl Crow (A&M Records) |
| Alternative Album: | Hello Nasty, Beastie Boys |
| Female R&B Vocal: | “Doo Wop (That Thing),” Lauryn Hill |
| Male R&B Vocal: | “St. Louis Blues,” Stevie Wonder |
| R&B Duo or Group with Vocals: | “The Boy Is Mine,” Brandy and Monica |
| R&B Song: | “Doo Wop (That Thing),” Lauryn Hill, songwriter |
| R&B Album: | The Miseducation of Lauryn Hill, Lauryn Hill (Ruffhouse/Columbia Records) |
| Traditional R&B Vocal Performance: | Live! One Night Only, Patti LaBelle |
| Rap Solo: | “Gettin' Jiggy Wit It,” Will Smith |
| Rap Duo or Group: | “Intergalactic,” Beastie Boys |
| Rap Album: | Vol. 2…Hard Knock Life, Jay-Z |
| Female Country Vocal: | “You're Still the One,” Shania Twain |
| Male Country Vocal: | “If You Ever Have Forever in Mind,” Vince Gill |
| Country Duo or Group with Vocals: | “There's Your Trouble,” Dixie Chicks |
| Country Collaboration with Vocals: | “Same Old Train,”Clint Black, Joe Diffie, Merle Haggard, Emmylou Harris, Alison Krauss, Patty Loveless, Earl Scruggs, Ricky Skaggs, Marty Stuart, Pam Tillis, Randy Travis, Travis Tritt, and Dwight Yoakam |
| Country Instrumental: | “A Soldier's Joy,” Randy Scruggs and Vince Gill |
| Country Song: | “You're Still the One,” Robert John “Mutt” Lange and Shania Twain, songwriters |
| Country Album: | Wide Open Spaces, Dixie Chicks (Monument Records) |
| Bluegrass Album: | Bluegrass Rules!, Ricky Skaggs and Kentucky Thunder (Skaggs Family Records) |
| New Age Album: | Landmarks, Clannad (Atlantic Records) |
| Contemporary Jazz: | Imaginary Day, Pat Metheny Group |
| Jazz Vocal: | I Remember Miles, Shirley Horn |
| Jazz Instrumental, Solo: | “Rhumbata,” Chick Corea and Gary Burton |
| Jazz Instrumental, Individual or Group: | Gershwin's World, Herbie Hancock (Verve Records) |
| Large Jazz Ensemble: | Count Plays Duke, Count Basie Orchestra |
| Latin Jazz: | Hot House, Arturo Sandoval |
| Rock Gospel Album: | You Are There, Ashley Cleveland (Cadence/204 Records) |
| Pop/Contemporary Gospel Album: | This Is My Song, Deniece Williams (Harmony Records) |
| Southern Gospel, Country Gospel, or Bluegrass Gospel Album: | The Apostle—Music From and Inspired by the Motion Picture, various artists (Sparrow Records/Rising Tide [MCA]) |
| Traditional Soul Gospel Album: | He Leadeth Me, Cissy Houston (House of Blues Music) |
| Contemporary Soul Gospel Album: | The Nu Nation Project, Kirk Franklin (Gospo Centric Records) |
| Gospel Album by a Choir or Chorus: | Reflections, The Associates; O'Landa Draper, Choir Director (Warner Alliance Records) |
| Latin Pop: | Vuelve, Ricky Martin |
| Latin Rock/Alternative: | Sueños Liquidos, Mana |
| Tropical Latin: | Contra la Corriente, Marc Anthony |
| Mexican-American: | Los Super Seven, Los Super Seven |
| Tejano: | Said and Done, Flaco Jimenez |
| Traditional Blues: | Any Place I'm Going, Otis Rush (House of Blues Records) |
| Contemporary Blues: | Slow Down, Keb' Mo' (Okeh/550 Music) |
| Traditional Folk: | Long Journey Home, The Chieftains with various artists (Wicklow Records) |
| Contemporary Folk: | Car Wheels on a Gravel Road, Lucinda Williams (Mercury Records) |
| Reggae Album: | Friends, Sly and Robbie (EastWest Records America/EEG) |
| World Music Album: | Quanta Live, Gilberto Gil (Atlantic/Mesa Records) |
| Polka Album: | Dance with Me, Jimmy Sturr and His Orchestra (Rounder Records) |
| Musical Album for Children: | Elmopalooza!, The Sesame Street Muppets with various artists (Sony Wonder Records) |
| Spoken Word Album for Children: | The Children's Shakespeare, various artists (Dove Audio) |
| Spoken Word or Non-Musical Album: | Still Me (Christopher Reeve), Christopher Reeve (Random House Audio Books) |
| Spoken Comedy Album: | The 2000 Year Old Man in the Year 2000, Mel Brooks and Carl Reiner (Rhino Records) |
| Musical Show Album: | The Lion King (Walt Disney Records) |
| Instrumental Composition: | “Almost 12,” Bela Fleck, Future Man, and Victor Lemonte Wooten, composers |
| Instrumental Composition for a Motion Picture or for Television: | Saving Private Ryan, John Williams, composer |
| Song Written Specifically for a Motion Picture or for Television: | “My Heart Will Go On” (from Titanic), James Horner and Will Jennings, songwriters |
| Instrumental Arrangement: | “Waltz for Debby,” Don Sebesky, arranger |
| Instrumental Arrangement with Accompanying Vocals: | “St. Louis Blues,” Herbie Hancock, Robert Sadin, and Stevie Wonder, arrangers |
| Best Recording Package: | Ray of Light, Kevin Reagan, art director (Maverick/Warner Bros. Records) |
| Best Recording Package—Boxed: | The Complete Hank Williams, Jim Kemp and Virginia Team, art directors (Rhino Records) |
| Best Album Notes: | Miles Davis Quintet 1965–1968, Bob Belden, Todd Coolman and Michael Cuscuna, album notes writers |
| Historical Album: | The Complete Hank Williams (Mercury Records Nashville) |
| Best-Engineered Album, Non-Classical: | The Globe Sessions, Tchad Blake, Trina Shoemaker and Andy Wallace, engineers (A&M Records) |
| Producer, Non-Classical: | Rob Cavallo |
| Remixer, Non-Classical: | David Morales |
| Best-Engineered Album, Classical: | Barber: Prayers of Kierkegaard/Vaughan Williams: Dona Nobis Pacem/Bartok: Cantata Profana, Jack Renner, engineer |
| Classical Producer: | Steven Epstein |
| Classical Album: | Barber: Prayers of Kierkegaard/Vaughan Williams: Dona Nobis Pacem/Bartok: Cantata Profana, Atlanta Symphony Orchestra and Chorus, Robert Shaw, conductor (Telarc) |
| Orchestral: | Mahler: Sym. No. 9, Pierre Boulez conducting the Chicago Symphony Orchestra (Deutsche Grammophon) |
| Opera: | Bartok: Bluebeard's Castle, Pierre Boulez, conducting the Chicago Symphony Orchestra (Deutsche Grammophon) |
| Choral: | Barber: Prayers of Kierkegaard/Vaughan Williams: Dona Nobis Pacem/Bartok: Cantata Profana, Robert Shaw, conductor (Telarc) |
| Instrumental Soloist with Orchestra: | Penderecki: Violin Con. No. 2 “Metamorphosen”, Anne-Sophie Mutter, violin; Krzysztof Penderecki, conductor |
| Instrumental Soloist without Orchestra: | Bach: English Suites Nos. 1, 3 and 6, Murray Perahia, piano |
| Chamber Music: | American Scenes (Works of Copland, Previn, Barber, Gershwin), Andre Previn, piano; Gil Shaham, violin |
| Small Ensemble Performance (with or without Conductor): | “Reich: Music for 18 Musicians,” Steve Reich and Musicians |
| Classical Vocal: | The Beautiful Voice (Works of Charpentier, Gounod, Massenet, Flotow, Etc.), Renee Fleming, soprano |
| Classical Contemporary Composition: | Penderecki: Violin Con. No. 2 “Metamorphosen”, Krzysztof Penderecki, composer |
| Classical Crossover Album: | “Soul of the Tango—The Music of Astor Piazzolla, ” Yo-Yo Ma, cello; Jorge Calandrelli, conductor |
| Music Video, Short Form: | “Ray of Light,” Jonas Akerlund, video director |
| Music Video, Long Form: | American Masters: Lou Reed: Rock and Roll Heart, Timothy Greenfield-Sanders, video director |
41ST GRAMMY AWARDS
| Date | February 24, 1999 |
|---|---|
| Location | Shrine Auditorium, Los Angeles |
| Hosted by | Rosie O'Donnell |
BEST SONG – MY HEART WILL GO ON
BEST ROCK SONG – UNINVITED
BEST R&B SONG – THAT THING
42ND GRAMMY AWARDS - FEBRUARY 23RD, 2000
| Record: | “Smooth,” Santana featuring Rob Thomas |
| Album: | Supernatural, Santana (Arista Records) |
| Song: | “Smooth,” Itaal Shur and Rob Thomas, songwriters |
| New Artist: | Christina Aguilera |
| Female Pop Vocal: | “I Will Remember You,” Sarah McLachlan |
| Male Pop Vocal: | “Brand New Day,” Sting |
| Pop Duo or Group with Vocals: | “Maria Maria,” Santana |
| Pop Collaboration with Vocals: | “Smooth,”Santana featuring Rob Thomas |
| Pop Instrumental: | “El Farol,” Santana |
| Dance Recording: | “Believe,” Cher |
| Pop Album: | Brand New Day, Sting (A&M Records) |
| Traditional Pop Album: | Bennett Sings Ellington—Hot and Cool, Tony Bennett |
| Female Rock Vocal: | “Sweet Child O' Mine,” Sheryl Crow |
| Male Rock Vocal: | “American Woman,” Lenny Kravitz |
| Rock Duo or Group with Vocals: | “Put Your Lights On,”Santana featuring Everlast |
| Hard Rock: | “Whiskey in the Jar,” Metallica |
| Metal: | “Iron Man,” Black Sabbath |
| Rock Instrumental: | “The Calling,” Santana featuring Eric Clapton |
| Rock Song: | “Scar Tissue,” Flea, John Frusciante, Anthony Kiedis, and Chad Smith, songwriters |
| Rock Album: | Supernatural, SSantana (Arista Records) |
| Alternative Music Performance: | Mutations, Beck |
| Female R&B Vocal: | “It's Not Right but It's Okay,” Whitney Houston |
| Male R&B Vocal: | “Staying Power,” Barry White |
| R&B Duo or Group with Vocals: | “No Scrubs,” TLC |
| R&B Song: | “No Scrubs,” Kevin “Shekspere” Briggs, Kandi Burruss, and Tameka Cottle, songwriters |
| R&B Album: | Fanmail, TLC (LaFace Records) |
| Traditional R&B Vocal Performance: | Staying Power, Barry White |
| Rap Solo: | “My Name Is,” Eminem |
| Rap Duo or Group: | “You Got Me,” The Roots featuring Erykah Badu |
| Rap Album: | The Slim Shady LP, Eminem |
| Female Country Vocal: | “Man! I Feel like a Woman!,” Shania Twain |
| Male Country Vocal: | “Choices,” George Jones |
| Country Duo or Group with Vocals: | “Ready to Run,” Dixie Chicks |
| Country Collaboration with Vocals: | “After the Gold Rush,”Emmylou Harris, Linda Ronstadt, and Dolly Parton |
| Country Instrumental: | “Bob's Breakdowns,” Asleep At The Wheel featuring Tommy Allsup, Floyd Domino, Larry Franklin, Vince Gill, and Steve Wariner |
| Country Song: | “Come On Over,” Robert John “Mutt” Lange and Shania Twain, songwriters |
| Country Album: | Fly, Dixie Chicks (Monument Records) |
| Bluegrass Album: | Ancient Tones, Ricky Skaggs and Kentucky Thunder (Skaggs Family Records) |
| New Age Album: | Celtic Solstice, Paul Winter and Friends (Living Music) |
| Contemporary Jazz: | Inside, David Sanborn |
| Jazz Vocal: | When I Look in Your Eyes, Diana Krall |
| Jazz Instrumental, Solo: | “In Walked Wayne,” Wayne Shorter |
| Jazz Instrumental, Individual or Group: | Like Minds, Gary Burton, Chick Corea, Pat Metheny, Roy Haynes, and Dave Holland (Concord Jazz) |
| Large Jazz Ensemble: | Serendipity 18, The Bob Florence Limited Edition |
| Latin Jazz: | Latin Soul, Poncho Sanchez |
| Rock Gospel Album: | Pray, Rebecca St. James (ForeFront Records) |
| Pop/Contemporary Gospel Album: | Speechless, Steven Curtis Chapman (Sparrow Records) |
| Southern Gospel, Country Gospel, or Bluegrass Gospel Album: | Kennedy Center Homecoming, Bill and Gloria Gaither and Their Homecoming Friends(Spring House Music Group) |
| Traditional Soul Gospel Album: | Christmas with Shirley Caesar, Shirley Caesar (Myrrh Records) |
| Contemporary Soul Gospel Album: | Mountain High…Valley Low, Yolanda Adams (Elektra Entertainment Group) |
| Gospel Album by a Choir or Chorus: | High and Lifted Up, The Brooklyn Tabernacle Choir; Carol Cymbala, Choir Director (Atlantic Records) |
| Latin Pop: | Tiempos, Rubén Blades |
| Latin Rock/Alternative: | Resurrection, Chris Perez Band |
| Tropical Latin: | Mambo Birdland, Tito Puente |
| Salsa: | Llego…Van Van: Van Van Is Here, Los Van Van |
| Merengue: | Pintame, Elvis Crespo |
| Mexican-American: | 100 Años de Mariachi, Plácido Domingo |
| Tejano: | Por Eso Te Amo, Los Palominos |
| Traditional Blues: | Blues on the Bayou, B. B. King(MCA Records) |
| Contemporary Blues: | Take Your Shoes Off, The Robert Cray Band (Rykodisc) |
| Traditional Folk: | Press On, June Carter Cash (Risk/Small Hairy Dog Records) |
| Contemporary Folk: | Mule Variations, Tom Waits (Tom Waits) |
| Reggae Album: | Calling Rastafari, Burning Spear (Heartbeat Records) |
| World Music Album: | Livro, Caetano Veloso (Nonesuch Records) |
| Polka Album: | Polkasonic, Brave Combo (Cleveland International Records) |
| Musical Album for Children: | The Adventures of Elmo in Grouchland, Various Artists (Sony Wonder) |
| Spoken Word Album for Children: | Listen to the Storyteller, Wynton Marsalis, Graham Greene, and Kate Winslet (Sony Classical) |
| Spoken Word or Non-Musical Album: | The Autobiography of Martin Luther King, Jr., LeVar Burton (with Martin Luther King, Jr.) (Time Warner Audiobooks) |
| Spoken Comedy Album: | Bigger and Blacker, Chris Rock (DreamWorks Records) |
| Musical Show Album: | Annie Get Your Gun (Angel Records) |
| Best Soundtrack Album: | Tarzan, Phil Collins (Walt Disney Records) |
| Instrumental Composition for a Motion Picture or for Television: | A Bug's Life, Randy Newman, composer |
| Song Written Specifically for a Motion Picture or for Television: | “Beautiful Stranger” (from Austin Powers: The Spy Who Shagged Me), Madonna and William Orbit, songwriters |
| Instrumental Composition: | “Joyful Noise Suite,” Don Sebesky, composer |
| Instrumental Arrangement: | “Chelsea Bridge,” Don Sebesky, arranger |
| Instrumental Arrangement with Accompanying Vocals: | “Lonely Town,” Alan Broadbent, arranger |
| Best Recording Package: | Ride with Bob, Ray Benson, Sally Carns, and Buddy Jackson, art directors (DreamWorks Records Nashville) |
| Best Album Notes: | John Coltrane—The Classic Quartet-Complete Impulse! Studio Recordings, Bob Blumenthal, album notes writer |
| Historical Album: | The Duke Ellington Centennial Edition—The Complete RCA Victor Recordings (1927–1973) (RCA Victor/BMG Classics) |
| Best-Engineered Album, Non-Classical: | When I Look in Your Eyes, Al Schmitt, engineer (Verve Records) |
| Producer, Non-Classical: | Walter Afanasieff |
| Remixer, Non-Classical: | Club 69 (Peter Rauhofer) |
| Best-Engineered Album, Classical: | Stravinsky: Firebird; The Rite of Spring; Perséphone, Markus Heiland, engineer |
| Classical Producer: | Adam Abeshouse |
| Classical Album: | Stravinsky: Firebird; The Rite of Spring; Perséphone, Michael Tilson Thomas, conductor (RCA Victor Red Seal) |
| Orchestral: | Stravinsky: Firebird; The Rite of Spring; Perséphone, Michael Tilson Thomas, conductor (Deutsche Grammophon) |
| Opera: | Stravinsky: The Rake's Progress, John Eliot Gardiner, conductor (Deutsche Grammophon) |
| Choral: | Britten: War Requiem, Robert Shafer, conductor (The Washington Chorus) |
| Instrumental Soloist with Orchestra: | Prokofiev: Piano Cons. Nos. 1 and 3/Bartók: Piano Con. No. 3, Martha Argerich, piano; Charles Dutoit, conductor |
| Instrumental Soloist without Orchestra: | Shostakovich: 24 Preludes and Fugues, Op. 87, Vladimir Ashkenazy, piano |
| Chamber Music: | Beethoven: The Violin Sonatas (Nos. 1–3, Op. 12; Nos. 1–3, Op. 30; “Spring” Sonata, Etc.), Anne-Sophie Mutter, violin; Lambert Orkis, piano |
| Small Ensemble Performance (with or without Conductor): | “Colors of Love (Works of Thomas, Stucky, Tavener, Rands, Etc.),” Chanticleer; Joseph Jennings, conductor |
| Classical Vocal: | Mahler: Des Knaben Wunderhorn, Thomas Quasthoff, baritone; Anne Sofie von Otter, mezzo soprano |
| Classical Contemporary Composition: | Boulez: Répons, Pierre Boulez, composer |
| Classical Crossover Album: | “Schickele: Hornsmoke (Piano Con. No. 2 in F Maj. “Ole”; Brass Calendar; Hornsmoke—A Horse Opera),” The Chestnut Brass Co.; Peter Schickele, piano and narrator |
| Music Video, Short Form: | “Freak on a Leash,”(Korn), Jonathan Dayton, Valerie Faris, Todd McFarlane, and Graham Morris, video directors |
| Music Video, Long Form: | Band of Gypsys—Live at Fillmore East (Jimi Hendrix), Bob Smeaton, video director |
42ND GRAMMY AWARDS
| Date | February 23, 2000 |
|---|---|
| Location | Staples Center, Los Angeles, California |
| Hosted by | Rosie O'Donnell |