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Album Of The Year GRAMMY Winners: '80s

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Album Of The Year GRAMMY Winners: '80s

Michael Jackson, Bonnie Raitt and U2 are among the artists who took home music's biggest album prize

GRAMMYs/May 15, 2017 - 01:36 pm

An incalculable number of albums have been released in music history, but only 58 have earned the coveted distinction of Album Of The Year GRAMMY winner so far. From Henry Mancini's The Music From Peter Gunn to Taylor Swift's 1989, some of these elite albums have arguably surprised, some were seemingly consensus choices and still others have fostered lasting debate. In part three of Album Of The Year GRAMMY Winners, explore the albums that won — and were runners-up for — music's biggest prize for the 1980s.

1980 ALBUM OF THE YEAR

Christopher Cross
Christopher Cross

Christopher Cross is the only artist in GRAMMY history to land "the big four" — Album Of The Year, Best New Artist, Record Of The Year, and Song Of The Year — in a single year. Cross took flight this year on the wings of his debut solo album and its lilting hit single "Sailing," which also won for Best Arrangement Accompanying Vocalist(s) for Cross and producer Michael Omartian. Cross penned nine pop gems, and Omartian lined up top-flight session men and notable backing contributions from Michael McDonald, Don Henley and Eric Johnson, among others. Within the next year, Cross would win a Best Original Song Oscar for "Arthur's Theme (The Best That You Can Do)" (co-written with Peter Allen, Burt Bacharach and Carole Bayer Sager) for the Dudley Moore comedy, but future efforts would not attain similar commercial success.

Other Nominees:
Glass Houses, Billy Joel
The Wall, Pink Floyd
Trilogy: Past, Present, Future, Frank Sinatra
Guilty, Barbra Streisand

1981 ALBUM OF THE YEAR

Double Fantasy
John Lennon & Yoko Ono

This year's Album Of The Year winner was a favorite driven by both an artistic and emotional resonance: John Lennon's "comeback" album, recorded with wife Yoko Ono, was his first since taking five years off to raise his son Sean. For fans, the fact that Double Fantasy was released less than a month before Lennon was murdered outside his New York City apartment building makes some of its more impressionable songs ("Beautiful Boy [Darling Boy]," "[Just Like] Starting Over," "I'm Losing You," "Watching The Wheels") that much more precious. Some critics took issue with the album's slickness — it was the '80s, after all — but it was hard to challenge songs radiating such buoyant happiness and peaceful self-content.

Other Nominees:
Mistaken Identity, Kim Carnes
Breakin' Away, Al Jarreau
The Dude, Quincy Jones
Gaucho, Steely Dan

1982 ALBUM OF THE YEAR

Toto IV 
Toto

It was a very good year for Toto, the group comprised of some of the busiest on-call musicians on the Los Angeles studio scene. In addition to Album Of The Year, Toto took home Record Of The Year for the catchy cut "Rosanna," named for (but not about) keyboardist Steve Porcaro's then-girlfriend, actress Rosanna Arquette. The group was named Producer Of The Year and Toto IV was also named Best Engineered Recording, Non-Classical. To top it off, keyboarist David Paich was honored with a GRAMMY for Best Vocal Arrangement For Two Or More Voices, and Paich, Jerry Hey and Jeff Porcaro were honored for Best Instrumental Arrangement Accompanying Vocal(s), in both cases for "Rosanna." Like groups such as Booker T. & The MG's before them, Toto proved the depth of talent in America's finest session musicians.

Other Nominees: 
The Nightfly, Donald Fagen
The Nylon Curtain, Billy Joel
Tug Of War, Paul McCartney
American Fool, John Cougar Mellencamp

1983 ALBUM OF THE YEAR

Thriller
Michael Jackson

Michael Jackson's Thriller, and its endless string of hits, dominated the charts with a 37-week run at No. 1. Nominated for 12 GRAMMYs, it won eight, including Record Of The Year ("Beat It") and Album Of The Year. For his work on the album, Quincy Jones joined Jackson as Producer Of The Year (Non-Classical). With exposure heightened by constant rotation on MTV, many of Thriller's songs were approached as visual pieces of pop art — there's no doubt they forever changed the way we see music. Guests such as Paul McCartney ("The Girl Is Mine") and Eddie Van Halen ("Beat It") got much of the attention, but the album also featured important musical contributions from the members of Toto and the likes of David Foster, Paul Jackson Jr. and Rod Temperton (writer of the frightening title track).

Other Nominees:
Let's Dance, David Bowie
An Innocent Man, Billy Joel
Synchronicity, the Police
Flashdance — Motion Picture Soundtrack, Various Artists

1984 ALBUM OF THE YEAR

Can't Slow Down
Lionel Richie

In 1984 the Reagan administration was firmly entrenched in the White House, MTV was soaring as a worldwide phenomenon and the Commodores had just two years earlier made top rank. Following a successful run as the group's lead singer, Lionel Richie began to branch out and write for other artists. His No. 1 hit duet with Diana Ross, "Endless Love," from the film of the same name, preceded his work as a solo artist. Can't Slow Down was Richie's second album, driven by the party anthem "All Night Long (All Night)" as well as "Hello" and "Penny Lover," among other standout tracks. It would go on to sell 10 million copies.

Other Nominees: 
She's So Unusual, Cyndi Lauper
Purple Rain — Motion Picture Soundtrack, Prince And The Revolution
Born In The U.S.A., Bruce Springsteen
Private Dancer, Tina Turner

1985 ALBUM OF THE YEAR 

No Jacket Required
Phil Collins

The charity single "We Are The World," written by Lionel Richie and Michael Jackson — and performed by a slew of pop stars of all stripes — brought home Record and Song Of The Year, but Phil Collins' No Jacket Required was anointed Album Of The Year. Filled with colorful hits such as "Sussudio," "Take Me Home" and "One More Night," No Jacket Required was stylistically miles away from Collins' experimental, prog-rock days in Genesis. But its combination of synthesized undertones and pop sensibilities would help charter the sound of a new era. Appropriately, Collins and the album's co-producer Hugh Padgham shared the award for Producer Of The Year (Non-Classical).

Other Nominees:
Brothers In Arms, Dire Straits
Whitney Houston, Whitney Houston
The Dream Of The Blue Turtles, Sting
We Are The World: USA For Africa, Various Artists

1986 ALBUM OF THE YEAR 

Graceland
Paul Simon

One of pop's most successful forays into world music, Graceland was an experiment stemming from Paul Simon's longtime fascination with South African culture. Coupled with a diverse collection of guests (including Ladysmith Black Mambazo, Los Lobos, Linda Ronstadt, and the Everly Brothers), it stood out from the pack. A majority of the songs also uniquely incorporate elements of the slinky South African mbaqanga style, and a few of the lyrics touch upon the subject of apartheid (part of the album was recorded in Johannesburg). But Graceland is less a message album than it is a shining example of the spiritual and rhythmic connection linking music around the globe. The title track would also garner a Record Of The Year GRAMMY for 1987.

Other Nominees:
So, Peter Gabriel
Control, Janet Jackson
The Broadway Album, Barbra Streisand
Back In The High Life, Steve Winwood

1987 ALBUM OF THE YEAR

The Joshua Tree
U2

No longer post-punk indie darlings by 1987, U2 had become full-fledged rock stars. The Joshua Tree, co-produced by Brian Eno and Daniel Lanois (who first came onboard with the band's previous release, The Unforgettable Fire), is a big reason why. Standout tracks such as "Where The Streets Have No Name," "I Still Haven't Found What I'm Looking For" and the haunting "With Or Without You" are pure and heartfelt, and found U2 coming into their own as a voice of their generation. By further embracing American influences like folk and blues they first touched upon with The Unforgettable Fire — and addressing political and religious themes with conviction — U2 created their most popular and critically acclaimed album to date.

Other Nominees:
Whitney, Whitney Houston
Bad, Michael Jackson
Trio, Dolly Parton, Emmylou Harris and Linda Ronstadt
Sign 'O' The Times, Prince

1988 ALBUM OF THE YEAR

Faith
George Michael

At the 31st Annual GRAMMYs, Bobby McFerrin's optimistic "Don't Worry, Be Happy" was crowned Song and Record Of The Year, and neo-folkie Tracy Chapman was named Best New Artist, but Faith had the substance to stand alone as Album Of The Year. George Michael's debut solo release after parting with the British duo Wham! is pure pop escapism, replete with a rich mix of beat-heavy dance club jewels ("Faith"), slow burns ("Father Figure"), jazzy torch songs ("Kissing A Fool"), and risqué romps ("I Want Your Sex"). Tightly produced by Michael (who wrote or co-wrote all the songs), the album is recognized as a pop classic and has earned RIAA diamond certification for sales in excess of 10 million copies.

Other Nominees:
Tracy Chapman, Tracy Chapman
Simple Pleasures, Bobby McFerrin
… Nothing Like The Sun, Sting
Roll With It, Steve Winwood

1989 ALBUM OF THE YEAR

Nick Of Time
Bonnie Raitt

Eighteen long years after her self-titled debut, Bonnie Raitt became a mainstream success with Nick Of Time. In addition to Album Of The Year, the Don Was-produced disc brought Raitt two other GRAMMYs; to cap off the night, she was also awarded a Best Traditional Blues Recording GRAMMY for "I'm In The Mood" for her pairing with bluesman John Lee Hooker on his album The Healer. On Nick Of Time, Raitt — known for her keen ability to swing from traditional blues to rock and back — created her most consistent collection of songs evidenced by John Hiatt's "Thing Called Love," "Have A Heart" and the GRAMMY-winning self-penned title track. Nick Of Time's wins remain a defining illustration of how GRAMMY night can become a star-making evening.

Other Nominees: 
The Raw And The Cooked, Fine Young Cannibals
The End Of The Innocence, Don Henley
Full Moon Fever, Tom Petty
Traveling Wilburys, Vol. 1, Traveling Wilburys

Who Is Rhiannon Giddens? 3 Things To Know About The Banjoist & Violist On Beyoncé’s "Texas Hold ‘Em"
Rhiannon Giddens

Photo: Ebru Yildiz

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Who Is Rhiannon Giddens? 3 Things To Know About The Banjoist & Violist On Beyoncé’s "Texas Hold ‘Em"

Rhiannon Giddens has been esteemed in various folk circles for years — and her appearance on Beyoncé’s "TEXAS HOLD ‘EM" just broke her into the mainstream. Here are three things to know about the eclectic singer, songwriter and multi-instrumentalist.

GRAMMYs/Feb 13, 2024 - 06:40 pm

After the club-storming Renaissance, its Act II begins with an unexpected sound: a burble of banjo, later joined by flowing viola. Welcome to "TEXAS HOLD ‘EM," one of two advance singles from Beyoncé’s forthcoming album, along with "16 CARRIAGES."

Beyoncé’s recently announced Act II promises to be an immersion into country music — which is both a fresh aesthetic and one deeply rooted to her Texan upbringing. The 32-time GRAMMY Winner has spoken about the "overlooked history of the American Black cowboy" and nodded to the culture with a Western getup at the 2024 GRAMMYs.

All of this is a completely natural fit for Rhiannon Giddens, who played said fiddle and viola on "TEXAS HOLD ‘EM."

"The beginning is a solo riff on my minstrel banjo — and my only hope is that it might lead a few more intrepid folks into the exciting history of the banjo," Giddens explained on Instagram. "I used to say many times as soon as Beyoncé puts the banjo on a track my job is done.

"Well, I didn’t expect the banjo to be mine," she continued. "And I know darn well my job isn’t done, but today is a pretty good day."

The "job" defines Giddens. Sure, she may be completely new to certain contingents of the Beyhive, but the two-time GRAMMY winner and 10-time nominee’s been on the scene for almost two decades.

Since making her mark with the Carolina Chocolate Drops in the mid-aughts, Giddens has forged a singular legacy. She’s not only a purveyor of traditional musics, but as an investigator of the racial and cultural cross-currents that forged our modern-day understanding — and misunderstanding — of Americana.

At the 2024 GRAMMYs, Giddons was nominated for two golden gramophones — for Best Americana Album (You’re the One) and Best American Roots Performance ("You Louisiana Man"). You’re the One was her first album of all-original material; in that regard, these noms show that a new, exciting chapter for Giddens is just beginning.

Here are five things to know about the artist who just played "TEXAS HOLD ‘EM" with Queen Bee.

Her Interrogation Of Black Music History Is Indispensable

Giddens has worked in a diverse array of fields, including opera, documentary, ballet, podcasting, and more. Her mission? To explore "difficult and unknown chapters of American history" through musical lenses, like the evolution of the banjo from Africa to Appalachia.

"In order to understand the history of the banjo, and the history of bluegrass music, we need to move beyond the narrative we've inherited," she’s stated. Elsewhere, she noted, "People seem ready for a more in-depth idea of folk music, culture and history.

Which extends beyond merely other people’s stories — but to her own.

…And It Led Directly To You’re The One

Speaking to GRAMMY.com about her GRAMMY-nominated first album of original material, Giddens was quick to note that "autobiography" doesn’t hit the mark.

"It doesn't express how I feel… they're still songs, and it's still a performance," Giddens said. "I'd say I'm drawing a little bit more from my experience, but I had to draw from my experience to write other people's stories.

"There's emotions that I feel that I then translate into these other stories," she added, "so I don't think this record is completely different from that."

She’s Made Killer Appearances With Paul Simon

Paul Simon’s ended his touring years, but he does make sporadic appearances, including at 2022’s "Homeward Bound: A GRAMMY Salute to the Songs of Paul Simon."

There, they performed a version of his epochal "American Tune," where he changed the words in nuanced ways as relates to the American origin story — and he enlisted Giddens to sing it with him.

"He didn't have to do nothing but sit back and collect his checks," Giddens told GRAMMY.com. "He made a statement with that song, and I don't want to take that away from him. I didn't change those words; he changed those words."

Where will Giddens go from her star turn with Bey? Wherever it might be, we’ll feel — and learn — something profound, one banjo strum at a time.

On You’re The One, Rhiannon Giddens’ Craft Finds A Natural Outgrowth: Songwriting

2024 GRAMMYs: Taylor Swift Makes GRAMMY History With Fourth Album Of The Year Win For 'Midnights'
Taylor Swift accepts Album Of The Year at the 2024 GRAMMYs.

Photo: Kevin Winter/Getty Images for The Recording Academy

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2024 GRAMMYs: Taylor Swift Makes GRAMMY History With Fourth Album Of The Year Win For 'Midnights'

'Midnights' earned Taylor Swift her fourth Album Of The Year win at the 2024 GRAMMYs — the most of any artist of all time.

GRAMMYs/Feb 5, 2024 - 04:42 am

Taylor Swift has made GRAMMY history once again.

The pop superstar won the GRAMMY for Album Of The Year for Midnights at the 2024 GRAMMYs, marking her fourth win in the Category — the most Album Of The Year wins of any artist at the GRAMMYs. (She had been tied with Frank Sinatra, Stevie Wonder, and Paul Simon.) 

Swift was shocked as she accepted the award, bringing up her producer Jack Antonoff — who had already won the GRAMMY for Producer of the Year — and collaborator Lana Del Rey, who was also nominated for Album Of The Year for Did You Know There’s A Tunnel Under Ocean Blvd. She acknowledged both in her acceptance speech, calling Antonoff "a once in a generation producer" and Del Rey "a legacy artist, a legend in her prime right now." 

She continued, "I would love to tell you that this is the best moment of my life, but I feel this happy when I finish a song, or when I crack to code to a bridge I love, or when I'm shortlisting a music video, or when I'm rehearsing with my dancers or my band, or getting ready to go to Tokyo to play a show. For me the award is the work. All I wanna do is keep being able to do this. I love it so much, it makes me so happy." 

The 66th GRAMMY Awards were already a big night for Swift before her Album Of The Year victory. Midnights won Best Pop Vocal Album earlier in the telecast, marking her 13th win; as Swifties know, 13 is Swift's lucky number because of her Dec. 13 birthday.

And at the 2024 GRAMMYs, it was her lucky number indeed: along with making history, Swift used her first win to announce a brand-new album. Swift will release her 11th studio album, The Tortured Poets Department, on April 19.

2024 GRAMMY Nominations: See The Full Nominees List

U2 Performs "Atomic City" & Transports The 2024 GRAMMYs To Las Vegas
The Sphere in Las Vegas

Photo: Tayfun Coskun/Anadolu Agency via Getty Images

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U2 Performs "Atomic City" & Transports The 2024 GRAMMYs To Las Vegas

Bono and co.’s long-distance return to the 2024 GRAMMYs marks the Sphere, a state-of-the-art Sin City structure. The 22-time GRAMMY winners performed a jaunty take on "Atomic City" among incredible visuals.

GRAMMYs/Feb 5, 2024 - 02:51 am

U2 transported Music's Biggest Night from the Crytpo.com Arena in Los Angeles to Las Vegas on Sunday night, performing their song "Atomic City" live from the Sphere. 

"Guitar, she pulls the strings et cetera/ Sinatra swings, a choir sings/ Love is God and God is love/ And if your dreams don’t scare you, they’re not big enough," Bono wailed as the cameras took in the majesty and awe of the futuristic venue just off the Vegas Strip.

Following the performance, the live segment also featured a special presentation of Best Pop Vocal Album Award to Taylor Swift for 2022’s Midnights — with the superstar using her acceptance speech to announce the April 19 release date for her 11th studio album, The Tortured Poets Department.

Bono and co.’s long-distance return to the GRAMMYs (where they last performed at the 2018 GRAMMYs) marks the first live broadcast from the state-of-the-art Sin City structure, which the 22-time GRAMMY winners are currently breaking in as a performance venue with their residency U2:UV Achtung Baby Live at Sphere.

Launched in September, U2’s inaugural run of 40 shows at the Sphere will wrap on March 2. After the Dublin rockers’ final concert highlighting their 1991 GRAMMY-winning album Achtung Baby, Dead & Company will take over the venue for their own residency with an assist from John Mayer.

2024 GRAMMYs: See The Full Nominees And Winners List

Em Cooper's GRAMMY-Nominated Beatles Video Is A "Protest" Against Time
Em Cooper

Photo: John Ford

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Em Cooper's GRAMMY-Nominated Beatles Video Is A "Protest" Against Time

British animator and film director Em Cooper's immersive video for the Beatles' 'Revolver' track "I'm Only Sleeping" is the product of some 1,300 hand-painted frames. Here's how the 2024 GRAMMY nominee for Best Music Video came to be.

GRAMMYs/Feb 1, 2024 - 03:32 pm

The Beatles' discography can be heard as a long conversation between four brothers, and the songs on 1966's Revolver certainly talk to each other.

On "Love You To," George Harrison muses, "Each day just goes so fast/ I turn around, it's passed." On "Got to Get You Into My Life," Paul McCartney tunes in and drops out: "I was alone, I took a ride/ I didn't know what I would find there." And in every line of the somnambulant, gently roiling "I'm Only Sleeping," John Lennon declares war on awakeness itself.

Clearly, a shared energy flowed from each of their pens: an askance look at linear time, and how it pertains to modern society. And while painstakingly painting more than a thousand frames for "I'm Only Sleeping," oil painter and animator Em Cooper picked up exactly what Lennon was transmitting.

"I really love the fact that this is some major call towards rest and sleep and dreaming and allowing your mind to wander," the effervescent Cooper tells GRAMMY.com over Zoom. Productivity, efficiency, investment, return: as Lennon seemed to sing, they're for the birds.

As the lore goes, McCartney in 1966 was a man about town, soaking up Stockhausen and Albert Ayler and the avant-garde, while a suburbia-bound Lennon opted to drop acid and, well, lay in bed.

This is reflected in their contributions to Revolver, which got a 2022 remix and expansion: McCartney's tunes, like "Here, There and Everywhere" are borderline classical, while Lennon sometimes couldn't be bothered to add a third chord. But Lennon being Lennon, he made inertia into a transcendent force.

"It feels as though it's a bit of a protest against the calculus view of time and the idea that our time is for sale, we can just slice up our hours and sell it off by the chunk," Cooper says. "I feel like in John's desire for just letting himself sleep and rest, he's saying to the world, 'Let's allow ourselves our own time, our own lives.'"

But the experience of making the "I'm Only Sleeping" clip — which involved painstakingly painting each frame by hand — was anything but tranquil: at times, Cooper even found it painful. This labor of love paid off, though: it's nominated for Best Music Video at the 2024 GRAMMYs.

Cooper details the development of  "I'm Only Sleeping" video, her methodology for mapping the visuals to the music, and, after numberless listens, whether she's sick of this Revolver favorite.

This interview has been edited for clarity.

The Beatles' story is filled with unforgettable sights, and with the "I'm Only Sleeping" video, you added to their visual language. Was that a daunting responsibility?

Absolutely. It really was. And, I think maybe if I had really stopped to think about it too much, it would've really tightened me up. In a way, weirdly, I was quite lucky it was on a tight schedule. That took precedence. I was just in the flow, trying to just focus on each task ahead of me and get it done.

Sophie Hilton, who's the Creative Studio Director at Universal Music, commissioned the film with Jonathan Clyde from Apple Corps. They were very good at guiding the project in a very natural way, so that it made a very natural fit into where they needed it to fit, as it were, in that big, big legacy. So, the fact that I'm an oil paint animator and I work with archive footage — it's got that timeless quality a little bit to it anyway, as does the song.

I worked with the Beatles' archivist, Adrian Winter, who helped me find footage; managing to place it within the history of the Beatles was really important. I didn't get too worried until finally when it came out. 

And then, literally, that was the first moment it really hit me about the legacy — of what I suddenly realized I'd just done.

Em Cooper

*Photo courtesy of Em Cooper.*

Like the experience of sleep itself, "I'm Only Sleeping" is flowing, undulating. It looks like you picked up on that, with this impressionistic continuum of visuals.

Yeah, absolutely. I was inspired by the song itself, because the song has just that continuous rocking motion to the melody. It was as though it was a synesthetic reaction to the song. It felt almost like it just drew itself out in my mind — the movement all kind of choreographed itself around those moments where it's like [sings lyric in dramatic swoop]  "Yawning," and then it felt like it goes over the top.

But, I don't know whether everybody else hears that when they hear that lyric, but that's certainly what I heard, and I could just produce that movement to match. All I really felt I had to do was just stay incredibly true to the song and the movement that was already there, and it just flowed.

How did you do this under such a tight schedule? One thousand, three hundred oil paintings?!

Yeah, I'm not going to lie. It was painful. It was a very tight schedule to produce an entirely hand-painted oil paint animation in. I literally painted every frame on a cel; sometimes, I painted and wiped and repainted.

It's hard work, but I just love oil painting. Now that I've had enough projects that it flows out of me, I find I'm reasonably quick. Some parts were easier than others; doing the faces was particularly difficult. Trying to get John Lennon's likeness over and over again was a real challenge, but other parts of it were much easier.

Obviously, lots of people these days are working digitally to do drawings and things, but I just work in actual oil painting. I find that I'm definitely not quicker at doing something digitally than I am just manually.

I suppose I want to promote the real artforms, because actually there isn't anything that much quicker or different about dipping a brush in some red paint and doing a stroke than doing a digital stroke. If you just gain confidence, it's fine.

How did you collaborate with Apple Corps on this, whether they offered artistic direction or just moral support?

Jonathan Clyde really helped direct all of that. I put all my ideas together into a document, and there was lots of consultations with them and honing those ideas and making sure that they fit with everybody's vision and what everybody was thinking.

And then, carrying on honing and honing, so that by the time I got to actually going, Yeah. We're going for it. We're going to start making this, it was all very clear.

I did a pencil-drawn animatic, which was about, I think two frames a second, which is quite a lot for an animatic, so as to really show the flow of imagery, so that there were no questions. I think there were a couple of changes after that, but very, very few.

So, it was quite clear, and everybody agreed on all the imagery and everything. But, I came up with most of it andwould maybe put some suggestions.

And, we came up collectively with this idea of  the backwards guitar sequence going backwards through Beatles' history from that moment, from 1966 backwards as it were, so as to the feeling from Revolver back to the beginning of the Beatles.

And, I was trying to meld that all together with the magnetic tape in the magnetic tape recorders going in and out of that. It was group calls, so I would take one and spark off and think, Oh, yeah. I remember Adrian Winter, the archivist, mentioning how John Lennon often had a notebook with him because he was always just thinking of ideas; he suggested that. And so, I put the notebook next to his pillow and things like that.

Em Cooper

*Photo courtesy of Em Cooper.*

When Giles Martin's remix of Revolver came out, it was striking how modern it sounded. How did this project enhance your appreciation for this song, album and band?

I watched it again just before jumping on this call with you, and I love the song. I was listening to little individual parts of it over and over again, whilst I was working on it, getting really into the detail of tiny bits of each line. And, it holds up, it's so good. I do not get bored of it. I love it.

I just could carry on listening to it over and over, which really, to be honest, says a lot, because when you work very hard on something, you do tend to find yourself a little bit bored by it by the end. But, absolutely not the case with this.

And, actually, after it was all finished, we went to Abbey Road together as a treat to listen to the [remixed and] remastered version of Revolver that was being re-released, and wow! To listen in Abbey Road Studios with the surround sound, it was just mind-blowing.

I already had an incredible respect for the Beatles, and that has only grown.

2024 GRAMMY Nominations: See The Full Nominees List