Alicia Silverstone as Cher Horowitz in 'Clueless' (1995)

Alicia Silverstone as Cher Horowitz in 'Clueless' (1995)

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How 1995 Became A Blockbuster Year For Movie Soundtracks

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From 'Clueless' to 'Dangerous Minds,' soundtracks were big business in 1995, but the year's hits offered no clear formula for success
Jack Tregoning
GRAMMYs
Aug 9, 2020 - 4:00 am

Mariah Carey, Alanis Morissette, 2Pac and The Smashing Pumpkins all had No. 1 albums in 1995. Despite such hallowed competition, four movie soundtracks also topped the Billboard 200 chart that year. Two were family-friendly Disney behemoths: Pocahontas and The Lion King, the latter still powering from the previous year. The other chart-topping soundtracks, for the Michelle Pfeiffer vehicle Dangerous Minds and the stoner comedy Friday, were no one's idea of kids' entertainment. 

Beyond those No. 1 spots, 1995 marked a fascinating midpoint in a soundtrack-heavy decade. According to a New York Times report, a new release CD that year typically cost anywhere between $13-$19. At that price, a soundtrack needed major star power or an undeniable concept. 

For movie studios and musicians alike, the format was rich with opportunity. However, there was no certain formula for success. Some soundtracks were guided by a single producer, while others drew on a grab bag of then-current songs. Several featured one clear hit that eclipsed the soundtrack, or occasionally the movie itself. For all their differing approaches, the soundtracks of 1995 epitomized the energy and audacity of the decade, while also establishing tropes for the next 25 years. 

The Bodyguard: Original Soundtrack Album (1992) set the bar high for the decade. With a 20-week reign at No. 1, it remains the biggest-selling soundtrack of all time. Whitney Houston performed six songs on the album, including the titanic power ballad, "I Will Always Love You." (At the 1994 GRAMMYs, the track won the GRAMMY for Record Of The Year and Best Pop Vocal Performance, Female, while the soundtrack itself earned the Album Of The Year award.)

While The Bodyguard magnified their commercial potential, movie soundtracks like Quentin Tarantino's Reservoir Dogs (1992) and Pulp Fiction (1994) framed the medium as an artistic showpiece. Throughout the '90s, Tarantino and fellow indie auteurs Paul Thomas Anderson, Richard Linklater and Spike Lee made music a key character in their films. (The latter continues the trend on his latest movie, Da 5 Bloods, alongside six-time GRAMMY-winning composer and trumpeter Terence Blanchard.) Both instincts, for commercial returns and artistic validation, were well-represented in 1995. 

Read: 'The Bodyguard' Soundtrack: 25 Years After Whitney Houston's Masterpiece

Batman Forever (1995) epitomized the big-budget, mass-appeal mid-'90s soundtrack. Spanning PJ Harvey to Method Man, the 14-track set employed some tried-and-true tactics. First, only five songs on the track list appear in the movie itself, ushering in a rash of "Music From And Inspired By" soundtracks. Second, its featured artists largely contributed songs you couldn't find on other albums: According to Entertainment Weekly in 1995, U2 landed a reported $500,000 advance for "Hold Me, Thrill Me, Kiss Me, Kill Me," an offcut from the band's Zooropa album sessions. 

Most significantly, Batman Forever backed a surprise smash in Seal's "Kiss From A Rose." Originally released as a single in 1994, the ballad blew up as the movie's "love theme." In its music video, Seal croons in the light of the Bat-Signal, intercut with not-very-romantic scenes from the film. Outshining U2, "Kiss From A Rose" reached No. 1 in 1995; one year later, the song won for Song Of The Year, Record Of The Year and Best Male Pop Vocal Performance at the 38th GRAMMY Awards.

Both Bad Boys and Dangerous Minds had their "Kiss From A Rose" equivalent in 1995. Diana King's reggae-fusion jam "Shy Guy" proved the breakout star of Bad Boys, transcending an R&B- and hip-hop-heavy soundtrack. Meanwhile, Coolio's "Gangsta's Paradise," featuring singer L.V., the key track on Dangerous Minds, became the top-selling single of 1995; it won the rapper his first, and only, GRAMMY for Best Rap Solo Performance the next year. 

Other soundtracks from 1995 endure as perfect documents of their time and place. Clueless compiled a cast from '90s rock radio to accompany the adventures of Alicia Silverstone's Cher Horowitz and her high school clique: Counting Crows, Smoking Popes, Cracker and The Muffs. Coolio, the everywhere man of 1995, contributed "Rollin' With My Homies." 

From the same city, but a world outside Cher's Beverly Hills bubble, came the Ice Cube- and Chris Tucker-starring Friday. Its soundtrack took a whistle-stop tour of West Coast hip-hop and G-funk via Ice Cube, Dr. Dre, Tha Alkaholiks and Mack 10. True to the era, the music video for Dr. Dre's "Keep Their Heads Ringin'" is half stoner comedy, half cheesy action movie. 

Waiting To Exhale, the 1995 drama directed by Forest Whitaker, boasted a soundtrack with a clear author. Babyface, the R&B superproducer with 11 GRAMMY wins for his work with the likes of Boyz II Men and Toni Braxton, produced the set in full. Following Babyface's co-producer role on The Bodyguard soundtrack three years prior, Waiting To Exhale featured two new songs from the movie's star, Whitney Houston. 

Read: 'Score': Soundtracks take us on an emotional ride

Houston's "Exhale (Shoop Shoop)" and "Why Does It Hurt So Bad" led a track list that also featured Aretha Franklin, TLC, Chaka Khan, Mary J. Blige and then-newcomer Brandy. A powerful showcase of Black women across generations, the soundtrack has prevailed as a standalone work, going on to receive multiple nominations, including Album Of The Year, at the 1997 GRAMMYs. In a crowded year for soundtracks, which also included Dinosaur Jr. founder Lou Barlow's work on Larry Clark's contentious Kids, Waiting To Exhale demonstrated the power of a singular vision. 

For the most part, the soundtracks of 1995 tried a bit of everything. The previous year, The Crow: Original Motion Picture Soundtrack went all-in on covers, including Nine Inch Nails overhauling Joy Division's "Dead Souls." That trend continued into 1995, from Tori Amos covering R.E.M.'s "Losing My Religion" for Higher Learning to Evan Dando's update of Big Star's "The Ballad Of El Goodo" in Empire Records to Tom Jones gamely taking on Lenny Kravitz's "Are You Gonna Go My Way"' for The Jerky Boys movie. (Is there a more '90s sentence than that?) 

Elsewhere, the Mortal Kombat soundtrack blended metal and industrial rock (Fear Factory, Gravity) with dance music (Utah Saints, Orbital). For every Dead Presidents, which zeroed in on '70s funk and soul, there was a Tank Girl, which threw together Bush, Björk, Veruca Salt and Ice-T to match the movie's manic tone. 

Continuing from their '90s winning streak, grown-up soundtracks have proven surprisingly resilient. In an echo of Babyface's role on Waiting To Exhale, Kendrick Lamar oversaw production on 2018's chart-topping, multi-GRAMMY-nominated Black Panther: The Album, uniting an A-list cast under his creative direction. On the same front, Beyonce executive-produced and curated The Lion King: The Gift, the soundtrack album for the 2019 remake of the Disney classic, which spotlighted African and Afrobeats artists. In 2016, Taylor Swift and One Direction's Zayn recorded "I Don't Wanna Live Forever (Fifty Shades Darker)," pitching for the movie tie-in bump enjoyed in 1995 by Seal and Coolio. (The millennial stars stopped short of including scenes from the movie in their music video.) 

Like Batman Forever back in the day, the DC Universe continues to put stock in soundtracks. Both Suicide Squad (2016) and its follow-up, Birds Of Prey (2020), are packed tight with to-the-minute pop, R&B and hip-hop. Each soundtrack reads like a who's who of the musical zeitgeist. In 1995, Mazzy Star, Brandy and U2 grouped up behind Batman. In 2016, Twenty One Pilots, Skrillex and Rick Ross powered the Suicide Squad. In 2020, everyone from Doja Cat to Halsey to YouTube star Maisie Peters form Team Harley Quinn. 

As 1995 taught us time and time again, nothing traps a year in amber quite like a movie soundtrack. 

How 1995 Became The Year Dance Music Albums Came Of Age

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A girl looks at a photograph of Ewan McGregor who played Renton in the film 'Trainspotting' before the Private view for ?Look At Me - A Retrospective?

Photo of Ewan McGregor in Trainspotting

 

Photo: Chris Jackson/Getty Images

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How The 'Trainspotting' Soundtrack Turned A Dispatch From The Fringes Into A Cult Classic

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Twenty-five years after 'Trainspotting' first thrilled and scandalized moviegoers, the film's soundtrack remains an iconic collision of Britpop, rock and dance music
Jack Tregoning
GRAMMYs
Feb 28, 2021 - 3:43 pm

From its opening shot, Trainspotting is a movie in motion. As sneakers hit the sidewalk of Princes Street in Edinburgh, Scotland, we hear the raucous drumbeat of Iggy Pop's 1977 barnstormer "Lust For Life." Renton—played by Ewan McGregor—and Spud—by Ewen Bremner—sprint away from two security guards, their shoplifting spoils flying out of their pockets. 

"Choose life," Renton's narration begins, introducing an instantly classic monologue about the emptiness of middle-class aspirations. The action then zips to a soccer match that introduces Renton's ragtag mates: Spud, Sick Boy (Jonny Lee Miller), Begbie (Robert Carlyle) and Tommy (Kevin McKidd). The scene is all propulsion and attitude, with Iggy Pop dropping the match on the trail of fuel. In just 60 exhilarating seconds, Trainspotting tells us precisely what it's going to be.

Trainspotting burst into U.K. cinemas in February 1996, followed immediately by a debate on whether its fizzing depiction of junkie life glorified drug use. Audiences staggered out, scandalized and delighted in equal measure by "The Worst Toilet In Scotland," Spud's soiled sheets and a ceiling-crawling baby. By the time it opened in the US in May, the movie was already a critical and box office hit at home. Its credentials were undeniable, including a compelling young cast led by newcomer McGregor, a visually daring director in Danny Boyle and a script adapted from Irvine Welsh's cult book of the same name. 

In a year dominated by slick Hollywood blockbusters like Independence Day, Twister and Mission: Impossible, Trainspotting was the scrappy, no-kids-allowed outsider that could. One of the movie's most significant talking points, and a key reason for its enduring legacy, was its use of "needle drops" in lieu of a traditional composerly film score. The soundtrack reaches back to the '70s and '80s, while also showcasing of-the-moment Britpop and dance music. The music of Trainspotting endures because it's intrinsic to the movie, with each song meant to elevate a particular scene or moment. 

Read: How 1995 Became The Year Dance Music Albums Came Of Age

Welsh's 1993 novel frames Renton's misadventures as a heroin addict against the dismal backdrop of Leith, just north of Edinburgh's city center. Trainspotting was first adapted as a stage play, with Ewen Bremner (perfectly cast as Spud in the movie) playing Renton. Before long, the movie offers rolled in. "There was loads of interest," Welsh told Vice in 2016. "Everybody seemed to want to make a film of Trainspotting."

Most directors wanted to ground the adaptation in social realism, but Welsh knew Trainspotting needed a wilder take. In 1994, a promising young director called Danny Boyle had made his feature debut with the pitch-black comedy Shallow Grave, starring Ewan McGregor. Impressed by the movie's visual flair, Welsh gave Boyle the keys to Trainspotting. 

The making of the movie was a thrill for all involved. Fresh from writing Shallow Grave, screenwriter John Hodge relished the opportunity to adapt Welsh's book for the screen. (Hodge was nominated for Best Adapted Screenplay at the 1997 Academy Awards - the movie's only Oscar nod.) Before filming, Boyle sent his actors to spend time with Calton Athletic, a real-life recovery group for addicts. The shoot began in June 1995 and lasted 35 days (a step up from the 30 allocated for Shallow Grave), with Glasgow mostly standing in for Edinburgh. 

Alongside cinematographer Brian Tufano, Boyle brought a bold, kinetic style to every shot. "We'd set out to make as pleasurable a film as possible about subject matter that is almost unwatchable," Boyle told HiBrow in 2018. 

While Shallow Grave gave an early glimpse of Boyle's tastes, including his fondness for electronic duo Leftfield, the music in Trainspotting demanded a bigger role. Welsh's book is peppered with references to The Smiths, Iggy Pop, Lou Reed and David Bowie, so the call went out to a select list of musical icons. Bowie was a no, but others who'd loved the novel happily offered up their music to the project. 

Welsh and Boyle were both clued-in to acid house and rave culture (represented on the soundtrack by the likes of Underworld, Leftfield and John Digweed and Nick Muir's Bedrock project), but it was the director's idea to bring in the likes of Blur and Pulp. That decision was a "masterstroke", Welsh told Vice, because "Britpop was kind of the last strand of British youth culture, and it helped position the film as being the last movie of British youth culture."

Several of the best scenes in Trainspotting are soundtracked by songs made before 1990. Following "Lust For Life", the sleazy strut of Iggy Pop's 1977 track "Nightclubbing" lurks behind a sequence of Renton's relapse into heroin. (Both songs were co-written by David Bowie, giving him an honorary spot on the soundtrack.) New Order's 1981 song "Temptation" is a motif for Renton's taboo relationship with high schooler Diane (Kelly Macdonald in her first film role), while Heaven 17's 1983 pop hit "Temptation" plays at the club where they first meet. 

Lou Reed's "Perfect Day" lands the hardest punch. In a dazzling sequence, Renton visits his dealer Mother Superior (Peter Mullan) for a hit of heroin. As Renton's body sinks almost romantically into the floor, we hear Lou Reed softly singing about a perfect day drinking sangria in the park. The romance ends there. Knowing an overdose on sight, Mother Superior drags his sort-of friend to the street, then heaves him into a taxi, tucking the fare in his shirt pocket. (In a brilliant small detail, we see an ambulance rush past, headed for someone else.) 

"Perfect Day" keeps on at its languid pace as Renton is ejected at the hospital, hauled onto a stretcher and revived by a nurse with a needle to his arm. "You're going to reap just what you sow," Lou Reed sings as Renton gasps wildly for air. 

Boyle pushed for Britpop on the soundtrack, but he didn't want obvious hits. Britpop, a genre coined in the '90s to describe a new wave of British bands influenced by everything from the Beatles to the late '80s "Madchester" scene, was at its peak during the Trainspotting shoot in the summer of 1995. Pulp had just released the Britpop anthem "Common People," Elastica and Supergrass were flying high from their debut albums, and genre superstars Oasis and Blur were locked in a media-fueled battle for chart supremacy. 

In the heat of all that hype, Boyle reached back to 1991 and took "Sing" from Blur's debut album, Leisure. The song's stirring piano melody picks up after the "Nightclubbing" sequence, as Renton and his fellow addicts hit a harrowing rock bottom. Later, when Begbie busts in on Renton's new life in London, Pulp's "Mile End" underlines the mood of big city ennui. Along with contributions from Elastica and Blur frontman Damon Albarn, Trainspotting draws on just enough Britpop to keep its cool. 

If Trainspotting has a signature song, it's Underworld's "Born Slippy .NUXX". The duo of Rick Smith and Karl Hyde already had three albums behind them when Boyle reached out to use their 1995 B-side in his movie's climax. The duo was wary—as Smith later put it to Noisey, their music was often sought out to accompany "a scene of mayhem"—but Boyle convinced them with a snippet of the film. Underworld also contributed the propulsive "Dark & Long" to the indelible scene of Renton detoxing inside his childhood bedroom. After Trainspotting, "Born Slippy .NUXX" became the defining song of Underworld's career and a constant euphoric peak in their live sets. 

Just as Trainspotting caught the Britpop zeitgeist, it also immortalized a high point for dance music. A rush of trailblazing dance albums came out in 1995, including Leftfield's Leftism, The Chemical Brothers' Exit Planet Dust and Goldie's Timeless. In a time of rave culture colliding with chart hits, the movie finds room for both the dark electronics of Leftfield's "A Final Hit" and the goofy Eurodance of Ice MC's "Think About The Way". 

In one scene, Renton sits grinning between the speakers at a London nightclub that's going off to Bedrock and KYO's 1993 classic "For What You Dream Of." "Diane was right," he narrates, recalling a conversation from before he left Edinburgh. "The world is changing, music is changing, drugs are changing, even men and women are changing." For the briefest moment, we see the thrill of '90s dance music as it really was. 

The Trainspotting soundtrack album hit shelves in July of 1996. The cover played on the movie's iconic poster design, framing the characters in vivid orange. The soundtrack sold so well that a second volume followed in 1997, featuring other songs from the movie and a few that missed the cut. (The same year, the hugely popular Romeo + Juliet soundtrack also inspired a "Vol. 2.") 

Boyle continued to use music as a key character in his movies, following up Trainspotting with the madcap Americana of A Life Less Ordinary and the pop-meets-electronica of The Beach. After 20 years, Boyle got the gang back together for 2017's T2 Trainspotting. In contrast to the original's wall-to-wall needle drops, the sequel weaved a score by Underworld's Rick Smith around songs by High Contrast, Wolf Alice and Young Fathers. 

Many impressive, star-studded soundtracks followed in the wake of Trainspotting. What makes this one rare, though, is how deeply its unholy union of rock, Britpop and dance music belongs to the movie. Remove any needle drop from a scene in Trainspotting, however fleeting, and it'd lose something vital—that's how you know it's built to last.

How 1995 Became A Blockbuster Year For Movie Soundtracks

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Whitney Houston

Whitney Houston

Photo: Georges De Keerle/Getty Images

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For The Record: Revisiting The Historic 'Waiting To Exhale' Soundtrack

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At the 1997 GRAMMYs, the soundtrack received 11 GRAMMY nominations—including Album Of The Year—and won Best R&B Song for the Whitney Houston-sung lead single, "Exhale (Shoop Shoop)"
Ana Monroy Yglesias
GRAMMYs
Nov 11, 2020 - 6:42 pm

For the latest episode of For The Record (watch below), GRAMMY.com explores the first all-female soundtrack for the 1995 Black-female-led film Waiting to Exhale. The Babyface-produced album featured original music from one of the movie's stars, Whitney Houston, along with fellow R&B/pop greats Aretha Franklin, Brandy, Toni Braxton, TLC and more.

For The Record: 'Waiting to Exhale' Soundtrack

Related: How 1995 Became A Blockbuster Year For Movie Soundtracks

At the 1997 GRAMMYs, the soundtrack received 11 GRAMMY nominations—including Album Of The Year—and won Best R&B Song for the Houston-sung lead single, "Exhale (Shoop Shoop)."

Houston and superproducer Babyface made the intentional decision to create the first all-female soundtrack to match the all-female lead cast. Now that's star power!

GRAMMY Rewind: Watch Whitney Houston Sing "Greatest Love of All" At The 1987 GRAMMYs

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Mary J. Blige to Katy Perry: 57th GRAMMY nominee facts

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Dig deeper with 57 fun facts about this year's class of GRAMMY nominees, including Iggy Azalea, Beyoncé, Lady Gaga, Sam Smith, Taylor Swift, Pharrell Williams, and more
Tim McPhate
GRAMMYs
May 15, 2017 - 2:36 am

By now you've seen the full list of 57th GRAMMY nominees. But with 83 categories, it's a lot of information to absorb. We've dissected the list to bring you factoids about this year's nominees that are sure to make you the star attraction at your group GRAMMY viewing party. So dig in with our list of 57 Fun Facts About The 57th GRAMMY Nominees and mark your calendar for Music's Biggest Night on Sunday, Feb. 8 from 8–11:30 p.m. ET/PT on CBS. 

Sam Smith is nominated for each of the "Big Four" awards — Album, Record and Song Of The Year and Best New Artist. At 22, he's the second youngest artist ever to achieve that feat. Mariah Carey was just 20 when she was nominated for all four awards 24 years ago.

Female artists account for four of the five Record Of The Year nominees. It's the first time in 16 years — and only the fourth time in GRAMMY history — that women have dominated the category to that degree.

"Fancy" by Iggy Azalea featuring Charli XCX is just the second all-female collaboration to receive a Record Of The Year nomination. The first was "The Boy Is Mine," the 1998 smash by Brandy and Monica.

"Shake It Off" is Taylor Swift's third single to receive a Record Of The Year nomination. The sassy smash follows "You Belong with Me" (2009) and "We Are Never Ever Getting Back Together" (2012).

Sia's "Chandelier" is the year's only work to be nominated for both Record Of The Year and Best Music Video.

Pharrell Williams is competing with himself for Album Of The Year. He's nominated for his own album, Girl, and as a co-producer for both Beyoncé's Beyoncé and Ed Sheeran's X.

Beck is nominated for Album Of The Year for Morning Phase. He's the first artist to be nominated in this category in each decade from the 1990s through the 2010s. He was previously nominated for Odelay (1996) and Midnite Vultures (2000).

Beyoncé is nominated for Album Of The Year for the second time, for Beyoncé. She was nominated five years ago for I Am… Sasha Fierce. Beyoncé has amassed 53 GRAMMY nominations, more than any other female artist.

Ed Sheeran's sophomore album, X, has the shortest title of any Album Of The Year finalist in GRAMMY history. The old record was held jointly by James Taylor's JT, Peter Gabriel's So and Adele's 21.

Another album titled X, by Chris Brown, is nominated for Best Urban Contemporary Album. Brown won the 2011 award for Best R&B Album for F.A.M.E.

Hozier, a Song Of The Year finalist for "Take Me To Church," was born in Bray County, Wicklow, Ireland. Other Irish songwriters that have been nominated for this top GRAMMY include Gilbert O'Sullivan and U2.

Meghan Trainor's "All About That Bass," which is nominated both for Record and Song Of The Year, is not the first GRAMMY-nominated song to celebrate a woman's "bass." Sir Mix-A-Lot's "Baby Got Back" won for Best Rap Solo Performance for 1992.

Brandy Clark, who is nominated for Best New Artist and Best Country Album, received her first GRAMMY nomination a year ago for Best Country Song. She was a co-writer (with Shane McAnally & Kacey Musgraves) of Miranda Lambert's hit "Mama's Broken Heart."

Haim, comprising sisters Este, Danielle and Alana Haim, are the first sister trio to receive a Best New Artist nomination.

Two all-female collaborations — "Fancy" by Iggy Azalea featuring Charli XCX and "Bang Bang" by Jessie J, Ariana Grande and Nicki Minaj — are competing for Best Pop Duo/Group Performance. Either would become the first all-female collabo to win in the Pop Field since "Lady Marmalade," the 2001 smash by Christina Aguilera, Lil' Kim, Mya, and Pink.

Tony Bennett is vying for his 12th award in the Best Traditional Pop Vocal Album category. He's nominated for Cheek To Cheek, a collaboration with Lady Gaga. Bennett is by far the most frequent winner in the category. Michael Bublé is second with four wins.

With Cheek To Cheek, Lady Gaga is vying to take best album honors in a third genre. She previously won for Best Electronic/Dance Album for The Fame (2009) and Best Pop Vocal Album for The Fame Monster (2010).

Johnny Mathis, nominated for Best Traditional Pop Vocal Album for Sending You A Little Christmas, received his first GRAMMY nomination in 1960, the third year of the awards. His classic rendition of "Misty" was nominated for Best Vocal Performance, Male — Single Or Track.

Miley Cyrus received her first GRAMMY nomination for Bangerz, which is a finalist for Best Pop Vocal Album. Her dad, Billy Ray Cyrus, received a 1992 nomination for Best New Artist.

Coldplay, who are nominated for Best Pop Vocal Album for Ghost Stories, have previously won for Best Alternative Music Album (twice) and Best Rock Album (once).

Katy Perry is nominated for Best Pop Vocal Album and Best Pop Duo/Group Performance. This brings Perry's career total of nominations to 13. She is looking for her first win.

Deadmau5 is nominated for Best Dance/Electronic Music Album for the third time in the past four years. The Canadian musician is nominated for his seventh studio album, While (1

Mary J. Blige is nominated for Best Dance Recording as the featured artist on Disclosure's "F For You." The versatile singer has won nine GRAMMYs in four distinct genres: R&B, rap, pop, and gospel.

Slipknot, nominees for Best Metal Performance for "The Negative One," won the 2005 award in this category with "Before I Forget."

Two tracks from a tribute album to the late Ronnie James Dio are nominated for Best Metal Performance. They are Anthrax's "Neon Knights" and Tenacious D's "The Last In Line." Dio died in 2010.

The Black Keys, nominated for Best Rock Album for Turn Blue, won in that category two years ago with El Camino. Their album before that, Brothers, won the 2010 award for Best Alternative Music Album.

U2's 13th studio album, Songs Of Innocence, is nominated for Best Rock Album. All five of the band's studio albums since 1994, when this category was introduced, have been nominated for this award. U2 have amassed 46 GRAMMY nominations, more than any other group.

Jack White, nominated for Best Alternative Music Album for his second solo album, Lazaretto, won three times in this category with the White Stripes. If he wins again this year, he'll become the first four-time winner in the category's history.

St. Vincent is vying to become just the second female solo artist to win for Best Alternative Music Album. Sinéad O'Connor won the first-ever award in the category for her 1990 album I Do Not Want What I Haven't Got.

Malcolm-Jamal Warner, who rose to fame on "The Cosby Show," is nominated for Best Traditional R&B Performance as a featured artist on Robert Glasper Experiment's "Jesus Children." (The track also features Lalah Hathaway.)

Love, Marriage & Divorce by Toni Braxton and Babyface is nominated for Best R&B Album. It's vying to become the second collaboration to win in that category. Wake Up! by John Legend and the Roots took the 2010 award.

Robert Glasper Experiment are vying for Best R&B Album for Black Radio 2. Their initial Black Radio won the 2012 award in this category.

Two tracks from Lecrae's seventh studio album, Anomaly, were nominated in very different categories. "All I Need Is You" is a finalist for Best Rap Performance. "Messengers," featuring For King & Country, is nominated for Best Contemporary Christian Music Performance/Song.

With The Marshall Mathers LP 2, Eminem is vying to win Best Rap Album for the sixth time. Eminem's five previous wins make him the category leader. Kanye West is second with four wins.

Schoolboy Q was featured on Macklemore & Ryan Lewis' The Heist, which was last year's winner for Best Rap Album. This year, the Los Angeles rapper is nominated in that category with his own album, Oxymoron.

Childish Gambino, nominated for Best Rap Album for Because The Internet, is the musical persona of actor Donald Glover, best known for his role on the TV series "Community."

Neil Patrick Harris received his first-ever GRAMMY nomination this year. The actor and frequent awards show host is nominated for Best Musical Theater Album for Hedwig And The Angry Inch.

Keith Urban, nominated for Best Country Solo Performance for "Cop Car," amassed four GRAMMYs for Best Male Country Vocal Performance in a six-year span (2005 through 2010).

"Meanwhile Back At Mama's" by Tim McGraw featuring Faith Hill is nominated for Best Country Duo/Group Performance. It's their sixth nomination for vocal performance as a team.

The Band Perry are vying to become the third artist to win a GRAMMY for a recording of "Gentle On My Mind." John Hartford (the song's composer) and Glen Campbell both won 1967 GRAMMYs for recordings of the song.

Paul Epworth is vying for his second award in the category of Producer Of The Year, Non-Classical. He won three years ago, chiefly for his work on Adele's 21. This year, his projects included Paul McCartney, Foster The People and FKA Twigs.

Swedish hit-maker Max Martin is nominated for Producer Of The Year, Non-Classical for the first time. In addition, he's nominated for both Record and Song Of The Year for his work on Taylor Swift's "Shake It Off."

Current nominees Beck and Jack White are among the artists who will perform at the 2015 MusiCares Person of the Year tribute gala honoring Bob Dylan on Feb. 6.

Aloe Blacc received his first career nomination for Best R&B Album for Lift Your Spirit. Blacc is among the artists who will perform at Lean On Me: A Celebration Of Music And Philanthropy, the 17th Annual GRAMMY Foundation Legacy Concert taking place Feb 5.

Taylor Swift is the lone nominee who is the subject of a current exhibit at the GRAMMY Museum. Featuring personal photographs, handwritten lyrics, tour costumes, and more, The Taylor Swift Experience is on display through May 10.

Iggy Azalea is nominated for Best Rap Album for The New Classic. Should she win, Azalea would become the first female solo artist to take home the award.

Tom Petty's nod for Best Rock Album for Hypnotic Eye with the Heartbreakers is his 18th career nomination. Petty won his first GRAMMY for Best Rock Performance By A Duo Or Group With Vocal for 1989 for Traveling Wilburys Volume One. The Traveling Wilburys featured Petty and, among others, George Harrison, who is one of this year's Special Merit Awards recipients.

Paramore's Hayley Williams and Taylor York are up for Best Rock Song for the group's "Ain't It Fun." This marks the second time the two musicians have received a nomination in a songwriting category. They were previously nominated for "Decode," which was a 2009 finalist for Best Song Written For Motion Picture, Television Or Other Visual Media.

English rock group Bastille are among this year's nominees for Best New Artist. They are vying to become the first English collective to take home the honor since Sade won the award for 1985.

Former President Jimmy Carter is nominated for Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling) for A Call To Action. If he takes the award, Carter will become the third former or future president with two GRAMMY wins, joining Bill Clinton and Barack Obama. Carter is scheduled to present the award to Bob Dylan at the 2015 Person of the Year gala.

Gloria Gaynor's We Will Survive: True Stories Of Encouragement, Inspiration, And The Power Of Song is also nominated for Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling). At 35 years, Gaynor has the longest gap between nominations of any current nominee. Her last nominations were for 1979, including a win for Best Disco Recording for "I Will Survive."

Ziggy Marley and Anoushka Shankar are nominated for Best Reggae Album and Best World Music Album, respectively. Both artists' fathers — Bob Marley and Ravi Shankar — are GRAMMY winners and Recording Academy Lifetime Achievement Award recipients.

Kendrick Lamar's "I" is the lone song with a one-letter title to be nominated this year. It's up for Best Rap Performance and Best Rap Song.

"The Monster" by Eminem featuring Rihanna is among the nominees for Best Rap/Sung Collaboration. The two stars received a 2010 nomination in this category for "Love The Way You Lie."

"Weird Al" Yankovic and Louis C.K. each received nominations for Best Comedy Album. Each has previously won in the category: Yankovic for Poodle Hat (2003); Louis C.K. for Hilarious (2011).

With six GRAMMY wins, Carrie Underwood has the most GRAMMYs by an "American Idol" alumnus. She's up for two more this year: Best Country Solo Performance and Best Country Duo/Group Performance.

What do Arcade Fire, Tony Bennett, Glen Campbell, Alison Krauss, Barbra Streisand, Taylor Swift, and U2 have in common? Besides all being current nominees, they've all released albums that have won Album Of The Year honors.