When we talk about the iconic Motown Records, there are a slew of legendary artists whose names come to mind: Smokey Robinson, Marvin Gaye, The Temptations, The Supremes, The Four Tops. But—in addition to the superstars who helped cement the Detroit label's sound and launched black music into the U.S. mainstream pop landscape—there are plenty of unsung heroes who contributed to its vast legacy, many whom are at the foundation of the Motown sound.

Whether session musicians like The Funk Brothers and The Andantes, who played or sang on many of the best-known Motown hits, or The Velvelettes, who simply put out a few minor hits worthy of revisiting, the lesser-known artists associated with Berry Gordy and company are equally deserving of recognition. So to celebrate Motown's 60th anniversary ahead of Motown 60: A GRAMMY Celebration (which will air on CBS on April 21), we're highlighting 10 of the label's secret weapons.

The Funk Brothers

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Motown's house band, hand-picked by Berry Gordy, played on many of the label's most iconic hits—including Marvin Gaye's "I Heard It Through the Grapevine," The Temptations' "My Girl," The Supremes' "Baby Love," Stevie Wonder's "Signed, Sealed, Delivered (I'm Yours)," and Smokey Robinson's "The Tears of a Clown"—but the group of 13 session musicians didn't receive their due credit until much later. While at Motown, they would often moonlight for other labels to supplement their income (notably playing on Jackie Wilson's 1967 "(Your Love Keeps Lifting Me) Higher and Higher," and when the label moved to Los Angeles in 1972, the Funk Brothers were relieved of their duties. Fortunately, a 2002 documentary, Standing In The Shadows of Motown, shined a light on their legacy and in 2004 they were awarded a GRAMMY Lifetime Achievement Award.

The Andantes

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Like the Funk Brothers, you can hear The Andantes on many of your favorite Motown hits. The trio—composed of Jackie Hicks, Marlene Barrow and Louvain Demps—provided back-up vocals on five No. 1 singles for the label ("My Guy" by Mary Wells, "I Can't Help Myself (Sugar Pie Honey Bunch)" and "Reach Out I'll Be There" by the Four Tops, "Love Child" by Diana Ross & The Supremes, and "I Heard It Through The Grapevine" by Marvin Gaye). But their tenure at Motown includes far more than just those tracks; they sang on 16 Four Tops songs, 12 Martha & The Vandellas singles, eight Supremes recordings, 14 Marvelettes songs, five Temptations recordings and 15 Marvin Gaye singles. They released a single of their own, "(Like A) Nightmare," in 1964; though it was credited to The Andantes, it featured lead vocals from Ann Bogan of the Marvelettes.

Mable John

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In 1959, Mable John became the first female artist signed to Motown's Tamla subsidiary. The blues vocalist released her first single for the label, "Who Wouldn't Love A Man Like That?," the following year, and unfortunately, it flopped around the same time more pop-influenced and radio-friendly Motown groups were beginning to take off. As a result, Berry Gordy decided to drop blues from the label, and he terminated her contract in 1962. She landed on her feet, however; after leaving Motown, she spent years as one of Ray Charles' Raelettes, and in 1966 she released Stay Out of the Kitchen on Stax Records and earned herself a hit with "Your Good Thing Is About To End," which peaked at No. 6 on the R&B chart.

The Originals

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Often referred to as "Motown's best-kept secret," The Originals, like the Andantes, spent much of their career singing background vocals for other artists. They can be heard on tracks like Stevie Wonder's "For Once In My Life," Jimmy Ruffin's "What Becomes of the Brokenhearted," Edwin Starr's "War," and Marvin Gaye's "Just to Keep You Satisfied." In fact, it was Gaye who helped them branch out on their own, co-writing and producing two of their biggest singles, "Baby, I'm For Real" and "The Bells." Later in the '70s, they started experimenting with disco, earning themselves a No. 1 dance chart hit with 1976's "Down to Love Town."

The Velvelettes

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The Velvelettes began recording for Motown in 1963, and though they never reached the same levels of success as their fellow girl groups The Supremes or Martha and the Vandellas, they were responsible for a few moderate hits for the label. 1964's "Needle in a Haystack" peaked at No. 45 on the Billboard Hot 100, and its follow-up, "He Was Really Sayin' Somethin'" topped out at No. 64. The group never released a full-length album, but in 1982 they enjoyed some newfound recognition when Bananarama covered "He Was Really Sayin' Somethin'" (renaming it "Really Saying Something").

The Underdogs

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Garage rock isn't necessarily what we think of when we think of Motown, but it absolutely is a huge part of Detroit's musical history, and The Underdogs were already hometown heroes by the time they signed to Motown's VIP label in the mid-'60s. The Underdogs were the first white band signed by Motown, and they recorded their own version of Chris Clark's "Love Gone Bad" in 1966 as well as a cover of The Temptations' "The Way You Do The Things You Do." They tapered off in 1967, but their legacy endures, earning them spots on several Nuggets compilations.

Eddie Holland

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Eddie Holland had some early success as a solo artist for Motown with hits like "Jamie," but he suffered from terrible stage fright and eventually made the transition to working behind-the-scenes for the label. He became one-third of the legendary Holland-Dozier-Holland songwriting and production team with his brother Brian Holland and Lamont Dozier. Eddie Holland served as the team's lyricist, writing 10 out of 12 of The Supremes' No. 1 singles as well as hits like "Heat Wave" by Martha and the Vandellas, Marvin Gaye's "Can I Get A Witness" and "How Sweet It Is (To Be Loved By You)" and the Four Tops' "I Can't Help Myself (Sugar Pie Honey Bunch)." In 1988, the trio was inducted into the Songwriters Hall of Fame, and two years later, they were inducted into the Rock and Roll Hall of Fame.

Syreeta Wright

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Syreeta Wright—also known simply as Syreeta—began her career at Motown as a receptionist in 1965. She eventually worked her way up to singing on demos of Supremes songs before singing background for that girl group as well as Martha and the Vandellas. In 1968, she met labelmate Stevie Wonder, and the two co-wrote "It's A Shame" for The Spinners in 1969. Wright also co-wrote and sang background on Wonder's iconic "Signed, Sealed, Delivered (I'm Yours)", and in 1970, the two married. They divorced two years later, but remained close collaborators, with Wonder producing her debut album, Syreeta, as well as its follow-up, 1974's Stevie Wonder Presents: Syreeta. She enjoyed success outside of Stevie Wonder as well, however; she collaborated with Billy Preston on the 1979 hit "With You I'm Born Again" and recorded an album of duets with Preston in 1981. Sadly, she passed away in 2004 after a battle with cancer.

Chris Clark

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One of the few white artists to be signed to Motown at the time, Chris Clark earned hits with 1965's "Do Right Baby Do Right" and 1966's "Love's Gone Bad." In the early '70s, she served as an executive in Motown's Los Angeles-based Film and Television Production Division, and in 1972, she co-wrote the screenplay for Lady Sings The Blues, the Billie Holiday biopic starring Diana Ross. She earned an Academy Award nomination for Best Screenplay, while Ross received a Best Actress nomination.

The Elgins

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The Elgins may have had a secondhand name (Berry Gordy wanted the group to use the moniker, which was the original name for The Temptations), but they were the first ones to record the Holland-Dozier-Holland hit "Heaven Must Have Sent You" in 1966. The song peaked at No. 50 on the US pop charts, but it later enjoyed cult success within the UK's Northern Soul scene, reaching No. 3 on the UK singles chart in 1971. Bonnie Pointer later recorded a version of the song in 1979. The group broke up in 1967, but their status as hidden gems remains.

"Motown 60: A GRAMMY Celebration" Set To Film On Feb. 12 In Los Angeles

Motown legend Martha Reeves had quite a day.

On March 27, the 82-year-old singer finally got a star on the Hollywood Walk of Fame. Flanked by Stevie Wonder, Smokey Robinson, and Berry Gordy, Reeves donned a pearl and gold strapless gown with a show-stopping hat for the celebration. That evening, Reeves was the star of a conversation at the GRAMMY Museum in downtown Los Angeles.

Reeves was definitely riding high that night. "I’m gonna try to calm down. I’ve been excited all day," Reeves told moderator Gail Mitchell, longtime Billboard Executive Director of R&B and Hip-Hop. 

Born in Alabama but raised in the Motor City, Martha Reeves was the lead singer of Martha Reeves and the Vandellas. The Motown girl group is responsible for 1960s and 1970s classics such as "Dancing in the Street," "My Baby Loves Me," "Jimmy Mack," "Nowhere to Run," "(Love is Like a ) Heatwave," and "Bless You." Following her time at Motown, Reeves went on to have a solo career and was even an elected councilwoman in Detroit. The GRAMMY-nominated artist was inducted into the Rock and Roll Hall of Fame in 1995. 

Throughout the evening, the Motown diva — now in a lavish purple and silver top — had the audience at the Museum's Clive Davis Theater singing along to her classics, laughing as she strolled down Motown memory lane, and even tearing up as she got personal.  She even teased that she might have a new album in store.

Read on for five things we learned from Martha Reeves' free-flowing, laugh-filled conversation at the GRAMMY Museum. 

She Had To Fight To Get Her Hollywood Star 

Reeves crossed paths with many legendary names over the course of her career. But one of the first people she shouted out wasn’t a star, but her manager Chris Roe. "He’s brought me a long way in just a couple of years." Reeves said of the industry veteran. During the Q&A segment of her conversation, Reeves even brought Roe on stage. 

Her gratitude makes sense for a number of reasons. Reeves was first nominated for a star on the Hollywood Walk of Fame in 2021 but the process stagnated, Roe said, because of representation that wasn’t truly in Motown singer’s corner. Reeves' management at the time, Roe noted, was treating the soul icon like a shiny trophy rather than an active musician.

The two first met when Roe was in Detroit on business; a year later Roe went all in to raise money and make her Walk of Fame star dream a reality. Onstage at the Museum, Reeves recalled walking down Hollywood Boulevard with her son in the 1970s (Reeves moved to L.A. for a time when Motown relocated to Southern California), reading the names of the stars. Her young son said Reeves should have her own marker, and his poignant memory was finally brought to fruition.

Martha Reeves Credits Berry Gordy And Motown For Having "A Vision"

"How did Berry Gordy manage to get all of those people in one place? It was like corralling in a Western," Reeves said of Motown's incredible roster of talent in the '60s. 

She added that, never in her wildest dreams, did she think she would soar so high alongside musical geniuses like Smokey Robinson and songwriting/production team Holland-Dozier-Holland (who arranged songs for the likes of the Four Tops and the Supremes during a piping-hot run during the mid-1960s). 

Occasionally, instead of answering questions, Reeves would burst into song. "I can’t describe it," Reeves said at one point while describing Motown's musical resonance. "But I can make you feel it." 

Reeves noted that it was tough to think of one particular moment that wasn’t exciting or that paved the way for future success. She calls everything an "adventure or a challenge." 

She did say that her first tour was grueling, consisting of 94 one-nighters and only one motel chain who would allow Black guests.

She Learned A Lot While On Tour With Motown

Reeves went from playfully talking about how "fine" Marvin Gaye was and being around different kinds of artists on cross-country Motortown Revue bus trips, to more serious topics like the integration of Black music during the turbulent 1960s. 

She recalled a particularly harrowing moment when the Revue arrived in Montgomery, Alabama in 1963 when the Vandellas, the Marvelettes, the Miracles, the Temptations, and others were performing for a segregated audience in a horse-training arena with American and Confederate flags. While Smokey Robinson and the Miracles performed "Mickey’s Monkey," men with baseball bats separated the audience — Black on one side, white on the other. 

But Robinson stepped to the microphone and challenged convention. He just wanted to make sure that everyone just had a good time and could dance. "We’ve come a long way. Music is the reason," Reeves told the audience. 

She Remembers Her Solo Work Fondly, Too

After Reeves and the Vandellas disbanded and Reeves left Motown, she released her eponymous debut solo album in 1974 on MCA Records. Producer Richard Perry came in to work on the album with her, resulting in many hits. 

Reeves spoke a lot about one track, "Many Rivers to Cross," which involved 110 takes and a 40-piece choir. "He was that diligent in getting the sound he wanted. [A] very profound producer," Reeves said of Perry. Reeves said she's very proud of "Dixie Highway," an ode to Reeves’s Alabama root. 

Reeves said that her mother and father — who had 11 children — taught her "everything" and that she was a very loved child. In fact, her parents fostered her musical talents from an early age, her mother helping with her singing and her father putting her on his lap as he played guitar. 

Reeves Gave Her Hometown Love, And They Gave It Back

Reeves served as an elected councilwoman in Detroit from 2005 to 2009. "You have to be careful what you ask for," Reeves said with a laugh about her time in politics. She calls the whole experience "an education." 

Because of Reeves’s efforts in local politics, Detroit is home to Berry Gordy Jr. Boulevard, the street on which, fittingly, the Motown Museum is located. 

Some of her fans and friends from Detroit made it all the way to the GRAMMY Museum for the event, donning Martha Reeves shirts and carrying Vandellas records. Several times, Reeves shouted out a friend who is a dance teacher. "I love you so for being here." 

Some of the most moving moments of Martha Reeves' conversation came during the audience Q&A session. One member of the audience recalled meeting Reeves in New York shortly after his mother — a longtime fan of Reeves' — passed away; he shared the comfort his conversation with the singer brought him while grieving. Another attendee said he was a Detroit radio DJ and once received a ride home with Reeves; and yet another member of the audience spoke passionately about seeing the Motown Revue as a young man, and how the event was one of his first experiences in a desegregated scenario. 

Living Legends: Smokey Robinson On New Album 'Gasms,' Meeting The Beatles & Staying Competitive

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

10 Essential Facts To Know About GRAMMY-Winning Rapper J. Cole

Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com presents an interview with GRAMMY winner and lead Miracle Smokey Robinson, whose contributions to the American musical canon — chiefly via Motown — cannot be overstated. In 2023, he was honored alongside Motown founder Berry Gordy at the MusiCares Persons Of The Year Event. Robinson's new album, Gasms, is available now.

Smokey Robinson listens to everyone. If you're on the radio, he claims, he's heard you. It doesn't matter your age, or your genre — as the 83-year-old is still in the ring, he intends to keep his gloves up. "I'm not a prejudiced musical listener," he tells GRAMMY.com. "I've got to compete with them. I've got to know what they're doing."

In the middle of a question about who, specifically, he's enjoying from the new guard, his rep's drive through a tunnel abruptly ends the call. But the Miracles and Motown star's assertion checks out — partly on the strength of his new album, Gasms, his first album of new original material since 2009.

On hot-and-bothered highlights like "I Wanna Know Your Body," "Roll Around" and "Beside You," God's gift to green eyes — to borrow a phrase — proves his writing, vocal and performance abilities remain undimmed.

"My thoughts on it is that you can put it on and be with the person that you want to be with and just kick back and enjoy each other," Robinson told the AP. "It's more of the idea of love."

There's a lot of chatter about Gasms. Of course, that's by design, and Robinson's OK with the album title subsuming the conversation. (When asked about the central thesis of the record during its conception, he responds with one word: "Controversy.")

But by Robinson's assertion, Gasms refers to anything that makes you feel good, and the high-thread-count music signifies far more than horny man is horny. It's a treat to hear that the GRAMMY winner responsible for innumerable culture-shifting classics — who has been around long enough to have met the Beatles when they were playing basements — is still a force.

With the 2023 MusiCares Person Of The Year gala, which jointly honored Robinson and Motown founder Berry Gordy, in the rearview, GRAMMY.com sat down with the man himself about his past, present and future. The results might give you a… well, you know.

This interview has been edited for clarity.

How did it feel to be honored along with your best friend, Berry Gordy, at the MusiCares Persons Of The Year 2023 gala?

That was a wonderful experience. They had never honored two people at the same time, and for me to get honored with my best friend like that — it was an extraordinary night.

When you met all those years ago, was there any inkling your relationship would stretch so far into the future — and impact the planet on this scale?

You can't tell about people and relationships, man. We just struck up a relationship. And we were good in the very beginning, and it just lasted. I couldn't be with him then — or he with me — and say, "Oh, well, this is gonna last forever," like it has, because you just never know. Fortunately, for us, it has, and we're still best friends.

How do you keep a relationship like that going on such a grand scale for decades and decades?

You know, people have asked me that many times. Sometimes, it's six months and I don't even talk to Berry. But when I do, he's my best friend, and I'm his best friend. It's never "Let me get to know you again, or feel you out," or any of that. There's none of that happening.

As you've stated, the title of Gasms isn't expressly sexual. Rather, it refers to any number of mindblowing experiences. What was the last big experience in your life or career that gave you a "gasm," as it were?

I've had so many of those. You know, gasms are what makes you happy, and makes you feel good. Recently, I had one when I did "American Idol," because I hadn't been in a long time. I was on the second panel for judges when Simon Cowell was there. I got a chance to see [judges] Lionel [Richie] and Katy [Perry] and Luke [Bryan], and it was a wonderful night.

I've been a mentor; I've been a judge. "American Idol" is one of the main state talent programs in the world, so it's a great thing for the kids. Because before they even made a record or anything like that, from the very first auditions, being seen by millions of people is a great thing for them.

Let's get to the ground floor of Gasms, when you first picked up a pen and made some calls and put together these songs. What was the central idea you wanted to put forth, musically and creatively?

Controversy.

That was it, huh?

To raise curiosity, and have people wondering what it was before they even heard it.

It seems you succeeded.

It worked. So I'm very happy about that, man.

How did you curate the accompanists and producers on Gasms?

Most of the guys are guys I've worked with all the time in the studio. I've been working with them for years, so I didn't have to get to know them. The main guy — my arranger, David Garfield — is a well-known jazz pianist who makes his own albums and stuff like that. We just got together and did the arrangements at the studio.

I'm sure you were raring to get back to original material, as wonderful as the old Miracles songs and your Christmas stuff is, and  flex your songwriting muscles.

I write all the time, Morgan. It's something that I just do. It's not a conscious effort where I set aside some time to write or anything like that. It doesn't happen like that. For me, it just happens.

What are you working on lately?

Well, at the same time we were working on the Gasms album, we were working on one in Spanish. I've got two more songs I've gotta re-record for that. That's what I'm up to musically.

Is it a learning curve to record in another language, or are your Spanish chops sharp?

I've been learning Spanish for probably about a year. My housekeeper is a Spanish lady. She's from Guatemala, and she speaks four different languages, so she's been really helping me with it.

I'm not fluent in it where I understand everything. I watch the soap operas and news shows on Telemundo and stuff like that, trying to get better, but they're talking so fast. I try to get a word in every now and then and then try to pick out what they meant by the rest of the stuff.

But it's a great language, and I enjoy it very much, so I've been trying to write some songs in Spanish also.

**Your voice is so pristine on Gasms. At times, it's like you haven't aged a day. How do you keep your instrument — your voice — sharp as the years and decades go by?**

Well, first of all, I appreciate you saying that, man. Thank you very much.

Your voice is like your instrument, and if you take care of yourself, you have a better chance of it lasting and doing well for a long time. I don't think there's any secret formula — Lipton's tea with lemon and all that stuff like that. I've never done anything like that.

I just try to take care of myself. Occasionally, of course, your body will wear down and get hoarse, because you don't know how to play your instrument. I don't do any special stuff.

What are your habits, or what's your regimen, to keep your physical vessel in shape?

I think that the main one is yoga. I've been doing yoga for about 40 years, and I do it almost every day of my life. Then, I have workout programs I do. I have a half-hour workout program and then an hour one. At home, I do the full monte, because I can do everything; I have weights in the basement and so on and so forth.

When I'm on the road, I have a 45-minute regiment that I do most mornings, and it starts with stretching.

**I really enjoy how you didn't feel the need to reinvent the wheel with Gasms. The songs could have been written 60 years ago or yesterday. What is it about the timelessness of songs about love, romance and sensuality?**

Well, yeah, they all have a connotation; you can use your own ideas of what they mean. For instance, "gasms." That can mean whatever you want it to mean. I try to put that connotation in all of them, so whatever the person means, or who is the listener, it can be that for them.

*Smokey Robinson performing in 1964. Photo: PoPsie Randolph/Michael Ochs Archives via Getty Images*

Speaking of timeless love songs, you play a huge role in the Beatles' rise. They worshiped you, and beamed you into millions of kids' heads via "You Really Got a Hold On Me" on With the Beatles. And you've covered them, too. Does it feel surreal to look back to your youth, and to these recordings, and say I wrote that?

You know, I don't think about that nowadays, man, unless somebody brings it up. It's not something I concentrate on, or anything like that, but it's a wonderful thing. 

It was especially wonderful — back then, they were the number one group in the world — to pick one of my songs. They were great songwriters themselves. So, to pick one of my songs to record was especially flattering.

What are your memories of those guys?

Oh, they were cool dudes, man. I had met them before they became [Adds air of thunderous significance] the Beatles. We met them in Liverpool; they were singing in a little club down in the basement. They were good guys, and I especially got close to George while he was alive, you know? He was my closest friend in that group.

He sure loved you. He wouldn't have written "Pure Smokey" if he didn't. Can you offer more memories of George?

George was just a great guy, man. He was a nice man. He was one of those people that if you meet him, you like him.

With Gasms out in the world, what do you hope people take away from it?

Oh, take away some enjoyment. I hope they enjoy it with themselves, alone, and with others also. That's what I want them to take away from it. If I can accomplish that, then I feel that I've done what I set out to do.

What has been giving you "gasms" lately? What are you watching, reading or listening to that has been inspiring you?

I listen to everyone, man. 

I'm a music lover, so I listen to all kinds of music. Especially when I'm in my car, and there's no telling what musical mood you're going to catch me in. Weeks happen where I don't listen to anything but classical — Chopin and Rachmaninoff and all that. Sometimes, I listen to hip-hop or jazz or alternative. I just love music, man.

What newer artists have you been checking out?

All of them, that are making music that I can hear on the radio. I listen to all of them, because I'm still making records, too. So, I've got to compete with them. I've got to know what they're doing. I'm not a prejudiced musical listener, whereas I think, OK, these are young people, so I'm not gonna listen to their music.

No, they're in the forefront of music right now. So I listen to everybody.

Living Legends: Van Morrison On New Album Moving On Skiffle, Communing With His Roots & Reconnecting With Audiences

A wide, uplifting tapestry of sounds was saluted and rewarded during the 2023 GRAMMYs. The telecast's pluralistic approach delivered a view of the present as a time of musical splendor while also celebrating its past — from hip-hop's legacy, to Latin's cultural influence, to pop's boundary-pushing stars.

Between history-making wins from Beyoncé and Kim Petras, a major victory by a young jazz sensation, and celebratory performances honoring greats, there was plenty to be reveled both on and off the GRAMMY stage. Below, take a look at the highlights of another memorable edition of Music's Biggest Night.

Bad Bunny Sticks Close To His Caribbean Roots

After global star Bad Bunny celebrated a year of extraordinary achievements — both artistic and commercial — the Puerto Rican tastemaker used his GRAMMYs performance to celebrate his Caribbean roots.

Benito could have picked an obvious selection, like the crowd-pleasing single "Tití Me Preguntó." Instead, he focused on the soulful roots of Puerto Rico and the Dominican Republic by performing electrifying renditions of "El Apagón" and "Después de la Playa." 

Bad Bunny has demonstrated time and again a gift for reinventing Latin genres. And yet, "Después de la Playa" kept its insanely syncopated beats and feverish brass section faithful to traditional merengue. The late Dominican icon Johnny Ventura would have been proud.

The Fans Receive A Much-Deserved Spotlight

The awards, record deals and critical raves are indispensable elements of stardom. But in the end, it is the contributions of average fans that sustain a career. With that in mind, the GRAMMYs organized a roundtable with 10 studious fans, each making a case for their favorite performer to win the Album Of The Year award. 

To their delight — and genuine surprise — host Trevor Noah invited them on stage for the coveted award, asking one of the most devoted fans in Harry Styles' pack to announce his win. The two shared a joyous embrace before she handed him his golden gramophone, serving as a touching closing reminder that the fans mean everything.

The Magic Of Motown Becomes Transformational

A brisk tribute to Motown co-founder Berry Gordy and musical genius Smokey Robinson — three songs, augmented by an inspired Stevie Wonder — proved that words will never be enough to capture the label's contribution to pop culture. A factory of beautiful dreams, Motown gave us a string of timeless hits that combine aural poetry with propulsive rhythms, honeyed hooks and virtuoso arrangements. Seeing the 82 year-old Robinson perform the 1967 classic "The Tears of a Clown" was one of the evening's most dazzling moments. (The performance also featured Wonder's rendition of the Temptations' "The Way You Do The Things You Do" and a duet with country singer Chris Stapleton on Wonder's own "Higher Ground.")

Honoring The Past Shows The Future Is Bright

2022 was a year of artistic triumph, but also of tremendous loss. The In Memoriam segment of the telecast was sobering, also honoring performers who are lesser known in the United States but definitely worthy of a mention — such as Brazil's Erasmo Carlos and Argentina's Marciano Cantero. 

It began with a stately rendition of "Coal Miner's Daughter" by Kacey Musgraves in tribute to country legend Loretta Lynn, then continued with Quavo and Maverick City Music honoring Migos' Takeoff, ending with an homage to Fleetwood Mac's Christine McVie from Sheryl Crow, Bonnie Raitt and Mick Fleetwood. Many artists were lost during the past 12 months, but their music lives on.

A Queen Breaks Records — To A Disco Beat

Beyoncé was allegedly stuck in traffic when she won her third GRAMMY of the evening — Best R&B Song for the joyful single "CUFF IT" — which, as Trevor Noah noted, put her one win away from making GRAMMY history. Luckily, by the time her name was announced for that record-setting feat, she was in attendance — and very much in shock.

Her seventh studio LP, RENAISSANCE, won Best Dance/Electronic Album. The win put her GRAMMY total at 32, marking the most wins of all time. Visibly emotional, Beyoncé first took a deep breath and said "I'm trying to just receive this night"; before heading off stage, she made sure to honor the queer dance pioneers who inspired the album, an exuberant tribute to classic dance format. 

Hip-Hop Shines As A National Treasure

2023 marks the 50th anniversary of hip-hop — so, naturally, the GRAMMYs put together perhaps the most legendary celebration possible. Featuring the Roots, Run-DMC, Queen Latifah, and many, many more, the nearly 15-minute performance highlighted the genre's influence from past to present.

The parade of legends tracing the history of the genre was breathtaking. From Grandmaster Flash ("The Message") and De La Soul ("Buddy") to Missy Elliott ("Lose Control") and Lil Uzi Vert ("Just Wanna Rock"), the extensive medley gave hip-hop its rightful place of honor as the most compelling musical movement of the past 50 years.

The Art Of Songwriting Stands The Test Of Time

One of the show's most endearing images was the utter shock on Bonnie Raitt's face when she was announced as the winner of the Song Of The Year GRAMMY — perhaps because her competition featured the likes of Beyoncé, Adele and Harry Styles. "This is an unreal moment," she said. "The Academy has given me so much support, and appreciates the art of songwriting as much as I do." 

In retrospect, Raitt's win shouldn't surprise anyone who is aware of her superb musicianship — and her 15 GRAMMYs to show for it. A rootsy, vulnerable song, "Just Like That" is the title track of her eighteenth studio album; the song also took home the GRAMMY for Best American Roots Song earlier in the evening.

Lizzo Dedicates Her Grammy Win to Prince (And Beyoncé)

By the time Record Of The Year was announced, the prodigiously gifted Lizzo had already brought the GRAMMY house down with rousing performances of the funky "About Damn Time" and the anthemic "Special." But clearly the best was yet to come, as the former track took home one of the night's biggest honors.

As Lizzo began her speech, she paid homage to Prince, who both served as an idol and a mentor to the star. "When we lost Prince, I decided to dedicate my life to making positive music," she said, going on to explain that while she first felt misunderstood for her relentless positivity, mainstream music has begun to accept it — as evidenced by her win for "About Damn Time." 

Before leaving the stage, she made sure to give one more idol a shout-out: Beyoncé. "You changed my life," Lizzo said, reflecting on seeing the "BREAK MY SOUL" singer when she was in 5th grade. "You sang that gospel medley, and the way you made me feel, I was like, 'I wanna make people feel this way with my music.' So thank you so much."

Contrary To Popular Belief, Jazz Proves It's Far From Dead

It only takes one listen to the wondrous voice of young Bronx singer Samara Joy to understand that she follows the same path once walked by Sarah Vaughan and Ella Fitzgerald. Joy's second album, Linger Awhile, includes atmospheric versions of such classic nuggets as "Misty," "'Round Midnight" and "Someone To Watch Over Me." 

The rising star was already a winner going into the telecast, as Joy took home the golden gramophone for Best Jazz Vocal Album in the Premiere Ceremony. But when she beat out mainstream hitmakers like Latto, Anitta and Måneskin for the coveted Best New Artist GRAMMY, Joy not only set her place in the jazz firmament — it hinted that the genre may be ripe for a revival.

The Pop Concept Album Lives On

It's not only the stunning beauty of its melodies, and the pristine warmth of the production. Harry's House is a special album partly because of its vaguely conceptual sheen — the pervasive feeling that the 13 songs within are interconnected, an intimate journey into the singer's creative soul. 

At the telecast, Styles performed an ethereal reading of his luminous mega-hit "As It Was." His well-deserved win for Album Of The Year confirmed that it's perfectly valid to mix accessible pop with a sophisticated unifying theme — and if you do it really right, you may just win a GRAMMY.

Check out the complete list of winners and nominees at the 2023 GRAMMYs.