The 63rd GRAMMYs Awards Show is right around the corner, and the Album Of The Year category promises to be a lively fount of debate. Will Jhené Aiko win for Chilombo? Coldplay for Everyday Life? Haim for Women in Music, Pt. III? 

Whatever the outcome, two things are certain: music fans will be discussing it for weeks to come, and it will be an emotional and creative milestone for the artist—as demonstrated time and time again by luminaries from Paul Simon to Lauryn Hill to Bruno Mars.

In the latest episode of GRAMMY Flashback, watch as artists from across the decades react to the career-making news—that their creation has been crowned as the Album Of The Year. 

Watch the minute-long montage above and don’t forget to watch the ceremony on March 14 to find out who will win!

GRAMMY Flashback: Watch The Evolution Of Style At The GRAMMYs From The 1960s To The Present

Mark Ronson's fingerprints are everywhere in pop music. 

Whether he's behind the board as a producer, penning earwormy hooks for some music's biggest names, or employing a crate digger's mindset to create his own records, you'd be hard-pressed to find something on your playlist that Ronson hasn't touched. The seven-time GRAMMY winner might as well be considered the industry’s Kevin Bacon — he's worthy of his own "six degrees" game. 

Today, Ronson is on his way back to New York City from some time spent in the Hudson Valley — a much-need reprieve after a blockbuster summer that saw his Barbie movie soundtrack top charts around the world. 

"I love this film so much and I did something I've never done before by executive producing and overseeing [its music]," he tells GRAMMY.com. 

That Ronson still has things to check off his professional bucket list is something of a surprise. The stepson of Foreigner guitarist Mick Jones, Ronson got his start DJing in New York in the '90s, bridging his twin loves of funk and hip-hop. In the latter part of the decade, Diddy hired Ronson to DJ several parties, thus opening up the then-twentysomething to a world of A-list talent. Ronson's elite status only grew over decades — from DJing Paul McCartney's wedding in 2011 (for which he refused to accept payment), to creating the ubiquitous hit "Uptown Funk," and curating the final night of the iconic 2023 Montreux Jazz Festival.

Ronson has released five of his own albums — beginning with 2003's Here Comes The Fuzz and up to 2019's Late Night Feelings — each of which is a star-studded affair, featuring everyone from Miley Cryus and Camilla Cabello to Bruno Mars and Mary J. Blige (as well as the occasional lawsuit over interpolation and sampling). Over the years, he's developed a cadre of session musicians and production collaborators, creating an incredibly pop savvy sound often built on horn-driven funk and soul.

At the bedrock of Ronson's production — and among his best-known works — is Amy Winehouse's GRAMMY-winning album Back To Black. Since that 2006 release, Ronson has collaborated with an ever-increasing number of major acts, composing, arranging, producing, writing or playing on (and sometimes all of the above) works by Lady Gaga, Duran Duran, Dua Lipa, Adele, Queens of the Stone Age, and even Sir Paul himself. 

Ronson will add another first to his list: author. A hybrid memoir and cultural history, the still-in-progress 93 'Til Infinity will cover the New York downtown club scene of Ronson's salad days. 

"It's really fun to revisit that era, and it was a very specific time in DJing where DJs weren't really famous," he recalls. "There was no stage; sometimes the turntables were shoved in the corner at the end of the bar and you would have to crane your neck to even see the crowd. I sound like Grandpa Simpson, but I loved it." 

Ronson is en route to a DJ gig as we speak, though the new dad says he'll be "kicking back into high gear on the book" soon. "[Writing it] requires really falling off for seven hours in the basement, like Stephen King says in his book. But I like that," he says.

Ahead of a celebration of Barbie The Album at the GRAMMY Museum on Sept. 27, Mark Ronson shared the stories behind some of his favorite productions – including the song that makes people "stupidly happy." 

"Ooh Wee," Here Comes The Fuzz feat. Ghostface Killah, Nate Dogg, Trife and Saigon (2003)

I went to see Boogie Nights in the theater and I remember this scene where Mark Wahlberg's a busboy on roller skates and in the background there was this song playing that had just this string thing that just hit me so hard. I bought the Boogie Nights soundtrack and it wasn't on there — obviously this is 20 years before Shazam — then I figured out it was the song called "Sunny" by Boney M. 

When I was making my first record, I was sort of locked up by myself in the studio on 54th Street just experimenting, making tracks all the time. That string line, I could never figure out what to do with the sample. I tried 80 different tempos and drum beats over it, and it wasn't until I just put that drum break behind it, the drums from the song, and it just all sort of gelled together. 

Because that was an era in hip-hop where people weren't really using drum loops or drum breaks anymore. It was about chopping and having hard kicks and snares,  like DJ Premiere and Timbaland. The DJ in me was like, f— it, let me just try putting a drum break under it. It all gelled and felt good.

I was a huge Wu-Tang fan, and at that point Ghostface was my favorite out of the group and I loved his solo records. I've never been more nervous in some weird way to talk to somebody — nervous and giddy, and what if I just sound so dorky? 

I remember he was like, "Yeah, I get it. I think it's dope. It's like some Saturday Night Fever with Tony Manero s—." I guess because of the strings and it was so disco, and Ghost always had this pension for those disco kind of uptempo beats. 

The album had to be handed in and I didn't have a hook that I liked on this song yet. Sylvia Rhone was the head of Elektra and she said, "I could try and get Nate Dogg on it." Of course that was the dream. I sent him the track, and it was probably two days before I had to master the album, on a Sunday. He sent me the files back, and all the waveforms were blank.

I had to call Nate Dogg at like 10 a.m. at home on a Sunday. While he's on the phone, he goes back in the studio and turns all his equipment on, trying to do the session. 

The fanboy thing is still very real because I still work with people all the time that I'm a fan of. At that age, being in the studio with M.O.P., Mos Def, Q-Tip, Jack White, Freeway, Nate. I was just trying to keep it together some of the time.

"Rehab" - Amy Winehouse, Back to Black (2006) 

"Rehab" just came about in general because Amy was telling me an anecdote. She was really together when we worked — she might not have been sober, but she got her whole life together. She was telling me about this time in her life that was difficult and she was in a really bad place. She said, "And my dad and manager came over and they tried to make me go to rehab and I was like, 'No, no, no.'"

I remember that it instantly sounded like a chorus to me, so we went back to my studio and we made the demo. That was when the Strokes and the Libertines were really big. I remember [the drums] sounded much more like an indie beat, even though it came from soul and Motown and the original rock 'n' roll. She would tease me; she's like, "You trying to make me sound like the bloody Libertines."

When [studio group] the Dap-Kings played it, they just brought it to life. I didn't really know anything about analog recording at that point. I only knew how to make s— sound analog by sampling records, so to hear them all play in the original Daptone studio, all the drums bleeding into the piano…. I felt like I was floating because I couldn't believe that anybody could still make that drum sound in 2006.

Amy couldn't be there for the recording, so I was taking a CD-J into the studio with me and I had her demo vocals on a cappella. I was playing it live with the band so that they could keep pace with the arrangement. I loved it so much.  

"Valerie," feat. Amy Winehouse,Version (2007)

Amy had never met the Dap-Kings, even though they had been the band for all the songs that I had done on Back to Black. There was this really lovely day in Brooklyn where I took her to the studio to meet all the guys. The album was already out; there was a very good feeling about it [and] they obviously made something really special together. Amy loved the way the record sounded so much, she was so grateful. They loved her.

While we're all having this love-in in Bushwick, I was finishing my album Version and I said, "Maybe we could just cut a song for my record?" The whole theme of the record had sort of been taking more guitar indie bands like the Smiths, the Jam, the Kaiser Chiefs, and turning those into R&B or soul arrangements. I asked Amy if she knew any songs like that. She's like, "Yeah, they play this one song down at my local. It's called 'Valerie,'" and she played us all the Zutons' version. I didn't really hear it at first.

The first version we did was this very Curtis Mayfield kind of sweet soul. Part of me was just like, This is really good, but I feel like there's a hit version as well. I don't have that kind of crass thing where everything needs to be a hit, but…

Everybody was already packing up their instruments and I didn't know the guys that well yet, so it was kind of a pain in the ass to be like, "Hey, I know everybody just wants to go onto the f—ing bar and get a beer right now, but can we just do one more version where we speed it up a little?"  Everybody flips open their guitar cases and we do like two more takes, and that's the version on my album.

"Alligator" - Paul McCartney, NEW (2013)

We've done other things together, but I've only really [worked on] three songs on his album, NEW. "New" I just loved as soon as he sent me the demo, because as a McCartney fan, it gives you the same feeling as "We Can Work It Out"; it just has that amazing uplifting feel. That's just his genius. I love "Alligator" maybe a little more because it's more weird.

He definitely gives you a day to f— up and be an idiot because you're just so nervous to be in the studio with McCartney. By the second day it's like, okay, get your s— together.

I remember running around just like, What sound can I find for Paul McCartney that every other amazing producer who ever recorded him [hasn't found already]? He was like, "Anybody can record a pristine acoustic guitar. Give me something with some characteristic that's iconic. That feels like someone just put the needle down on track one on an album." 

That's something I always try to remember: don't just make it sound like a guitar, make it sound like a record.

"Uptown Funk" feat. Bruno Mars, Uptown Special (2015)

My enjoyment of the song is now gauged by the people that I'm playing it for. I was playing at this party at Public Records [in Brooklyn] on Sunday. I knew that I wasn't going to play that song on that night; it wasn't right for that crowd or something. And then an hour into my set, the vibe is really good, and I was just like, f— it and I dropped it, and people went crazy.  

I'm a little extra critical sometimes on the more commercial songs, thinking nobody wants to hear this or this doesn't really have a place in this space. I think it's just a song that makes people stupidly happy, and that's cool. 

The lyrics [to "Uptown Funk"] came really quick. We had the jam: Bruno was on drums, I was playing bass, Jeff Bhasker was on keys, and then Phil Lawrence was there and we jammed for five hours. We just chopped up our favorite parts of the instrumental jam, and then just started writing lyrics almost like a cipher. Bruno had been playing the Trinidad James song ["All Gold Everything"] in his live sets and playing it over a sort of uptempo, funky James Brown, "Get Up Off That Thing" groove.

We were just throwing about lyrics, throwing a little bit of the cadence of the Trinidad James song. Then when Jeff Bhasker said, "This s—, that ice cold/That Michelle Pfeiffer, that white gold." It was like a great rap line. Then everything started to elevate a little bit from there on up.

That first day, we had the whole first verse and it felt great. Every time we went back in the studio, a lot of the times it would feel labored and not as good as that first verse. So it really took a long time to get in. Sometimes we'd go in the studio for three days and then at the end of the whole session we realized, we actually only liked these four bars. 

So we kept building on it, and luckily Bruno didn't really let it die. Bruno was touring Unorthodox Jukebox; I was just flying around the country with a five string bass just to get the song done.

"Uptown Funk" still ended at Daptone…to do the horns last with Dave [Guy] and Neil [Sugarman], me. It's almost like you've always got to go through Daptone to finish something. 

Bruno came up with that horn line. He was like, "I know you're going to kill me because you're trying to get away from being the horn guy, but I have this horn line and I think it's kind of killer." He demoed it from whatever backstage room on tour and I was like, Okay, here we go.

"Shallow" - Bradley Cooper and Lady Gaga, A Star Is Born Soundtrack (2018)

It's very rare that I write on a song that I don't have to produce as well. We wrote that song in the middle of sessions for [2016's] Joanne, and then Gaga produced the whole Star is Born soundtrack herself. I remember we all had some tingly feelings when we were writing it.

It wasn't meant to be a duet ever. Then Bradley wrote it into the film; it becomes the beginning of their love story. Bradley showed [me a rough cut] at his house, I remember just being like, he's taking this special song [and] made it put its hooks into you. This film, and the story, and the way this song is unfolding is so special.

Then also shout to Lukas Nelson, because that guitar that he came up with that opens the song was not in our demo, and that is such an iconic, memorable part of the song.

The film and the script was really powerful, and I think that me, [co-writers] Andrew [Wyatt], Anthony [Rossomando], Gaga were all in this sort of heartbreak place. We're all just going through our own dramas in the song. The juju was really good and a little spooky in the studio that night.

"Electricity" - Dua Lipa & Silk City feat. Diplo, Mark Ronson, Electricity (2018)

That song just always makes me happy. I don't have a lot of other songs [that sound] like that. I'm always psyched to play that in a set or to go see Diplo play it live.

When I came up DJing in the mid-'90s in New York, if you're a hip-hop DJ you had to be versed in dancehall, old R&B dance classics, and a little bit of house. So I knew 12 house records, but I love those records.

It came out of a fun jam, just me and Diplo — who I'd known probably at that point for 10, 15 years, but we never got in the studio together. He's just firing up drum s— and I'm just playing on this old tack piano that was in the studio I just moved into. But it also sounded quite housey. 

We came up with those chords and [singer/songwriter] Diana Gordon came over. I never met her before and she just started freestyling some melodies, and it was just so soulful instantly.

We'd moved the key a little bit lower for Dua — she has this amazing husky voice — but we still left Diana's demo vocal in. She's singing these mumble, non-word melodies that sound like a sample.

We had that old studio where we did Version and all the Amy demos. It has an old-school elevator that was sort of manual and it would always break down. There were people that were just too afraid, like Cathy Dennis — the  brilliant songwriter who wrote "Toxic" and "Can't Get You Out of My Head" — she would just always be like, "I'm taking the stairs." We were on the fifth floor and it was a steep, steep walk up. [Editor's note: The music video for "Electricity" features Ronson and Diplo stuck in an elevator. He notes that he's gotten stuck several times in real life.] 

"Nothing Breaks Like a Heart" feat. Miley Cyrus, Late Night Feelings (2019)

I was in L.A. working in Sound Factory [Studios], and I had seen Miley a couple years back sing "50 Ways to Leave Your Lover" on the "SNL" 40th anniversary; I had never heard her perform with that stripped-down arrangement. I was just so in love with her voice and the tone. I remember hounding my manager, because usually somebody who knows somebody, but Miley Cyrus was completely unreachable and just in another stratosphere.

I was in the studio with [Dap-King] Tommy Brenneck; he's just such a wonderful player, such a soulful touch. We got this thing going, and then Ilsey [Juber] was saying, like, "What about all these things that break, but nothing breaks like a heart?" 

[I thought], You know what? I've been trying to hit this girl up for years and nothing ever happened, but let me just try it one more time. I sent it off to Miley, and I guess she was just in a really motivated part of life. She's like, "This is cool. Where are you guys? I'll be there Monday." She came down Monday to the studio, and then her and Illsey wrote the whole rest of the song. 

"Break Up Twice" - Lizzo, Special  (2022)

[I produced a few other songs on Special], but they didn't make the cut. There's one that I really love called "Are You Mad" that might hopefully see the light of day once.

We spent a lot of time together and I love working with her because she has a really eccentric/ avant garde music taste. Like, the Mars Volta is her favorite-ever band; she's a conservatoire flute player; then she has a strong Prince heritage because she spent time in Minneapolis and she's been to Paisley Park. 

The thing that I really love about her is, even at the status that she was at when we were working, there was never anything too silly or too left field to try. It's really freeing when you're with a big artist who isn't afraid to just f— around and jam and make some s— that you know might not be the thing. 

"Break Up Twice" was actually an instrumental that we had done at Diamond Mine with [Daptone family] Tommy [Brenneck], Leon [Michels], Victor [Axelrod] and Nick [Movshon]. I just played that, and it instantly spoke to her and she just started freestyling, adding the harmonies and the sax and the vocal arrangements. I just didn't quite know how versatile and talented that she was when we first went in the studio. I just remember constantly being impressed and amazed.

Barbie: The Album (2023)

I'm really proud of the Dom Fike song ["Hey Blondie"], the Sam Smith song ["Man I Am"], [Dua Lipa's] "Dance and Night," of course. Even the Billie [Eilish] song that we did the string arrangement for. I played the tiniest bit of synths on the Nicki [Minaj]i/Ice [Spice] song. 

I love this film so much and I did something I've never done before by executive producing and overseeing it. There's so many songs that I had nothing to do with creatively; sometimes I was just doing admin, hounding Tame Impala to send in a demo.

I'm really proud of "I'm Just Ken." Of course Ryan Gosling is a superstar in a different kind of way, but the fact that he's not some superstar pop artist, and the fact that that song has managed to do what it's done….Obviously it's so much to do with the film and his performance, but I'm really proud of that song. I was so inspired by the script. I just instantly had the idea for that line.

There was never anything in the script that said Ryan was going to sing a song. It was just something where Greta [Gerwig] and him really loved the demo, and she loved it enough to write it into the film, which was just so exciting. It was happening in a way that felt wonderful and organic, and to then get Josh Freese and Slash, and Wolf Van Halen to play on it and even bring it to even this next level of sonic fullness. 

On TikTok and Instagram, I've seen people singing it; [even] in Spanish, really intense, really earnest covers. We were never trying to write a parody song or anything that wasn't earnest, because there's nothing parody about the film. I guess the chords have a bit of heartbreak in them, a little melancholy, and Ryan's performance is really lovely.

Barbie score (2023)

We worked equally hard or harder [on the score]. It doesn't have quite the same shine because obviously it's not Billie Eilish, Lizzo, and Dua Lipa, but it's something Andrew [Wyatt] and I did. A piece called "You Failed Me" — that's during both Barbie and Ken's meltdown in the middle of the film — I'm quite proud of that. I really love the "Meeting Ruth" orchestral interpolation of the Billie tune as well.

I've contributed music to other films and little cues and things like that, but this is the first time that Andrew and I really did a whole movie from start to finish while also doing the soundtrack.

It's incredibly humbling, too, because when you make a song for someone's album, you're working. It's certainly the most important thing that's happening. In a film, it could be the second most important thing. You could sometimes say it's the third most important thing after dialogue and the sound effects. All that's programmed into your mind about hooks and things like that it's like, No, actually sometimes get the f— out of the way and just provide a lovely emotional texture for things to sit under things.

The thing that I guess is universal is you're reacting to an emotion. Especially if it's a film that you really feel emotionally partial to, you're watching this wonderful performance on screen and how could you not be inspired by that? We're so spoiled to have this as our first film where we're reacting to the emotional heart of this film, which is so rich.

Behind Shania Twain’s Hits: How A Hospital Stay, A Balmy Porch And A Hair Nightmare Inspired Her Biggest Songs & Videos

The Latin GRAMMYs Album Of The Year category honors the work of both the established leaders and hottest rising stars in Latin music. The 2023 Latin GRAMMYs nominees for Album Of The Year include recordings by reggaeton and pop artists who are breaking down barriers in the music industry, alongside some of the most well-known and beloved singer/songwriters in Spanish.

These 10 albums were chosen to represent the most significant voices in Latin music for 2023: La Cu4rta Hoja (Pablo Alborán), A Ciegas (Paula Arenas), De Adentro Pa Afuera (Camilo), Décimo Cuarto (Andrés Cepeda), Vida Cotidiana (Juanes), Mañana Será Bonito (Karol G), De Todas Las Flores (Natalia Lafourcade), Play (Ricky Martín), Eadda9223 (Fito Páez), and Escalona Nunca Se Había Grabado Así (Carlos Vives). 

Ahead of the 2023 Latin GRAMMYs, officially known as the 24th Annual Latin GRAMMY Awards — which will be held on Thursday, Nov. 16, in Sevilla, Spain — learn about the nominees for this prestigious category. Don’t miss the broadcast on Univision at 8 p.m. ET/PT (7 p.m. CT).

Read More: 2023 Latin GRAMMYs: See The Complete Nominations List

La Cu4rta Hoja – Pablo Alborán

Pop singer/songwriter Pablo Alborán closed out 2022 with an explosion of optimism and carefree experimentation titled La Cu4rta Hoja. 

Throwing off the isolation of the pandemic, the Spanish chart-topper found himself ready to collaborate. The album features bold duets with música Mexicana star Carín León and Argentinian singer María Becerra, providing Alborán with the opportunity to branch out into genres, such as flamenco, that he’d never flirted with before. 

Evidently, he also felt like dancing as the normally ballad oriented artist stacked his album with breezy, playa-ready dance beats. Alborán has already been nominated for 24 Latin GRAMMYs, including a nomination for Best New Artist. He was nominated for Album Of The Year in 2013 for his sophomore album Tanto, making this his second Album Of The Year nomination. 

A Ciegas – Paula Arenas

Colombian singer/songwriter Paula Arenas’ career has been defined by an independent spirit since its beginning. The unconventional pop artist sang covers in nightclubs until she scored a hit single with "Lo Que El Tiempo Dejó" (featuring alt-pop legend Esteman) from her self-released debut EP, and except for a brief period with Sony Music Colombia, when she released her debut album Visceral, all her other releases have been with smaller labels. 

The indie darling’s roots are still showing on the clever, intimate A Ciegas, which finds her exploring a more stripped down version of her piano driven sound. Lead single "Puro Sentimiento," featuring fellow Colombian Manuel Medrano, shines with quirky-cool, ’80s inspired glamor. Being just a little different doesn’t seem to be holding her back: The video for "Puro Sentimiento" has more than 1 million streams on YouTube and counting. 

De Adentro Pa Afuera – Camilo

Iconic, stylish, unforgettable — and we’re not just talking about Camilo's mustache. The mononymous pop singer with the disarming soprano already has a few Latin GRAMMYs to his name, notably album of the year for 2021’s Mis Manos. He’s written hits for Becky G and Bad Bunny, but solo work is where Camilo really lets his creativity off the leash. 

The songs on his third studio album, De Adentro Pa Afuera, range from scruffy, loosely slung takes on reggaeton to bouncy folk pop jams that showcase his romantic side. It also hosts such diverse musical guests as Camila Cabello, Myke Towers and Grupo Firme. In the hands of a lesser artist it might be disjointed, but with Camilo at the controls it’s a masterclass in joyful chaos.

Décimo Cuarto – Andrés Cepeda

A master of the devastating love song made an exuberant return this year with help from a few equally formidable friends. Colombia’s Andrés Cepeda corralled the talents of such artists as Ximena Sariñana and Gusi for a delicately tropical, massively emotional album titled simply Décimo Cuarto. 

Gentle danzón and milonga rhythms ("Le Viene Bien") and lyrics about love that defies time, space and reality ("En Otra Vida") are just a couple of the elements that make up the album's restrained, yet robust mix. Décimo Cuarto also includes sweeping power ballads with Reik and Joss Favela ("Tu Despertador" and "Si Todo Se Acaba," respectively). Cepeda previously won a Latin GRAMMY in 2013 for Best Traditional Pop Vocal Album for Lo Mejor Que Hay En Mi Vida. 

Vida Cotidiana – Juanes

Loyal fans of Juanes’ rock side were rewarded for their patience when the Colombian superstar released Vida Cotidiana, an epic return to form complete with psychedelic flourishes and a healthy dose of funk and varied Caribbean influences. 

Early pandemic quarantine found the artist with a lot of time at home with his family, which provided some of the inspiration for the album. He used the unanticipated pause to study poetry, take voice and guitar lessons, and record the numerous demos that would, in time, become Vida Cotidiana. Juanes said he considers it his best album, and the time and passion he put into it is obvious. 

The legendary singer and songwriter has brought home 26 Latin GRAMMYs over the years and, with his 10th solo album he’s made a strong case for a 27th.

Mañana Será Bonito – Karol G

Musical powerhouse, reggaetonera and general bichota, Karol G is one major reason why all eyes are on Colombia. After establishing herself as a hit-making star in the adjoining worlds of reggaeton and Latin trap is clearly enjoying her success and savoring the moment.

As you might be able to guess from the sunshine and rainbows doodled on the album cover, Mañana Será Bonito was one of 2023' most fun albums, bubbling over with sass and unapologetic sexuality. Everyone is invited to the party: Mañana Será Bonito has features with Romeo Santos, Shakira, Carla Morrison and Sean Paul. It debuted at the top of the Billboard Hot 200 making it the first all-Spanish language album by a female artist with that distinction.

De Todas Las Flores – Natalia Lafourcade

De Todas Las Flores is the first collection of completely original material from Mexican singer/songwriter Natalia Lafourcade since 2015’s critically acclaimed Hasta La Raiz (for which she received two Latin GRAMMYs). 

Both Lafourcade and producer Adán Jodorowsky took a less-is-more approach on this new offering, which allowed for a subtle play of emotion on songs such as the aching title track. Famously a fan of Mexico’s rich musical heritage, De Todas Las Flores finds Lafourcade experimenting with stripped down cumbia and son, while also branching out into other regions of Latin America with bossa nova, samba and bolero. The understated arrangements perfectly complement the profound and profoundly personal tracks, which Lafourcade has described as "a musical diary." 

Play – Ricky Martín

After winning a Latin GRAMMY for his 2020 EP Pausa, Ricky Martín returned in 2022 with the logical bookend: a second EP titled Play. The Puerto Rican icon made the first recording in response to the cumulative challenges in his home island, ranging from Hurricane Maria to the pandemic. It also tackled heavy issues and served as a kind of therapy for Martín, who had started suffering from panic attacks. 

If Pausa was a held breath, Play is the satisfying exhale. More upbeat and even decidedly danceable in the case of the songs "Ácido Sabor" and "Paris in Love," it represents a return to life, if not a return to normal, and a focus on the romance and sensuality for which Martín has long been world famous.

Eadda9223 – Fito Páez

It takes someone unique to get both Elvis Costello and Nathy Peluso to guest on their album. Fito Páez has both on back-to-back songs on Eadda9223. 

The Argentinian rocker’s latest full-length is a revisiting of his epochal El Amor Después del Amor, this time letting a few more folks in on the caper. Besides the aforementioned co-conspirators, Páez is joined by Ca7riel and many other Argentinian iconoclasts who no doubt owe something to the trailblazing rock en español singer/songwriter. Each track on Eadda9223 is reimagined: The new version of "Sasha, Sissí Y El Círculo De Baba" with Mon Laferte crackles with Tex-Mex electricity that bears no connection to the original, but is a perfect vehicle for Laferte’s vocal range and flair for drama.

Escalona Nunca Se Había Grabado Así – Carlos Vives

What happens when a legend offers a tribute to a legend? Escalona Nunca Se Había Grabado Así, the Carlos Vives album celebrating the music of vallenato composer Rafael Escalona answers that question with moving clarity. 

Vives has brought the tropical sounds of Colombian vallenato to the world mixing them with pop and rock music, becoming a major star in the process. His deepest debt is to Escalona, who is remembered in Colombia as a storyteller and legendary personality. 

Escalona Nunca Se Había Grabado Así updates the Escalona’s famous compositions while striving to preserve their inherent spirit. The album is also a celebration of Vives’ own career, which now spans three decades. In addition to his innovation and longevity, Vives is an extremely prolific artist whose many releases have brought him two GRAMMYs and 15 Latin GRAMMYs.

Latin GRAMMYs 2023: Song Of The Year Nominees — Read Them Here

Fugees singer and rapper Lauryn Hill has been celebrating the 25th anniversary of her album The Miseducation of Lauryn Hill all summer, with special performances at high-profile festivals across the country, including Roots Picnic in Philadelphia and ESSENCE Festival in New Orleans. Soon, she'll embark on a 17-date world tour, co-headlining with Fugees on the dates that take place in the United States.

Released on Aug. 25, 1998, Miseducation was Hill's debut solo album and only one to date. Decades later, it remains a touchstone and high watermark for hip-hop and R&B, helping to redefine both genres. Hill and her opus are still influencing artists today, from Lizzo to Drake.  

Keep the party going with 25 facts about the album and its impact, from what the cover art was originally supposed to look like, to the current Mayor who appeared as the narrator, and the book to read for all the Miseducation tea.

Miseducation Is The First Hip-Hop Record To Win Album Of The Year

In 1999, Hill became the first woman to earn five GRAMMYs in one night. Her wins included Best New Artist, Best R&B Album and Album Of The Year.  (To date, she has won eight GRAMMYs and received 19 GRAMMY nominations in total.)

"This is crazy, 'cuz this is hip-hop music!" Hill exclaimed when Whitney Houston presented her with the golden gramophone for Album Of The Year, which no other hip-hop album had done before. Outkast's Speakerboxx/The Love Below, which won in 2004, is the only other hip-hop album to win the prestigious category.

The Album Was Recorded In Bob Marley's Home

Bob Marley's legendary Tuff Gong Studios in Jamaica — which also happened to be his home — is the most prominent of the three places where Miseducation was recorded.

"We recorded in New York, Miami, and at Hope Road in Jamaica," the album's sound engineer Gordon "Commissioner Gordon" Williams recalled to Okayplayer in 2021. "To be in Bob Marley's house created a landscape for magic. Stephen Marley was the one who invited us to come in. I had to organize the equipment that had to be brought to Jamaica, and we had to make sure it could work as a museum when we weren't recording."

Hill Kept Everything Raw On Purpose

Hill and Commissioner Gordon worked to create a sound that's deliberately raw. As she told Rolling Stone in 2008, "I don't like to use compressors and take away my textures, because I was raised on music that was recorded before technology advanced to the place where it could be smooth. 

"I wanna hear that thickness of sound," she continued. "You can't get that from a computer, because a computer's too perfect. But that human element, that's what makes the hair on the back of my neck stand up. I love that."

Hill's Personality And Experiences Are In The Songs

On the album, Hill shares her struggles as a young Black mother who has been through turbulent relationships on songs such as "Ex Factor" and "Forgive Them Father," an honesty that's still relatable and appreciated 25 years later.

"I think the piece as a whole communicates my personality, it is the culmination of my experiences, the sum total of what I had gone through at a certain point in my life," Hill said in a 2013 interview with The Guardian. "To me it's like driving in a storm, it's hard to see where you're going. You're just praying to get out of it. But once you get out of it, you can look back and say; 'Oh man, thank god!' Give thanks, 'cos that's what I came out of. That's what the album feels like to me."

Her Label Didn't Love Some Of The Early Versions

Miseducation went through a few iterations before it was ultimately finalized for release, and her label (Ruffhouse/Columbia Records) reportedly was unimpressed with the first work that they heard.

"Lauryn and her mom took [early versions of] her album to Sony Records and they said, 'This is coffee table music. What is this s—? Coffee table music," Rohan Marley, the father of Hill's children, told Rolling Stone in 2008. "She took her s— and walked outta there." 

The Album Made Chart History In The United States

Miseducation landed in the top spot on the Billboard 200 in the first week of release. The Score, Hill's 1996 album with Fugees, was also a No. 1 hit, but it didn't debut in that position. Her feat set a record for the first unaccompanied female solo rapper to debut at No. 1 on the all-genre albums chart. (To this day, she remains one of only five female rappers to achieve the feat; the other four are Foxy Brown, Eve, Nicki Minaj, and Cardi B.) 

It Was An International Hit, Too

Like The Score, Hill's solo album was a major success internationally. Miseducation appeared in the top 20 on pop and R&B charts all over the world, including No. 1 in Canada and Ireland, as well as on the UK R&B Albums chart.

"Doo Wop (That Thing)" Is A Two-Time Billboard Record Breaker

As a woman solo artist, Hill set long-held records for singles with "Doo Wop (That Thing)," which debuted at No. 1 on the Billboard Hot 100 and Hot Rap Songs chart. Miseducation also set a record for being the first album by a woman to debut at No. 1 on the Billboard 200.

The Album Also Set A Sales Record

Guinness Book of World Records notes that the album's first-week sales of 422,624 copies set a record for female artists at the time. Though that's still an astonishing opening week figure, Hill's record was later broken by Adele when she sold 3.38 million copies of her album 25.

A Book Inspired The Title…

In a 2013 interview with The Guardian, Hill cited Carter G. Woodson's 1933 book The Mis-Education of The Negro as an inspiration.

"The title of the album was meant to discuss those life lessons, those things that you don't get in any textbook, things that we go through that force us to mature," she said. "Hopefully we learn. Some people get stuck. They say that what doesn't kill us makes us stronger, and these are some really powerful lessons that changed the course and direction of my life."

…And A Book Now Examines Its Impact

In 2018, author Joan Morgan, the program director of NYU's Center for Black Visual Culture, released She Begat This: 20 Years of The Miseducation of Lauryn Hill on Atria Books. Morgan beautifully combines interviews with Black authors and activists such as dream hampton, Tarana Burke and Michaela Angela Davis with her own experience, and how they all found resonating messages within the album.

"I loved Miseducation, at least as much as the nineteen million or so folks who've bought it since 1998," she wrote. "I'd even go as far as to say I probably loved it more than every mofo in those governing bodies that bestowed it with seventeen cumulative Billboard, American Music, Grammy, and MTV awards. Why? Because I was one of the score of hip-hop-loving and/or pregnant women who swore the album was soundtracking her life."

The Narrator Is Now The Mayor Of A Major City

The teacher heard talking with students on Miseducation's interludes, is voiced by Ras Baraka, now the longtime Mayor of Newark, NJ. At the time of Hill's album, Baraka, who is the son of the famous poet and activist Amiri Baraka, was well known in the community.

"I was running for councilman in Newark and was also an eighth grade teacher," Baraka revealed to Rolling Stone in 2008. "I was just about to take two of my students home and Lauryn called and asked if I could come up to her house in South Orange. There were chairs set up in the living room and a bunch of kids were there. She told me she wanted to discuss the concept of love. There was a blackboard and I wrote the letters 'LOVE' and we just went into the whole discussion."

The Album Cover Was Almost Shot At Hill's High School

Photographer Eric Johnson and Hill went to her alma mater, Columbia High School in South Orange, New Jersey, to shoot pictures of her for the album cover. 

"I always wanted to shoot photos that people would really connect with," Johnson told Okayplayer in 2021. "I wanted to create something that was chic, but that regular people could identify with as well."

But instead of using one of those raw photos, Hill ultimately decided on the carved desk cover art that fans know, which is based on an image that Johnson took of her face. 

Miseducation Was Released In Four Different Physical Formats

Released in a pre-streaming era, Miseducation dropped on cassette, CD, minidisc and record. There is even a rare limited edition album made with orange-colored vinyl. (It's now available on all major streaming platforms.)

There Are Two Hidden Tracks

The vinyl version of the album and select international editions include two songs that aren't listed on the cover: "Tell Him" and "Can't Take My Eyes Off You," a cover of Frankie Valli's Sixties standard. (Though today, the songs aren't hidden — they're widely available on streaming services.)

"Can't Take My Eyes Off of You" Was In A Movie

Hill's rendition of "Can't Take My Eyes Off of You" was first in a Mel Gibson and Julia Roberts movie called Conspiracy Theory that came out in 1997 — which is the reason the song ended up on the album. 

"It was originally recorded for [the soundtrack for the movie] Conspiracy Theory and ended up on the radio, became popular, and that's how it ended became a bonus track," Commissioner Gordon explained to Rolling Stone.

Carlos Santana Guest Stars On "To Zion"

When Santana played guitar on Hill's song about her son Zion, he fulfilled one of her childhood dreams. He weaves his instrument delicately and masterfully around a marching drum beat and the vocals of Hill and her background singers.

"I used to write music, you know, write songs over [Santana's] guitar playing when I was a little kid," Hill told MTV News in 1999. "I had all his records and I would play 'Samba Pa Ti' on [the] 'Abraxas' album and just write rhymes and songs on top of it. So I knew Carlos way before he knew me."

Her Duet With Mary J. Blige Samples Wu-Tang Clan

Hill and Mary J. Blige's duet "I Used to Love Him" samples a hook from "Ice Cream," a song released in 1995 by rapper Raekwon featuring his fellow Wu-Tang Clan members Cappadonna and Method Man. The track's title also calls back to another '90s rap star, as it's a play on Common's 1994 song "I Used to Love H.E.R.," an acronym for Hip-Hop in its Essence is Real.

A College-Aged John Legend Played On "Everything Is Everything"

John Legend was attending the University of Pennsylvania when he got the opportunity to meet Hill through a mutual friend. After he played piano and sang a Stevie Wonder song for her, she invited him to contribute to Miseducation.

"Lauryn said, 'Why don't you play on this record we're working on right now? And it was 'Everything is Everything," he said in a 2013 interview with Yahoo!

The song became a Top 40 hit, and Legend scored some bragging rights at school. "I went back to college and I was the man after that," he joked.

A Subtle Salute To House Music Hides In The Lyrics

Though Miseducation is a hip-hop work that doesn't sonically veer into house music, Hill winks at a foundational classic from the dance music genre on the album. When she says, "Jack ya, jack ya, jack ya body" in "Every Ghetto, Every City," she is referencing the 1986 club anthem "Jack Your Body" by Chicago DJ/producer Steve 'Silk' Hurley.

New Ark's Lawsuit Over The Album Raised Questions

In late 1998, the music collective New Ark (guitarist Johari Newton, pianist Tejumold Newton, drum programmer Vada Nobles and songwriter Rasheem "Kilo" Pugh) sued ill, alleging that their work on Miseducation was not properly credited. The lawsuit was reportedly settled for $5 million in 2001, but accusations outside the legal arena have persisted for years.

In 2018, Hill posted a written response to pianist Robert Glasper's claims that she uses work from others without giving credit. In it, she acknowledged that it took the work of others to bring her vision to life, but asserts that she is the nucleus, and that she hired musicians to execute her specific ideas.

"The album inspired many people, from all walks of life, because of its radical (intense) will to live and to express Love," she countered in the response, which was posted to Medium. "I appreciate everyone who was a part of it, in any and every capability. It wouldn't have existed the way that it did without the involvement, skill, hard work, and talents of the artists/musicians and technicians who were a part of it, but it still required my vision, my passion, my faith, my will, my soul, my heart, and my story."

"Ex-Factor" Made Its Way Into Two 2018 Rap Hits 

Hill's "Ex-Factor" was sampled in two different pop hits that were both released in April 2018. Drake's "Nice For What" topped the Billboard Hot 100 chart, while Cardi B's "Be Careful" peaked at No. 11; both achieved higher chart success than the original, which stalled at number 21.

Lizzo took Inspiration From "Doo Wop (That Thing)" In 2022 

Teaming up with Mark Ronson, Lizzo interpolated (aka replayed) melodies from Hill's hit "Doo Wop (That Thing)" on "Break Up Twice." The song appears on Lizzo's second album, Special. She's also performed covers of the original track on tour.

The Album Set Another Record 23 Years After Its Release

In 2021, Guinness Book of World Records noted that Hill became the first female rapper to reach RIAA Diamond certification for selling 10 million copies of Miseducation. Not only has no other female rapper achieved the feat since, but Hill is in rare company: the only other rappers to reach Diamond status for an album are Eminem, OutKast, Notorious B.I.G., 2Pac, Beastie Boys and MC Hammer.

Hill Announced A World Tour To Celebrate The 25th Anniversary

On Aug. 22, the star announced a 17-date world tour celebrating the 25th anniversary of her monumental solo album. Fugees will co-headline the U.S. stops, which begin in Minneapolis on Sept. 8.

"The Miseducation of Lauryn Hill is and was a love song to my parents, my family, my people, my musical and cultural forebears, my teachers, my loves, my Creator," Hill said in a press release. "I wrote love songs and protest songs— (still love songs) about the subjects and interests that inspired and moved me. I was confident that what inspired me would resonate with an audience that had been led to believe that songs of that kind could only live in the past.

"I loved music, I loved people, I truly felt grateful to God for my life, and genuinely blessed to have a platform where I could share wisdom and perspective through music," she added. "I felt a charge to challenge the idea that certain kinds of expression and/or certain kinds of people didn't belong in certain places. I loved showing what could work or happen provided there was imagination, creativity and LOVE leading the way."

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At a vibey, wood-paneled listening party in Williamsburg, Rhiannon Giddens felt exposed. Chiefly known as an interpreter and a cultural surveyor — both as a solo artist and for her work with the Carolina Chocolate Drops — the singer had distributed the lyrics to her new album, You're the One.

The assembled were welcoming and supportive; Nonesuch Records president David Bither was there in her corner, and delivered heartfelt remarks at the outset. Still, on a WhatsApp call weeks after, Giddens admitted she felt "awkward as hell." But that's OK, she explains.

"I'm very comfortable doing the things that I've been doing, so it can become a death knell for an artist to be super comfortable," she tells GRAMMY.com. "So I think it was time to step out a little bit and go, 'OK, so this is what happened.'

"But I don't talk about slavery, and I don't talk about civil rights," the two-time GRAMMY winner — and Pulitzer winner — continues. "This is a different way of being, and just as valid."

Giddens is referring to her work in a litany of fields — opera, documentary, ballet, podcasting, and more. Therein, she's aimed to plumb "difficult and unknown chapters of American history" through musical lenses, like the evolution of the banjo from Africa to Appalachia.

Out Aug. 18, You're the One is more eye-to-eye than Giddens' other works; she sings in first person, and deals in themes of romance and devotion, as with the glowing and companionable title track.

There's also a razzing kiss-off ("If You Don't Know How Sweet It Is") — and a brooding, socially conscious moment in the form of "Another Wasted Life," about the suicide of Kalief Browder at Riker's Island.

But despite these more direct expressions, Giddens hasn't simply pivoted from sociological to confessional; that's a binary that can be put to bed.

I'm drawing a little bit more from my experience, but I had to draw from my experience to write other people's stories," she says. "There's emotions that I feel that I then translate into these other stories, so I don't think this record is completely different from that [mode of expression]."

In that way, You're the One isn't a left turn for Giddens; it's another branch on her evermore sprawling tree. Read on for an interview with the singer-now-songwriter about how it came to be, her recent team-ups with Paul Simon and much more.

This interview has been edited for clarity.

At the Brooklyn listening party, was it vulnerable to reveal your songwriting side?

Totally. I felt like I was awkward as hell. I'm very comfortable talking about other people's stories, and that's what I've been drawn to my whole career as an interpreter.

Even as a songwriter, I am inspired by historical stories and wanting to write them. It's one of the reasons why I'm doing this, because the job of the artist is to always grow.

Yeah, it does feel vulnerable. Because it's like, I don't really like talking about myself. It's not like these are all Taylor Swift-type "ripped from my soul and my experience" songs.

But obviously, to write any song you have to pull on experiences, and whatever you do with them — whether you exaggerate them or change them — you're still pulling on yourself more. So, it's been interesting.

What kicked you into gear to do this? To express how you feel, rather than tell other people's stories?

Well, it doesn't express how I feel, though. This is the thing: they're still songs, and it's still a performance.

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, so I don't think this record is completely different from that.

There's a couple that are responses to experiences in my life, and then there's a bunch where I'm playing with styles and I'm playing with strong women's voices, and I'm playing with being inspired by all of these artists that have come before me.

So, it's kind of a mixture of these things.

You're right. There doesn't have to a be a binary between diaristic and impersonal.

Yeah, totally. 

And I do feel like I'm a more old-fashioned songwriter in that way — in that I really love form and I really love words, and I really love wordplay, and I really love taking an idea and really kind of running with it rather than more of a personal response to something that happened in my life.

I guess "You're the One" is probably the closest to that. That, I wrote purely out of this feeling that I had when I had my son. And I'd had really bad postpartum depression with my daughter, which kind of puts a curtain in between you and your emotions. It's really tough to get through that.

So when I had another kid and I didn't have that and I felt all of that joy — for both of my children. Obviously, I love them the same.

But I recognized that feeling more after the birth of my son because I recognized, Oh, this is what happens when you don't have postpartum depression. That's amazing. And I felt all of that. But that's probably the only one that's a pure response.

I love how universally applicable it is.

You can do "You're the One" at a wedding. It doesn't necessarily say, You're a baby.

That's what I think is really interesting about songs; as long as the emotion is pure, that forms the core of it. It can then represent so many different things, depending on how it's written. I love those stories of a song: somebody writes it because of x, and then everybody thinks it's because of y.

What else is sourced from your personal experience?

"If You Don't Know How Sweet It Is" started as a poem when I was kind of teed off at somebody who kind of left my music or whatever. It was a professional relationship that went south, and I kind of went, "Man, you don't know how good it is," and I just kind of wrote this little piece.

Then, I turned it into a marriage song, turned it into more of a Dolly Parton kind of [song] — this is a moment where this woman is fed up with this husband who has taken her for granted. 

So, there's a bunch of [those songs], where I kind of take these emotions that may or may not be really represented. [Any given song] may have come from situations that may or may not be represented in what the final song is.

Tell me how you wanted You're the One to impact people on an aural level.

I was sitting on all these songs that I've written over the last 14 years and haven't had a home. I knew this was my chance to explore other soundworlds. I knew these songs needed more than a banjo, a fiddle and a frame drum. They needed more contemporary sounds.

So, we reached out. My manager suggested Jack Splash, and I knew that he had done Valerie June — and of course, she's in the club; I've known her for a long time. I was like, Well, if he worked with her, he's probably going to have an idea of what to do with me.

I met with him, and I was very quickly like, "Look, I really want you to be creative and I want you to bring your whole box of sounds, but I also want to bring my sounds." I didn't want to say Hey, put all your production on these and whatever. I wanted it to be a mixture of my sounds and his sounds — his musicians and my musicians.

So we did a real old-fashioned recording session where we had everybody there the whole time. It was like six days. "You Louisiana Man" was the first one we did, and that one was like 11 people on the floor, I think, at the same time recording. It was amazing.

I brought my folks, he had his folks, and it was a real beautiful mixture of styles and vibes. I think it's unique. You can't really place it. It's got some retro feel, it's got some modern feel, it's got some old-timey feeling sounds, and that's what I wanted.

That's the platonic ideal, right? The music being made together, in real time.

That's what I think. That's what I like.

Now, I know that there's a type of music that you make that's basically the engineer, the producer's making it, you know what I mean? And the different musicians, like he's the conductor. And that's fine. And it's not to pooh-pooh that, but it's not the way I want to make music.

I was kind of like, "Take my advance. I don't care if I make any money from this. I need us to put the money towards having the bodies in the space."

Because when we're bringing together all these varied things — electric bass, and drums, and organ, and congas, and accordion, and fiddle, and Congolese acoustic guitar — overdubs are not going to work. It's just going to be Jack's sound with a little bit of me on top, or a little bit of accordion or synths or something.

I was like, "That's boring. Can we not do that?" I really wanted us to find a sound that we couldn't have found any other way than being in the room.

Most know you via your interrogations of the history of American music, and your explorations of these wonderful instruments. Where are you at currently with this subject?

The more that I investigate, the more I'm just like: it's so complicated. And the real story is always more interesting than the one that we're fed, but it's always more complicated.

It's multicultural. That's what I'm finding: when you bring people together who want to listen to each other, you find new forms of music. That's just the facts. So, it's the genre thing. I'm going to continue to fight against it.

People always ask me, What is it that I play? And I'm like, "You tell me because I don't care." You know what I mean? "Put whatever box you need to put me in to sell my s—, but I'm not going to self-identify outside of American acoustic music. That's what I do."

I think we look at the wrong categories. I'd rather know: is the music highly produced and electric or is it acoustic? Is the music slow or is it fast? Is the music for dancing or is it songs that don't have a particular dance beat? Is the music based on riffs or is it [not]?

What does R&B mean? What does rock mean? That changes every five minutes, and it doesn't tell anything about what the music actually is. And if it does, it puts it in a box and you may not listen to it because you think what it is.

So I get why they do it, but I just think it's really destructive to innovation and what American music really stands for, which is mixture.

Another person who's very interested in exploring the intricacies of American music is Jason Isbell. Can you talk about working with him on "Yet to Be"?

It was a lot of fun. I wish I could have been there when he did it. I Zoomed in.

He's just so great. And look, we have one of these 21st-century Twitter relationships. We comment on each other's Twitter sometimes. And I have watched him, from afar, be an amazing advocate, a very smart musician and social media person.

I love the way that he interacts with his fans. I love how he's supported Black women musicians, and putting his money where his mouth is. And I just love the way that he moves in the world.

So it just seemed like a really natural fit to get him to sing on this song, and he just knocked it out of the park. It was really, really great.

What do you want You're the One to be a bridge to in your musical life?

I'm just excited to do what I do. I feel very lucky. I get to make the music I want to make with the people that I want to make it with.

I'm not famous. I have a nice-sized, very committed following. I can put on tours and pay my musicians what I should pay them, and earn a living. I just want to keep doing that, and telling stories, and raising other people up, and using my platform for the things that matter to me. 

So if this record can bring me to audiences that maybe wouldn't have given me a second listen, that'd be amazing. Maybe it doesn't. Maybe nobody cares. I just make the songs and see where they go and just keep going with that.

I'm looking to have a really good time on tour with my wonderful musician friends and just keep doing the do. It's a rough world out there right now. So I'm just trying to use my time in front of people for as good of things as I can. So, that's what I got.

I've got to ask about Paul Simon. I'm a devotee. You've sang with him in the recent past, including "Homeward Bound: A GRAMMY Salute to the Songs of Paul Simon."

I didn't really realize how much of a soundtrack his music has been of my life until I was waiting to go on and listening to all the songs going, Oh my god, I know all of these. He's such an amazing songwriter. And working with him for "American Tune" is just one of the highlights of my life.

Not just because it's Paul Simon. I mean, yeah, he's an amazing musician, but the experience that we had working together on that, him changing those words for me to sing it and me kind of taking this song in and going, Wow, this is exactly how I feel right now. It's exactly how people that I know feel, and he wrote it before I was born.

And I think for him to see another artist of a different generation making it her own right in front of his face, [it's impactful], you know what I mean? I cried during the dress rehearsal. I was just feeling it. So that was a really powerful experience and I will always treasure it. 

It was unexpected. It came at the last minute. I respect him a lot for being willing to do it. And as I like to say to people, nobody has the monopoly on doing the right thing and on wanting to comment on what's going on right now.

And yeah, he's an old white guy, but dang, he didn't have to do nothing but sit back and collect his checks. 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.

I remember seeing you perform "American Tune" together at Newport Folk 2022. He said something to the effect of, "This will have more resonance if Rhiannon sings with me."

The thing is the words that he changed, particularly the line about the Mayflower. Originally, it was like, "We came here on the Mayflower." And then he changed it to, "We didn't come here on the Mayflower.

99 percent of the people who live in America don't have ancestors that came on the Mayflower. You know what I mean? It's not just about Black people, it's not just about me. It opens up that song for everybody. And I think that that's really important, because we need to come together in any way that we can. It's an incredible song.

I became the focal point for that, obviously, because I was singing the song. But it is never really about me. I don't really like focusing on What does it mean for me to do it?  it really gives that song a whole new life for anybody else who wants to sing it.

I think that's really powerful, and I'm just glad that he was open to doing it. And that we got a chance to not just do it once — but twice.

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