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GRAMMY Rewind: Watch CBGB Regulars Living Colour Win Best Hard Rock Performance For "Time's Up" In 1991

Living Colour at the 1991 GRAMMYs

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GRAMMY Rewind: Watch CBGB Regulars Living Colour Win Best Hard Rock Performance For "Time's Up" In 1991

Today, we celebrate Living Colour lead vocalist Corey Glover's birthday by revisiting when the powerhouse New York rock band earned their second GRAMMY win

GRAMMYs/Nov 7, 2020 - 01:38 am

For the latest edition of GRAMMY Rewind, watch New York City rock band Living Colour win Best Hard Rock Performance for "Time's Up" at the 33rd GRAMMY Awards in 1991. 

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In the video above, the quartet walk up to accept their golden gramophone in shock, but looking super fresh in eclectic, colorful and creative '90s streetwear. 

"First of all, this is one of those moments that really makes you proud to be a musician," guitarist Vernon Reid said during their inspirational acceptance speech after being handed their award by a very excited fellow New York musician Cyndi Lauper. "There's so many great musicians here, it's an honor to be amongst all of you, really."

"Time's Up" is the hard-hitting title cut from their 1990 sophomore album. With lyrics about a chaotic world and the need to take action to save it, their messages ring very true in 2020. In a recent interview with Spin, Reid touches on the meaning behind the song.

"Corey came up with the lyrics for 'Time's Up,' and that became the title of the album. It was a little bit of an homage, that song, to our friends in Bad Brains. We all came up together in the CBGB scene in the '80s. And at the time we did it, nobody was doing hardcore tunes about the environment. And we just went with it," he said. 

The year prior to their 1991 GRAMMY win, the "Glamour Boys" group won their first-ever GRAMMY in the same category at the 32nd GRAMMY Awards, for their breakout hit "Cult of Personality," from their successful debut album, Vivid

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GRAMMY Rewind: Beyoncé Celebrates God, Her Family And The Beyhive For "Drunk In Love" Win At The 2015 GRAMMYs
Beyoncé at the 2015 GRAMMYs.

Photo: Jason LaVeris/FilmMagic

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GRAMMY Rewind: Beyoncé Celebrates God, Her Family And The Beyhive For "Drunk In Love" Win At The 2015 GRAMMYs

Beyoncé couldn't help but praise a few special people in her life during her acceptance speech at the 57th Annual GRAMMY Awards, where "Drunk in Love" took home Best R&B Song.

GRAMMYs/Jun 9, 2023 - 05:00 pm

Almost a decade ago, Beyoncé unexpectedly dropped her self-titled studio album. Not only is the album credited for popularizing the concept of a surprise drop and shifting new music releases from Tuesday to Friday, but it also invented the modern-day visual album.

Adding to its legacy, Beyoncé scored the superstar three more GRAMMYs in 2015. In this episode of GRAMMY Rewind, revisit when Beyoncé won Best R&B Performance for one of the many chart-topping singles from her industry-altering album, "Drunk in Love." 

Her short-but-sweet speech praised a few special people in her life: "I'd like to thank God. This has been such an incredible year," she beamed. "My beloved husband, I love you deep. My daughter who's watching, Blue — I love you."

Before heading off the stage, Beyoncé closed her speech by acknowledging her loyal fanbase, the Beyhive. "Thank you guys for riding so hard," she proclaimed.

"Drunk in Love" also won Best R&B Performance earlier that night, and Beyoncé's self-titled 2014 album won Best Surround Sound Album.

Press play on the video above to watch Beyoncé's humble acceptance speech for "Drunk in Love" at the 2015 GRAMMY Awards, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

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Foo Fighters Essential Songs: 10 Tracks That Show The Band's Eternal Rock Spirit
Dave Grohl of Foo Fighters performs in Cologne, Germany in 2011

Photo: Peter Wafzig/Getty Images

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Foo Fighters Essential Songs: 10 Tracks That Show The Band's Eternal Rock Spirit

On their recently released album, 'But Here We Are,' Dave Grohl and company offer a gripping confessional of both painful loss and blistering resilience. In honor of their 11th album, revisit 10 of the Foo Fighters’ most essential tracks.

GRAMMYs/Jun 7, 2023 - 05:48 pm

Foo Fighters — one of contemporary rock’s most pivotal mainstays — boasts an almost mythical history. What began as Dave Grohl’s one-man band in 1994 after the devastating end of Nirvana has become a seminal machine with a catalog that spans three decades.

The group currently holds the record for the most GRAMMY wins in the Best Rock Album category, picking up awards in 2000 (There Is Nothing Left to Lose), 2003 (One By One), 2007 (Echoes, Silence, Patience & Grace), 2012 (Wasting Light) and 2022 (Medicine at Midnight). At the 2023 GRAMMY Awards, Medicine at Midnight also took home awards for Best Rock Performance ("Making a Fire") and Best Rock Song ("Waiting on a War").

Their recently released 11th studio album, But Here We Are, is the facet’s first project following the death of drummer and vocalist Taylor Hawkins last year. Hawkins, who joined Foo Fighters in 1997 and would become a driving creative force in the group, was mourned by musicians and fans across the world. Tribute concerts in London and Los Angeles presented by the Hawkins family in conjunction with Foo gracefully paid homage to his legacy. 

Grohl and company managed to push through their collective grief on But Here We Are. The project serves as a gripping confessional of both painful loss and blistering resilience. In honor of their latest endeavor, GRAMMY.com lists 10 of Foo Fighters’ most essential tracks.

"Big Me," Foo Fighters (1995)

Released one year after Kurt Cobain's death, Foo Fighters’ debut  album brimmed with promise. "Losing Kurt was earth-shattering, and I was afraid of music after he died," he told Anderson Cooper during a 2014 episode of "60 Minutes."

Though Grohl insisted that the record was just an outlet for grief, it marked the beginning of his illustrious career. "Big Me," the final saccharine single from the project, proved that the drummer-turned-frontman had a knack for crafting catchy tunes that would become undeniable hits. 

The campy nature of the track was the result of Grohl not putting much thought into the album, but that intrinsically simple approach — which trickled down to the song’s video which famously parodied Mentos commercials — was the start of something great.

"Everlong," The Colour and The Shape (1997)

One of Foo Fighters’ most exhilarating moments to date comes in the form of a love song. "Everlong," which was the second single from the band's sophomore effort, pulls listeners in with its gentle, melodic chords, keeping  their attention with sweltering percussion and heart wrenching lyricism. 

"Everlong" is about being so in tune with a romantic partner that the conclusion of that relationship is wholly devastating. "Come down and waste away with me," Grohl serenely sings. "Down with me/Slow, how you wanted it to be/I'm over my head/Out of her head, she sang." He performed it for the first time acoustic in 1998 on "The Howard Stern Show," which Grohl said "gave the song a whole new rebirth" during a performance at Oates Song Fest 7908.

"Breakout," There Is Nothing Left To Lose (1999)

"Breakout" appeared on both the band’s third album, There Is Nothing Left To Lose, and is filled with a frenzied, punk energy that channels Grohl’s grunge roots. While critics praised the album and noted the Foos' notable progression toward more melodic anthems, this quick, fast hit remains worthy of the hype it received over 20 years ago. 

The track also appeared in the 2000 comedy film Me, Myself & Irene starring Jim Carrey, and several of its stars appear in its music video. There Is Nothing Left To Lose also spurred the radio hit "Learn To Fly," which won the GRAMMY Award for Best Short Form Music Video in 2000. 

"Times Like These," One By One (2002)

The Foo Fighters' fourth studio album marked a turbulent period in the band’s history. Aside from personal issues, Grohl had just recorded drums for Queens of the Stone Age’s Songs for the Deaf, and joined the group for a subsequent tour. 

While the fate of Foo remained unknown, a triumphant performance at Coachella in 2002 gave the members a new outlook on their future. "‘Times Like These’ was basically written about the band disappearing for those two or three months and me feeling like I wasn’t entirely myself," Grohl stated in the group’s 2011 documentary Back and Forth. "I just thought, ‘Okay, I’m not done being in the band. I don’t know if they are, but I’m not.’"

 With its lyrical simplicity and crippling sincerity ("It’s times like these you learn to live again/It’s times like these you give and give again"), the song has come to embody love, togetherness and hope.

"Best Of You," In Your Honor (2005)

"I’ve got another confession to make/I’m your fool," Dave Grohl howls at the top of lungs on the riveting opening for "Best of You." His declaration is followed by the existential proposition: "Were you born to resist or be abused?" 

In Your Honor’s lead single is ripe with emotion, in which the Foo frontman is buoyantly defiant and encourages those listening to his words to be the same. That sentiment was politically driven, as "Best of You" was penned after Grohl made several appearances on the 2004 Democratic presidential campaign for John Kerry. 

"It’s not a political record, but what I saw inspired me," he told Rolling Stone in 2005. "It’s about breaking away from the things that confine you." "Best of You" is their only song in the U.S. to reach platinum status.

"The Pretender," Echoes, Silence, Patience & Grace (2007)

One of the group’s most highest charting songs was "The Pretender," from 2007’s Echoes, Silence, Patience & Grace. Grohl’s songwriting on the track is of macabre proportions, as introductory solemn chords give way to the lyrics: "Send in your skeletons/Sing as their bones go marching in again/They need you buried deep/The secrets that you keep are ever ready." 

Heavier riffs and pulsating percussion make it quite the auditory experience. Perfectly paced crescendos on the "The Pretender" give it just the right amount of suspense, making it indelible to the Foo discography.

"White Limo", Wasting Light (2011)

In 2012, Wasting Light earned four GRAMMY Awards including Best Rock Album. "White Limo" snagged the accolade for Best Hard Rock/Metal Performance — and for good reason. 

The second single from Foo Fighters’ seventh studio album is a ferocious number saturated with primal screams and whirlwind rhythms. "White Limo" was one of their most raucous songs to date and the group does their best Motorhead impression (Lemmy Kilmister’s appearance in the music video serves as the ultimate seal of approval). The group was intentional in maximizing their aggression on the heavy-metal track, making "White Limo" the sonic equivalent of a lightning bolt in their immense catalog.

"Make It Right," Concrete & Gold (2017)

2017’s Concrete and Gold wasn’t about redefining the wheel as much as it was perfecting it. The group’s ninth studio album is as rock 'n' roll as it gets. 

There were a slew of memorable guest appearances including Paul McCartney on "Sunday Rain," Boyz II Men’s Shawn Stockman on "Concrete & Gold," and the Kills’ Alison Mosshart on "The Sky Is a Neighborhood" and "La Dee Da." 

The album’s best track, "Make It Right," features an uncredited, sonically off-putting cameo from Justin Timberlake . Yet the collaboration’s venture into heavier territory pays off, with Grohl paying respect to Led Zeppelin. The rock legends'  influence oozes all over "Make It Right"  in the form of ragged taunts and splintering riffs. Timberlake slinks into the background with additional vocals, making sure to not alter Foo’s formula in any way.

"Waiting on a War," Medicine at Midnight (2021)

Foo Fighters’ 10th album, Medicine at Midnight, was a refreshing return to form for the rockers. 

Sparked by a conversation by Grohl’s daughter, "Waiting on a War" embodied the group’s pensiveness about  America’s ominous future.  Over four minutes, Grohl  states that he’s "waiting for the sky to fall," though his melancholy thoughts ultimately transform from wistful crooning over acoustic guitar chords to a rumbling, full-throated ferocious outro. Foo’s bold approach snagged them a GRAMMY Award in 2022 for Best Rock Song.

"Rescued," But Here We Are (2023)

The power in "Rescued," the emotionally-charged first single from But Here We Are, relies not only on the lyrics to spell out the feeling of despondency, but on Grohl’s expression of them. 

"We’re all free to some degree/To dance under the lights," he sings. "I’m just waiting to be rescued/Bring me back to life." His voice languishes between fatigue and vigor as swirling guitars and ethereal buildups provide catharsis for both the band and the listener. The vulnerability of "Rescued" channels the intriguing self-awareness heard on albums like The Colour and The Shape and In Your Honor. But this song represents a brand new chapter for Foo and it’s one that confronts their pain head on.

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GRAMMY Rewind: Brandi Carlile Nervously Accepts Her First GRAMMY After "The Joke" Wins In 2019
Brandi Carlile at the 2019 GRAMMYs.

Photo: David Crotty/Patrick McMullan

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GRAMMY Rewind: Brandi Carlile Nervously Accepts Her First GRAMMY After "The Joke" Wins In 2019

Fourteen years into her career, Brandi Carlile won her first GRAMMY award — and because the long-awaited victory was so meaningful, she couldn't help "violently shaking" on stage.

GRAMMYs/Jun 2, 2023 - 05:02 pm

Brandi Carlile has been making waves in the Americana community for nearly two decades. But in 2019, Carlile's career began a different — and much bigger — trajectory thanks to a little song called "The Joke." 

The lead single from her sixth studio album, By the Way, I Forgive You, "The Joke" is dedicated to marginalized communities who constantly feel underrepresented and unloved by society. As a trailblazer in the LBGTQIA+ community, her impassioned vocal performance struck fans and critics alike.

In this episode of GRAMMY Rewind, we revisit the day "The Joke" helped Carlile win her first golden gramophone, for Best American Roots Performance. (It was one of three GRAMMYs Carlile took home that night, as "The Joke" also won Best American Roots Song and By the Way, I Forgive You won Best Americana Album.)

"It's our first GRAMMY!" Carlile cheered alongside her longtime collaborators Phil and Tim Hanseroth. "This means so much to me [...] and Dave Cobb, who wrote this song and brought the best out in us. We can't thank you enough."

Carlile went on to praise her team at Elektra Records and her family. "So many people to thank, but I'm violently shaking right now," she added, then passed the mic to the Hanseroth twins. 

Before the trio left the stage, Carlile quipped, "Whoever we forgot, forgive us. You know we love you, and you know we're terrified!" 

Press play on the video above to watch Brandi Carlile's complete acceptance speech for Best American Roots Performance at the 2019 GRAMMYs, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

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GRAMMY Rewind: Faith Hill Graciously Thanks Her Supporters After 'Breathe' Wins Best Country Album In 2001
Faith Hill at the 2001 GRAMMYs.

Photo: HECTOR MATA/AFP via Getty Images

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GRAMMY Rewind: Faith Hill Graciously Thanks Her Supporters After 'Breathe' Wins Best Country Album In 2001

After winning Best Country Album for 'Breathe' — one of her three wins at the 2001 GRAMMYs — Faith Hill delivered a heartfelt speech thanking her family for helping her achieve her dreams, and her team for making that dream a reality.

GRAMMYs/May 26, 2023 - 05:02 pm

When Dolly Parton, flanked by Brad Paisley, handed Faith Hill her GRAMMY for Best Country Album in 2001 — for her classic 1999 album Breathe — it felt like a passing of the torch.*

The first words out of an awestruck Hill's mouth, to Parton: "Wow! And coming from you, thank you so much. I just admire you so much."

Hill went on to deliver a heartfelt speech, in which she thanked her parents for helping facilitate her music dreams and expressed how long and hard her journey to the GRAMMYs stage was.

Breathe helped Hill take home three GRAMMYs that night — the others being Best Female Country Vocal Performance ("Breathe") and Best Country Collaboration With Vocals ("Let's Make Love," with three-time GRAMMY-winning husband Tim McGraw.)

Check out the throwback to Y2K-era country music history above, and keep checking back to GRAMMY.com for more episodes of GRAMMY Rewind.

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