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Recordings By Neil Diamond, Eurythmics, Elton John & More Inducted Into The 2020 GRAMMY Hall Of Fame

Other inductees include recordings by the Allman Brothers Band, the Chuck Wagon Gang, Patsy Cline, Dick Dale And The Del-Tones and more

GRAMMYs/Jan 14, 2020 - 08:02 pm

Today, Jan. 14, the Recording Academy has announced the latest inductions to the GRAMMY Hall Of Fame. 

The 2020 GRAMMY Hall Of Fame inductees range from Neil Diamond's "Sweet Caroline (Good Times Never Seemed So Good)" to Joni Mitchell's Clouds. The list also features Eurythmics' "Sweet Dreams (Are Made Of This)," Elton John's "Tiny Dancer," Devo's Q: Are We Not Men? A: We Are Devo!, Swan Silvertones' "Oh Mary Don't You Weep," and Public Enemy's It Takes A Nation Of Millions To Hold Us Back.

Other inductees include recordings by the Allman Brothers Band, the Chuck Wagon Gang, Patsy Cline, Dick Dale And The Del-Tones, Bo Diddley, Peter Frampton, the King Cole Trio, Skip James, James P. Johnson, Machito, Taj Mahal, Willie Nelson and Merle Haggard, Blind Alfred Reed, Joshua Rifkin, Nancy Sinatra, the Stanley Brothers & The Clinch Mountain Boys, the Surfaris and Mary Lou Williams

This year’s additions recognize a diverse range of both single and album recordings at least 25 years old that exhibit qualitative or historical significance. Recordings are reviewed each year by a special member committee comprised of eminent and knowledgeable professionals from all branches of the recording arts, with final approval by the Recording Academy's National Board of Trustees. With 26 new titles, the Hall, now in its 47th year, currently totals 1,114 recordings and is on display at the GRAMMY Museum

Eligible recipients will receive an official certificate from the Recording Academy. For a full list of 2020 recordings inducted into the GRAMMY Hall Of Fame, click here. The 2020 GRAMMY Hall Of Fame inductions are available to stream via a playlist below.

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Prince To Receive All-Star GRAMMY Tribute Concert Featuring Beck, Alicia Keys, John Legend And More

Nxdia, Shamir, girli, King Princess, Zolita, Laura Les, Towa Bird in collage
(From left) Nxdia, Shamir, girli, King Princess, Zolita, Laura Les, Towa Bird

Photos: Dave Benett/Getty Images for Depop; Matthew James-Wilson; Claryn Chong; Burak Cingi/Redferns; Taylor Hill/Getty Images for Boston Calling; Tim Mosenfelder/WireImage; Courtesy Interscope Records

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Listen To GRAMMY.com's 2024 Pride Month Playlist Of Rising LGBTQIA+ Artists

From Laura Les and Nxdia to Alice Longyu Gao and Bambi Thug, a new class of LGBTQIA+ artists is commanding you to live out loud.

GRAMMYs/Jun 3, 2024 - 01:37 pm

LGBTQ+ artists have long shaped the music industry and culture at large, offering audiences a glimpse into their unique lives, shared experiences and so much more.

Queer artists are foundational to American music; Released in 1935, Lucille Bogan’s “B.D. Woman’s Blues” was one of the first lesbian blues songs — and wouldn’t be the last. Fellow blues singers Gladys Bently, Ma Rainey and Bessie Smith also sang about same-sex love (thinly veiled or otherwise). On opposite ends of the 1970s musical spectrum, disco (itself a queer artform) and punk musicians explored gender identity in song and performance —  defying conventional gender norms at the time. Gender fluidity became part of the culture during the '80s, with genre-bending artists such as David Bowie and Boy George leading the charge. 

In the decades since,  a spectrum of LGBTQIA+ artists is opening up —  and creating work about — their sexual and gender identities. Queer artists are also being recognized for their contributions to global culture. In 1999, six-time GRAMMY winner Elton John became the first gay man to receive the GRAMMY Legend Award. 

Read more: The Evolution Of The Queer Anthem: From Judy Garland To Lady Gaga & Lil Nas X

The GRAMMY Awards have become more inclusive of the queer community. In 2012, the Music's Biggest Night became the first major awards show to remove gendered categories. In 2014, Queen Latifah officiated a mass wedding of straight and gay couples during Macklemore and Ryan Lewis’ “Same Love” performance, which included gay icon Madonna performing her “Open Your Heart.” In 2022, Brazilian singer/songwriter Liniker became the first trans artist to win a Latin GRAMMY. Just three months later, Sam Smith and Kim Petras became the first nonbinary and trans artists, respectively, to win a GRAMMY Award for Best Pop Duo/Group Performances for their collaboration, “Unholy.” The 2024 GRAMMYs marked a record high for queer women winning major awards: Miley Cyrus, Billie Eilish, Victoria Monét, and boygenuis all took home golden gramophones in the Big Six Categories. 

As queer artists continue to command attention across genres and get their flowers on the global stage, a new class of LGBTQIA+ artists is emerging into the scene. These artists are both following in the steps of established acts by sharing their experiences through their music, and creating work that is unique to their lives and time. 

In celebration of Pride Month 2024, GRAMMY.com has put together a playlist of rising artists across the LGBTQIA+ spectrum, whose sound commands you to live out loud. 

PRIDE & Black Music Month: Celebrating LGBTQIA+ & Black Voices

Elton John with Lion King Broadway cast in 1999
Elton John (center) with actors Paulette Ivory as 'Nala' (left) and Roger Wright as 'Simba' (right) at the opening night 'The Lion King' musical in London in 1999.

Photo: Dave Benett/Getty Images

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9 Reasons Why 'The Lion King' Is The Defining Disney Soundtrack

Thirty years after 'The Lion King: Original Motion Picture Soundtrack' was released, revisit all the ways it became Disney's ultimate musical moment, from multiple GRAMMYs to a Broadway smash.

GRAMMYs/May 31, 2024 - 05:14 pm

Following the untimely death of their regular composer Howard Ashman, who, alongside Alan Menken, had written the soundtracks for The Little Mermaid, Beauty and the Beast, and Aladdin, Walt Disney Feature Animation were forced to look elsewhere for 1994's The Lion King. As their first film ever based on an original story, and their first to consist entirely of animal characters, the Mouse House was already taking something of a gamble. And they further refused to play it safe by appointing a pop star with no prior experience of the Hollywood machine.

Luckily, the leftfield choice of British national treasure Elton John (then without his Sir title), proved to be a masterstroke. Alongside Tim Rice, the lyricist best-known for his musical theater work with Andrew Lloyd Webber, the Rocket Man delivered five instant classics. Not only did the likes of "Can You Feel The Love Tonight," "I Just Can't Wait To Be King," and "Circle of Life" perfectly help push forward the narrative, but they also helped push the film to awards glory at the Oscars and GRAMMYs, a colossal box office figure of nearly one billion dollars, and permanent residency in the pop culture landscape.

Of course, John and Rice can't take all the credit for Lion King's roaring success. Acclaimed composer Hans Zimmer also came on board to give an orchestral touch to the Shakespeare-inspired tale of an heir apparent, who after escaping his wicked uncle's clutches, returns years later to reclaim his rightful position. And professional singers Carmen Twillie, Sally Dworsky, and Kristle Edwards joined household names such as Nathan Lane, Whoopi Goldberg, and Rowan Atkinson in the recording booth, further driving the massive impact of the movie and its music.

Thirty years after it first enamored the Blockbuster generation, we take a look at how The Lion King still sits at the top of the Disney soundtrack throne.

It's Still The Biggest Selling Disney Soundtrack 

Forget The Jungle Book, Beauty and the Beast, or the more recent musical phenomenon that is Frozen. When it comes to pure sales, the runaway Disney soundtrack leader is The Lion King. The Rice/John/Zimmer collaboration shifted nearly five million copies domestically in 1994 alone. And its impressive worldwide total is now triple that amount.

It's a figure that also places The Lion King in the top 10 best-selling soundtracks of all time. Indeed, it's Disney's only representative in the list, which includes Prince's Purple Rain, James Horner's Titanic, and Bee Gees' Saturday Night Fever, as well as the "I Will Always Love You"-featuring The Bodyguard at No. 1. (It still has a way to go to beat John's commercial peak, though. Goodbye Yellow Brick Road has reportedly sold an astonishing 20 million since its release in 1973.)

It Made GRAMMY History 

It wasn't just at the box office where Disney firmly established its second golden age. Before the release of 1989's The Little Mermaid, the Mouse House hadn't attracted GRAMMYs attention once. By the turn of the century, however, they'd racked up a remarkable 30 nominations and 17 wins — and The Lion King played a major part in this awards dominance.

In fact, it made history by becoming the first Disney winner of both Best Male Pop Vocal Performance ("Can You Feel the Love Tonight") and Best Musical Album For Children, while "Circle of Life" picked up Best Instrumental Arrangement With Accompanying Vocals, too. The Lion King also followed in the footsteps of The Little Mermaid, Beauty and the Beast, and Aladdin by picking up the Academy Awards for both Best Original Song and Best Original Score.

It Started A Trend Of Pop Artist Composers 

While Celine Dion, Peabo Bryson and Regina Belle had all previously lent their vocals to Disney's second golden age, The Lion King was the studio's first soundtrack to give a pop star composing duties. Alongside Tim Rice, the celebrated lyricist who'd worked on Aladdin, Elton John wrote all five of the album's vocal numbers. And it was a setup that appeared to give several of his peers ideas.

Randy Newman had already picked up Academy Award nods for his composing talents on 1981's Ragtime. But it wasn't until 1995's Toy Story that the singer/songwriter began the fruitful Disney animation partnership that would also take in the Monsters Inc. and Cars franchises. In 1999, Phil Collins co-wrote and performed the entirety of Tarzan's pop soundtrack. And four years later, Carly Simon decided to get in on the Mouse House action by pulling double duty on seven songs for Piglet's Big Movie.

It Introduced Hans Zimmer To Animation 

The Prince of Egypt, The Road to El Dorado, Madagascar, and The Simpsons Movie are just a few of the hit animations to have benefitted from Hans Zimmer's Midas touch. But it wasn't until 12 years into his career that the German composer proved that his talents could be used just as effectively in the world of animation as live-action. And The Lion King was the catalyst.

Zimmer provided four instrumental pieces for the Disney phenomenon including "This Land," "To Die For," and "King of Pride Rock," also bagging two GRAMMYS, an Oscar and a Golden Globe for his efforts. And as he told Classic FM while promoting his work on the 2019 remake, he has a certain family member to thank. "My daughter was 6 years old. I'd never been able to take her to any premieres, and Dad likes to show off."

It Spawned Several Crossover Hits 

Although Beauty and the Beast and Aladdin had both spawned big Hot 100 hits (the chart-topping "Beauty and the Beast" and Dion and Bryson's "A Whole New World," respectively), The Lion King was the first Disney soundtrack to produce two. "Can You Feel The Love Tonight" reached No. 4 in the U.S. (and No.1 in Canada and France), while "Circle of Life" peaked at No. 18. Even "Hakuna Matata" saw some Billboard action, gracing both the Hot Adult Contemporary Tracks and Bubbling Under charts.

You're unlikely to ever see Elton John performing the latter – four of the film's cast members including Nathan Lane provided the vocals. But the two official singles have remained staples of both his live shows and countless compilations ever since. And they've crossed over to the Spotify age, too, with "Circle of Life" racking up103 million streams and "Can You Feel The Love Tonight" a whopping 322 million.

It Birthed Broadway's Biggest Hit 

Hitting the New Amsterdam Theatre in October 1997, The Lion King wasn't the first Disney animation to get a Broadway stage adaptation (Beauty and the Beast had opened at the Palace Theatre three years earlier) — but it remains the biggest. In fact, thanks to a run of 8,500 shows, its $1 billion-plus gross is now the highest in the theater district's history.

The Lion King has also made it around the world, picking up numerous Tony and Olivier Awards along the way. And as you'd expect, the film soundtrack's pop numbers have been just as pivotal to the theater production's success as its immersive set design, powerhouse performances, and jaw-dropping puppetry.

Those lucky enough to see the spectacle before 2010 would also have enjoyed something of a lost classic. Sung by Mufasa's hornbill advisor Zazu, the John/Rice-penned "The Morning Report" was omitted from the 1994 film but enjoyed a 13-year run in the stage show's opening act.

It Covers A Vast Range of Styles 

"The plan was that we wouldn't write the usual Broadway-style Disney score," John later wrote in his 2019 memoir, Me, about his and Rice's approach to the film. "But try and come up with pop songs that kids would like."

Indeed, while the partnership of Menken and Ashman grounded their Disney sing-alongs in the worlds of musical theater and Tin Pan Alley, the new dream team were determined to venture outside the Mouse House's comfort zone.

The Lion King OST boasts everything from carefree novelty sing-alongs ("Hakuna Matata") and emotive showstoppers ("Can You Feel The Love Tonight") to campy villain songs ("Be Prepared") and rumba rockabilly ("I Just Can't Wait To Be King"). And then there's Zimmer's instrumental pieces that typically begin with cinematic strings before building up to a Zulu choir crescendo, immediately transporting listeners to the vast landscape of Pride Rock.

It Kickstarted Elton John's Second Career 

"I sat there with a line of lyrics that began, 'When I was a young warthog,'" John told Time magazine in 1995 about the inception of The Lion King soundtrack, "and I thought, 'Has it come to this?'"

The pop legend needn't have worried. The song in question, "Hakuna Matata," might not have been his most lyrically sophisticated. But the comic interlude proved that John could put an infectious melody to literally any subject. And alongside his four other contributions, it gave him the impetus to further explore the world of musical theater.

The Brit subsequently reunited with Rice for 2000's Aida, a pop-oriented adaptation of Giuseppi Verdi's same-named opera which earned a GRAMMY for Best Musical Show Album in 2001. And then in 2005, John struck Broadway gold once again with the multiple Tony Award-winning screen-to-stage transfer of ballet drama Billy Elliot. That same year, he also teamed up with regular collaboratorBernie Taupin on the score for Lestat, a musical version of Anne Rice's The Vampire Chronicles.

It Formed Part Of The 2019 Remake 

Proof of just how well The Lion King soundtrack has endured came in 2019 when Jon Favreau's live-action remake borrowed all five of its vocal numbers. The performers were different, of course — see the likes of John Oliver on "I Just Can't Wait To Be King," Beyoncé and Donald Glover on "Can You Feel The Love Tonight," and Seth Rogen and Billy Eichner on "Hakuna Matata." But while Zimmer's reimaginings gave them an additional African flavor, the songs didn't stray too far from the source material.

But even with a starrier cast and a bunch of new compositions and covers, the new Lion King OST failed to strike the same chord with the cinemagoing public, selling just a fraction of its predecessor. Even Beyoncé's flagship single "Spirit" failed to peak any higher than No. 98 on the Hot 100. Sometimes, the originals truly are the best.

How 1995 Became A Blockbuster Year For Movie Soundtracks

Michael Sticka, President/CEO of the GRAMMY Museum, Lauryn Hill, and Jimmy Jam
(L-R): Michael Sticka, President/CEO of the GRAMMY Museum, Lauryn Hill, and Jimmy Jam

Photo: Sarah Morris/Getty Images for The Recording Academy

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6 Key Highlights From The Inaugural GRAMMY Hall of Fame Gala Honoring Lauryn Hill, Donna Summer, Atlantic Records & Many More

The Recording Academy and GRAMMY Museum celebrated music's legacy with tributes to Charley Pride, Wanda Jackson, Buena Vista Social Club, and more, featuring performances by Andra Day, The War and Treaty, and other musical greats.

GRAMMYs/May 23, 2024 - 12:34 am

Many years ago, veteran CBS journalist Anthony Mason lost his entire record collection when it disappeared in transit as he moved from one place to another. Mason was inconsolable, and you could still hear a tinge of sadness in his voice when he recounted this painful story at the inaugural GRAMMY Hall of Fame Gala, held on May 21 at the Novo Theater in Los Angeles. The evening’s eloquent and entertaining host, Mason was making a point with his personal anecdote of lost records: music is priceless, one of our most treasured possessions — both as individuals and as a community. Preserving its legacy is essential.

It’s been over 50 years since the GRAMMY Hall of Fame was established by the Recording Academy's National Trustees to honor records of deep historical significance that are at least 25 years old. This year, the Recording Academy and the GRAMMY Museum paid tribute to 10 newly inducted recordings (four albums and six singles) by artists including De La Soul, Lauryn Hill, Buena Vista Social Club, Donna Summer, Guns 'N Roses, Charley Pride, Kid Ory’s Creole Orchestra, the Doobie Brothers, William Bell, Wanda Jackson, and Atlantic Records, the annual Gala's inaugural label honoree. 

The first Hall of Fame Gala was a dazzling event presented by City National Bank, complete with guest speakers and performances by Andra Day, The War and Treaty, William Bell, Elle King, and HANSON covering some of the inducted works. The event underscored the sumptuous variety that continues to define popular music, spanning the sounds of hip-hop, rock, country, R&B, disco, and even the venerable Cuban dance music of decades past.

Here are six takeaway points from an evening marked by celebration and transcendent musical memories.

Donna Summer’s “I Feel Love” Has Lost None Of Its Edge

Studious music fans are well aware that “I Feel Love” — written by Donna Summer with visionary Italian producer Giorgio Moroder and British songwriter Pete Bellotte — is a shimmering disco gem, a futuristic precursor to the entire EDM genre. What was stunning about the Gala performance of the track by singer and actress Andra Day is how edgy and fresh the 1977 track still sounds today. Day’s ethereal reading was appropriately hypnotic, with live drums, nebulous synth textures and glorious, three-part vocal harmonies.

The Future Of American Music Is In Good Hands With The War and Treaty

Formed by husband and wife Michael Trotter Jr. and Tanya Trotter, The War and Treaty were rightfully nominated for Best New Artist at the 2024 GRAMMYs earlier this year. The duo’s electrifying combination of Americana, gospel, and rock is especially effective on a live stage, and the pair delivered a memorable rendition of Charley Pride's inducted Hall Of Fame country hit, “Kiss an Angel Good Mornin’,” recorded in 1971. The War and Treaty also received a standing ovation later in the evening for their performance of Ray Charles' classic, "What'd I Say," released in 1959.

26 Years Later, The Miseducation of Lauryn Hill Is Still Ahead Of Its Time

Released in August 1998, The Miseducation of Lauryn Hill sold more than 10 million copies in the U.S. alone, and became the first hip-hop artist to win Album Of The Year at the 1999 GRAMMYs. At the Gala, Andra Day delighted the audience — including Lauryn Hill and her family — with a soulful version of hidden track “Can’t Take My Eyes Off You,” originally a Frankie Valli hit from 1967. Day's performance was marked by brassy accents and funky bass lines, creating an unapologetically lush rendition that mirrored the sonic richness of Hill's original take.

Read more: Revisiting 'The Miseducation Of Lauryn Hill': Why The Multiple GRAMMY-Winning Record Is Still Everything 25 Years Later

Atlantic Records Transformed The Face Of Global Culture

Celebrating 75 years of inaugural label honoree Atlantic Records in the span of a few minutes loomed like an impossible task, but the Gala producers paid tribute to the legacy label well. Beginning with a short video, the event segment highlighted the miraculous roster assembled by Ahmet Ertegun and Herb Abramson that included Ray Charles, Aretha Franklin, Led Zeppelin, ABBA, Phil Collins, and Bruno Mars — to name just a few. But it was the actual performances that highlighted the label’s hold on pop culture: Ravyn Lenae’s breathy take on Roberta Flack’s “Killing Me Softly With His Song” made a case for considering the 1973 hit as one of the most vulnerable recordings of all time. On the other side of the dynamic spectrum, the epic rendition of Led Zeppelin’s “Stairway to Heaven” by alt-rock quartet Shinedown was appropriately intense.

The Wondrous Legacy Of Stax Records Should Not Be Underestimated

The home of such legendary artists as Otis Redding, The Staple Singers and Carla Thomas, Memphis-based Stax Records developed a rich, ragged sound with gospel, blues, R&B and luminous pop as its foundational pillars. Currently the subject of an HBO documentary series, "Stax: Soulsville USA," the record label defined American music during the ‘60s and ‘70s. Memphis singer/songwriter William Bell was one of its most prolific artists, and he regaled guests with a performance of his Hall of Fame inducted debut 1961 single, “You Don’t Miss Your Water.” At 84 years of age — and the winner of a Best Americana Album at the 2017 GRAMMYs — Bell was in rare form, and the band backed him up seamlessly, reproducing the sinuous organ lines of the original.

Read more: 1968: A Year Of Change For The World, Memphis & Stax Records

Future Editions Of The Gala Will Continue To Surprise And Delight

The inaugural GRAMMY Hall of Fame Gala set a high standard for future celebrations of iconic recordings. The event proved to be fertile ground for the creation of indelible music moments, showcasing the beauty and authority of music across genres and generations. Other honored Hall of Fame inducted recordings including De La Soul’s 3 Feet High And Rising, Guns’N’Roses Appetite For Destruction, the Buena Vista Social Club’s debut, Wanda Jackson’s “Let’s Have A Party,” Kid Ory’s Creole Orchestra’s “Ory’s Creole Trombone” and The Doobie Brothers’ “What A Fool Believes.”  

As we look ahead, the excitement for future Galas grows, with each event promising to honor more historic recordings, and uphold the tradition of celebrating excellence in music's rich legacy.

Explore The 2024 GRAMMY Hall Of Fame Inducted Recordings: Lauryn Hill, Guns N' Roses, De La Soul, Donna Summer & Many More

Explore The 2024 GRAMMY Hall Of Fame Inductees

The Recording Academy revealed the 2024 inducted recordings to the distinguished GRAMMY Hall Of Fame on its 50th anniversary. Graphic shows all of the 10 recordings newly inducted into the GRAMMY Hall of Fame.
The GRAMMY Museum's inaugural GRAMMY Hall Of Fame Gala and concert presented by City National Bank on May 21, 2024 at the NOVO Theater in Los Angeles.

Image courtesy of the GRAMMY Museum

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Explore The 2024 GRAMMY Hall Of Fame Inducted Recordings: Lauryn Hill, Guns N' Roses, De La Soul, Donna Summer & Many More

Learn more about the 2024 GRAMMY Hall of Fame inducted recordings, including iconic works by Buena Vista Social Club, Charley Pride, Wanda Jackson, and more. The inaugural GRAMMY Hall of Fame Gala takes place May 21 at the Novo Theater in Los Angeles.

GRAMMYs/May 21, 2024 - 12:46 am

As the GRAMMY Hall of Fame celebrates its 50th anniversary, the Recording Academy and GRAMMY Museum are proud to honor the 2024 inductees with the inaugural GRAMMY Hall of Fame Gala, presented by City National Bank, taking place Tuesday, May 21, at the Novo Theater in Los Angeles. This year, the GRAMMY Hall of Fame will induct 10 recordings: four albums and six singles.

This year's class of inductees highlights the diversity and historical significance of recordings that have shaped the musical landscape. From Lauryn Hill's groundbreaking album The Miseducation of Lauryn Hill to the electrifying Appetite For Destruction by Guns N' Roses, the selected recordings span genres and eras and showcase the lasting impact of these timeless works. Other notable inductees include De La Soul's 3 Feet High and Rising, Buena Vista Social Club's self-titled album, and singles by Donna Summer, Charley Pride, Wanda Jackson, Kid Ory's Creole Orchestra, the Doobie Brothers, and William Bell.

The GRAMMY Hall Of Fame Gala promises an unforgettable night, featuring performances that pay tribute to the newly inducted recordings. Artists such as Andra Day, William Bell, Elle King, and HANSON will bring these iconic songs to life while celebrating the rich heritage of the music honored this year. Hosted by veteran CBS journalist Anthony Mason, the evening will also recognize the contributions of Atlantic Records and feature an online auction benefiting the GRAMMY Museum.

The GRAMMY Hall Of Fame was established by the Recording Academy's National Trustees in 1973 to honor recordings of lasting qualitative or historical significance that are at least 25 years old. The inducted recordings are selected annually by a special member committee of eminent and knowledgeable professionals from all branches of the recording arts with final ratification by the Recording Academy's National Board of Trustees. There are currently 1,152 inducted recordings in the GRAMMY Hall Of Fame. Explore the full list of all the GRAMMY Hall Of Fame inducted recordings.

Join us as we honor the 2024 GRAMMY Hall of Fame inductees and celebrate the recordings that continue to resonate with listeners around the world by exploring the newly inducted works in depth below.

Tickets for the inaugural GRAMMY Hall of Fame Gala are available now.

Explore The 2024 GRAMMY Hall Of Fame Inductees

De La Soul, 3 Feet High And Rising

Tommy Boy Records, 1989

Celebrating its 35th anniversary in 2024, 3 Feet High and Rising is the debut studio album from Long Island, New York-born hip-hop trio De La Soul. Released on Tommy Boy Records in 1989 — considered one of the years during hip-hop’s "Golden Age" — and produced by legendary DJ and hip-hop producer Prince Paul, the album was a critical and commercial success. Featuring samples that draw on a vast array of genres — from doo-wop and psychedelic rock to children’s music — the album was unlike any hip-hop album that came before it. Melding inventive production with clever and humorous wordplay and samples from artists as diverse as Johnny Cash (the title of the album is derived from the Cash song "Five Feet High and Rising"), Hall & Oates, Steely Dan, and the Turtles, 3 Feet High And Rising is often considered the beginning of 1990s alternative hip-hop. De La Soul’s use of skits/comedy sketches as interludes also had a huge influence on future generations of rappers. In a review of the album for The Village Voice in 1989, music critic Robert Christgau wrote, "An inevitable development in the class history of rap, [De La Soul is] new wave to Public Enemy’s punk."

Featuring the singles "The Magic Number," "Buddy," "Eye Know," and the GRAMMY-nominated "Me Myself and I," 3 Feet High and Rising spent five weeks at No. 1 on the Billboard Top R&B/Hip-Hop Albums chart. "Buddy" is one of the album’s hallmark songs and features cameos from Q-Tip, Phife Dawg, Jungle Brothers, Queen Latifah, and Monie Love — who are collectively known as the Native Tongues (along with Black Sheep, the Beatnuts and Chi Ali). 

The platinum-certified record consistently places on lists of the greatest albums of all time, including in 2023 when Paste magazine featured it at No. 4 on their list of the Greatest Debut Albums of the 1980s. In 2010 it was selected by the Library of Congress for preservation in the National Recording Registry. 3 Feet High and Rising has influenced countless artists, from the Roots and Yasiin Bey to OutKast and Common. With the album's undeniably trailblazing release, Posdnuos, Trugoy the Dove and Pasemaster Mase of De La Soul have cemented themselves as one of the best rap groups of all time. 



Kelvin "Posdnuos" Mercer – Artist/Songwriter

David "Trugoy the Dove" Jolicoeur – Artist/Songwriter

Vincent "Maseo" Mason – Artist/Songwriter

"Prince Paul" Huston – Producer/Engineer/Songwriter

Alan Watts – Engineer/Mixer


Guns N’ Roses, Appetite For Destruction

Geffen, 1987

Guns N’ Roses’ Appetite For Destruction LP will go down in history as one of the most iconic and influential rock albums ever made. But when it was released in the summer of 1987, Appetite didn’t initially garner much mainstream attention. Once the band hit the road in support of the album, singles "Welcome to the Jungle", "Paradise City" and "Sweet Child O' Mine" started getting significant airplay. By the summer of 1988, the band found themselves with a No. 1 album on the Billboard 200. Appetite For Destruction became the best-selling album of all time in the U.S. and the best-selling debut album. In a review for Pitchfork, Maura Johnston said, "The debut from Guns N' Roses was a watershed moment in '80s rock that chronicled every vice of Los Angeles led by the lye-voiced Axl Rose and a legendary, switchblade-sharp band."


Produced by Mike Clink, Appetite for Destruction is widely considered a near perfect album where the deep cuts are just as good as the hits. From the opening roar of "Welcome to the Jungle" and the iconic "Sweet Child O’ Mine," to "It's So Easy," "Nightrain," "You're Crazy," and "Mr. Brownstone," the album is an artistic triumph in sound, songwriting and production, earning its place at No. 62 on Rolling Stone’s list of the 500 Greatest Albums of All Time. In many ways, the album changed the world. In a 2018 article for Revolver, Dan Epstein noted that Appetite ushered in a new wave of bands like the Black Crowes with its "blues-based music played by an unflashy yet hard-swinging rhythm section, a rock-solid rhythm guitarist, a flashy-but-soulful lead player and a charismatic vocalist who exuded danger and decadence." It also paved the way for Nirvana and the arrival of grunge as rock fans’ "ears were primed for more raw, real and rebellious hard rock." Now, nearly 40 years since its release, Appetite for Destruction has sold over 30 million copies worldwide and is without a doubt one of the most successful debut albums of all time.

Axl Rose – Artist/Songwriter

Slash – Artist/Songwriter

Duff McKagan – Artist/Songwriter

Steven Adler – Artist/Songwriter

Izzy Stradlin – Artist/Songwriter

Mike Clink – Engineer/Producer

Steve Thompson – Mixer


Buena Vista Social Club, Buena Vista Social Club

World Circuit/Nonesuch, 1997 

In 1996, a group of veteran Cuban musicians was assembled to record an album that would pay tribute to Cuba’s "musical golden age" of the 1930s to 1950s. Showcasing styles of music that were popular at the time, such as son, bolero and danzón, the group became known as the Buena Vista Social Club, named after a 1940s-era members-only music club that was located in the Buenavista quarter of Havana. Organized by British music producer and executive Nick Gold and produced by GRAMMY-winning American guitarist Ry Cooder and Cuban director Juan de Marcos Gonzalez, Buena Vista Social Club recorded their eponymous 14-track debut album in just six days. Released in September 1997, the album featured 20 of Cuba’s most prominent musicians, including vocalist Ibrahim Ferrer (1927–2005), pianist Rubén González (1919–2003), and vocalist/guitarist Compay Segundo (1907–2003). Buena Vista Social Club was an instant hit with tracks such as the four-chord song "Chan Chan," written by Segundo, and a rendition of the romantic criolla "La Bayamesa." Everything fell into place at the right time for this album — from the chemistry between the musicians to the rich music history of Havana — to create one of the moments that can only be described as pure musical magic. Buena Vista Social Club sold more than 1 million copies, earned a spot on the Billboard 200, and won the GRAMMY Award for Best Tropical Latin Performance. 

In 1998 the ensemble held performances in Amsterdam and New York that were captured on film by German director Wim Wenders. Along with interviews with musicians that were conducted in Havana, a documentary, titled Buena Vista Social Club, was released in 1999 and earned an Oscar nomination for Best Documentary (Feature). In 2003, Buena Vista Social Club was named on Rolling Stone’s list of the 500 Greatest Albums of All Time, and in 2022, it was selected by the Library of Congress for preservation in the National Recording Registry. Further cementing its place in the music history books, Buena Vista Social Club was recognized by Guinness World Records as the best-selling album of world music with more than 8 million copies sold worldwide.

Ry Cooder – Leader/Producer

Juan Demarcos Gonzalez – Director

Larry Hirsch – Engineer

Jerry Boys – Engineer/Mixer


Donna Summer, "I Feel Love"

Casablanca, 1977

When the Queen of Disco, Donna Summer, released her hit single "I Feel Love" in 1977, it propelled Brian Eno (who was in the studio with David Bowie at the time) to rush in and declare, "This single is going to change the sound of club music for the next 15 years." Now, more than 40 years after its release, "I Feel Love" definitely changed something – it changed pop music forever. Recorded with producers Giorgio Moroder and Pete Bellotte, the goal was to create a song that signified the future — and it did. "I Feel Love" was the first song to pair repetitive synthesizer loops with four-on the-floor bass drum and an off-beat hi-hat, helping to forge the path for synth pop, New Romantics, Italo disco, Hi-NRG, electro, house, techno, and more. Along the way, the global smash influenced countless artists, including Blondie, who became one of the first punk-associated groups to embrace disco, releasing "Heart of Glass" the following year.

Upon its release, "I Feel Love" reached No. 1 in several countries, including the UK, and peaked in the Top 10 on the Billboard 200. In 2012, the Library of Congress selected it for preservation in the National Recording Registry. Many of today’s biggest artists have paid tribute to Summer’s groundbreaking track with covers or samples, including Madonna, Red Hot Chili Peppers, Bronski Beat, and Beyoncé, the latter of whom samples "I Feel Love" on "Summer Renaissance," the closing track on her 2022 GRAMMY-winning album Renaissance. To this day, "I Feel Love" is considered the No. 1 greatest dance song of all time (Rolling Stone).

The song's impact on the LGBTQ+ community is equally as great as its impact on the dance community. GRAMMY-winning artist Sam Smith, who released a cover of "I Feel Love" in 2019, wrote on X: "As a queer person, ‘I Feel Love’ has followed me to every dance floor in every queer space from the minute I started clubbing. This song, to me, is an anthem of our community." In 2023, Pride Life Global ranked the track as one of the best gay anthems. 

Donna Summer – Artist/Songwriter

Giorgio Moroder – Producer/Songwriter

Pete Bellotte – Producer/Songwriter

Jürgen Koppers – Artist/Songwriter


Charley Pride, "Kiss An Angel Good Mornin'"

RCA Victor, 1971

"Kiss An Angel Good Mornin’" is GRAMMY winner Charley Pride’s biggest hit of his career. Released in 1971 as the first single from his GRAMMY-winning album Charley Pride Sings Heart Songs, the song peaked at No. 21 on the Billboard Hot 100, his only single to break the Top 40. Considered one of Pride’s signature songs, the track marked his eighth single to top the Billboard Hot Country Songs chart and became one of the biggest country hits of the decade. "Kiss An Angel Good Mornin’" was produced by Cowboy Jack Clement (Waylon Jennings, Willie Nelson, Dolly Parton) and written by Ben Peters, who got the inspiration for the song after he and his wife Jackie welcomed their daughter Angela. It’s a song purely about love and a slight departure from Pride’s other hits, such as "I’m Just Me" and "I’d Rather Love You." In a 2021 article for CMT, Marcus K. Dowling writes, "The achievement of conveying life's simple joys with a magnificent voice over complex countrypolitan rhythms and melodies — instead of discussing complex emotions over those same types of tracks — is the greatest victory of Pride's signature song." The single also earned Pride a GRAMMY nomination for Best Country Vocal Performance, Male. Since its release, "Kiss An Angel Good Mornin’" has been covered by countless artists, including George Jones, Conway Twitty, Gene Stuart, and Roy Clark — all of whom released the song in 1972 — along with Percy Sledge, Alan Jackson and Heather Myles. 

When he signed with RCA in 1964, Pride became the first Black country music singer to get a major record label deal. He went on to have 29 No. 1 hits on the Billboard Hot Country Songs chart, selling more than 70 million records. When it comes to sales for RCA, he is second only to Elvis Presley. Though he passed away in December 2020, Pride’s impact on country music, especially Black country music artists, remains. His influence can be heard in the music of up-and-coming artists such as Brittney Spencer, Mickey Guyton and Shy Carter. As country music’s first Black superstar, Pride and his warm baritone captivated audiences, broke racial and cultural barriers, and earned him an induction into the Grand Ole Opry in 1993.

Charley Pride – Artist

Jack Clement – Producer

Ben Peters – Songwriter

Ray Butts – Artist

Mike Shockley – Producer


Wanda Jackson, "Let's Have A Party"

Capitol, 1960

Originally recorded by Elvis Presley for the 1957 musical/romance film Loving You, "Let’s Have a Party" was recorded by Wanda Jackson and released on her eponymous debut album in 1958. After Jackson’s version of "Let’s Have a Party" was discovered by an Iowa disc jockey and received an increase in interest from radio listeners, Capitol Records encouraged Jackson to release the song as a single two years later in 1960. The song became a hit, making the Top 40 in the U.S. and topping the chart in the U.K. The success of "Let’s Have a Party" inspired Jackson to rename her band the Party Timers and Capitol subsequently released the compilation album, Rockin’ With Wanda that same year. As one of the first women to have a career in rock and roll, Jackson recorded a series of singles in the 1950s that helped earn her the nickname of The Queen of Rockabilly. It was Elvis, with whom she toured with in 1955, who encouraged her to record in the rockabilly style. 

 In 2005, Jackson received the Fellowship Award from the National Endowment for the Arts, becoming the first female country and rock artist to receive the honor. In 2009, after several artists advocated on her behalf — including Elvis Costello, Bruce Springsteen and Cyndi Lauper — Jackson was inducted into the Rock and Roll Hall of Fame. Lauper has cited Jackson as one of her earliest influences, recording a cover of "Funnel of Love" for her 2016 album Detour. Other artists who have listed Jackson as an influence include Adele and Elle King. 

 Lauper told Rolling Stone in 2016: "I think for country you look at Patsy Cline or Loretta Lynn who played a guitar, or sang the songs she wrote, and Dolly Parton. But Wanda Jackson was a rocker, and so, of course, I was going to listen and learn from her because I was a rocker and that's what we did."

Jackson is also a member of the Rockabilly Hall of Fame, the Iowa Rock and Roll Hall of Fame, the Oklahoma Hall of Fame, and the Oklahoma Country Music Hall of Fame. In 2010, she was the recipient of the Lifetime Achievement Award from the Americana Music Honors. 



Wanda Jackson – Artist

Ken Nelson – Producer/Engineer

Jesse Mae Robinson – Songwriter


Kid Ory’s Creole Orchestra (As Spike’s Seven Pods Of Pepper Orchestra), "Ory's Creole Trombone"

Nordskog, 1922 

Louisiana-born composer, trombonist and bandleader Edward "Kid" Ory put New Orleans jazz on the map. Kid Ory’s 1922 hit "Ory’s Creole Trombone" was the first recording of Black/Creole New Orleans jazz. Recorded in Los Angeles, the single features Ory on trombone, along with Thomas "Papa Mutt" Carey on cornet, Oliver "Dink" Johnson on clarinet, Fred Washington on piano, Ed "Montudie" Garland on bass, and Ben Borders on drums. Upon release, the entire first pressing of 5,000 records sold out, leading to gigs for Ory and his band down the California coast in San Diego and Tijuana.

Born on Christmas Day in LaPlace, Louisiana, Ory led a band early on in his career in New Orleans that featured music legends such as Joe "King" Oliver, Johnny Dodds, Johnny St. Cyr and, later, Louis Armstrong. Ory relocated to Los Angeles after the prohibition of alcohol in 1919 changed the landscape for jazz musicians performing in New Orleans nightclubs. Many of the musicians who played on his L.A. sessions had also recently relocated from New Orleans. After moving to Chicago in 1925, where jazz was just starting to gain traction, Ory worked and recorded with artists such as Armstrong, Jelly Roll Morton, Bessie Smith, Ma Rainey, and many others. He was an original member of Louis Armstrong and His Hot Five, with whom he would later re-record "Ory’s Creole Trombone" in 1927. As demonstrated on "Ory's Creole Trombone," Ory was an early adapter of the glissando technique, now a central element of New Orleans jazz. While he might not have been the first to play a glissando on a trombone, he was certainly the most influential.

In 2005, "Ory’s Creole Trombone" was selected by the Library of Congress for preservation in the National Recording Registry. In an essay written upon the recording's selection by the Library of Congress, GRAMMY-nominated musician and jazz historian David Sager wrote, "‘Ory’s Creole Trombone’ offers a rare glimpse into the origins of New Orleans jazz and a remarkable insight to this music’s durability and universal appeal." A pioneering record and one of the most essential jazz recordings, "Ory’s Creole Trombone" helped define the New Orleans style of jazz and served as the prototype for future musicians of that genre.

Edward "Kid" Ory – Artist/Songwriter


Lauryn Hill, The Miseducation Of Lauryn Hill

Ruffhouse Records / Columbia Records, 1998 

Widely considered one of the greatest albums of all time, The Miseducation of Lauryn Hill is the debut album and only solo studio set released by GRAMMY-winning singer and rapper Lauryn Hill. The album debuted at No. 1 on the Billboard 200 and sold more than 422,000 copies in its first week, breaking the record for first-week sales by a female artist. Credited for bringing hip-hop and neo-soul to the forefront of popular music, the album earned Hill 10 GRAMMY nominations, which now has her tied with Beyoncé for the Guinness World Record for most GRAMMY nominations in a single year for a female artist. Hill turned half of those nominations into wins, taking home the awards for Album Of The Year, Best New Artist, Best R&B Album, and Best Rhythm & Blues Song and Best Female R&B Vocal Performance for "Doo Wop (That Thing)." With lyrics that present arguably the most poignant of female perspectives on life, love and relationships, while also touching on the turmoil within her former group the Fugees, three of the album’s singles — "Everything Is Everything, "Ex-Factor" and "Doo Wop (That Thing)" — peaked in the Top 40 on the Billboard 200, with the latter claiming the top spot. 

The Miseducation of Lauryn Hill was partially recorded at Bob Marley’s studio Tuff Gong Studios in Kingston, Jamaica, while Hill was pregnant with her first son, Zion. Speaking about that time, Hill told Rolling Stone, "When some women are pregnant, their hair and their nails grow, but for me it was my mind and ability to create. I had the desire to write in a capacity that I hadn't done in a while. I don't know if it's a hormonal or emotional thing ... I was very in touch with my feelings at the time." The album’s track "To Zion," which features Carlos Santana on guitar, is a song about her son. 

In 1999, Hill became the first hip-hop artist to appear on the cover of TIME magazine. Now, more than 25 years since its release and with more than 20 million copies sold, The Miseducation of Lauryn Hill continues to be one of the most influential albums ever made. 

Lauryn Hill – Artist/Producer/Songwriter

Gordon "Commissioner Gordon" Williams – Engineer

Tony Prendatt – Engineer


The Doobie Brothers, "What A Fool Believes"

Warner Bros. Records, 1978

One of the few non-disco songs to hit No. 1 on the Billboard Hot 100 in 1979, the Doobie Brothers’ "What a Fool Believes" is featured on their 1978 eighth studio album, the Album Of The Year-nominated Minute by Minute. Co-written by Michael McDonald and Kenny Loggins, "What a Fool Believes" won the Doobie Brothers two GRAMMY Awards, including Record Of The Year. Stylistically speaking, the song is unlike anything the Doobie Brothers had done before.

 

"What a Fool Believes" started off as a piano piece idea McDonald had. Producer Ted Templeman heard what he was working on and encouraged him to put some lyrics down with a co-writer. It turns out that McDonald and Loggins had talked about working together for some time. When they got together at McDonald’s house in Los Angeles to write, Loggins had already come up with the song’s hook — "she had a place in his life." Telling the story of a man who attempts to rekindle a romantic relationship, "What a Fool Believes" is about the lies we sometimes tell ourselves about past romances. When the protagonist in the song attempts to reconnect with an old love, he realizes that he barely registers in the woman’s mind. The Doobie Brothers and Templeman recorded numerous takes of its rhythm track over five or six days, but they couldn’t land on a version they all liked. Templeman eventually decided to cut up the master tape of a recording into sections. "In those days when you cut the tape, you’re over – that’s the master of your recording," recalled Templeman in an interview with The Guardian in 2022. "But we got lucky and I put it together on the spot." McDonald completed the rest of the arrangement, adding keyboards, vocals and strings. Before it was released by the Doobie Brothers, Loggins released his own jazzier and experimental version of the song on his 1978 album Nightwatch. 

"What a Fool Believes" was rated as the Doobie Brothers’ all-time greatest song by Ultimate Classic Rock critic Michael Gallucci and listed on Rolling Stone’s Top 500 Greatest Songs of All Time list. Today, "What a Fool Believes" is considered a "foundational yacht rock classic," as Tom Breihan wrote in a review for Stereogum in 2020.

Jeff "Skunk" Baxter – Artist

John Hartman – Artist

Keith Knudsen – Artist

Michael McDonald – Artist/Songwriter

Tiran Porter – Artist

Patrick Simmons – Artist

Ted Templeman – Producer

Kenny Loggins – Songwriter

Donn Lander – Engineer


William Bell, "You Don’t Miss Your Water"

Stax Records, 1961

As the first male solo act signed to the legendary Stax Records, Memphis-born GRAMMY-winning singer/songwriter William Bell released his solo debut with the melancholy "You Don’t Miss Your Water" in 1961. Recorded as a demo with members of the Mar-Keys and MG’s, "You Don’t Miss Your Water" was originally released as a B-side of his single "Formula of Love" and gained steam after DJs flipped the record over and started playing "You Don’t Miss Your Water." The song became the first hit for Stax Records, charting on the Billboard Hot 100 in 1962. It was later released on Bell’s 1967 album The Soul of a Bell and remains his best-known recording to this day.

 "The message is universal: appreciate what you have," said Bell in a 2022 interview with Uncut magazine. "Back then I didn’t realize what I was writing, but after I got a little older, I realized that although the world changes physically, every generation has the same wishes, desires and aspirations. If you just write truthfully about life and write things you think will help people, it will resonate."

And indeed, the song did resonate. More than six decades since its release, "You Don’t Miss Your Water" has gone on to become a Southern classic. Countless artists have recorded covers of it, including Otis Redding, Percy Sledge, Taj Mahal, Jerry Lee Lewis, the Black Crowes, Sturgill Simpson, Peter Tosh & the Wailers, Brian Eno, and, most notably, the Byrds, on their seminal 1968 country-rock album Sweetheart of the Rodeo.

In 2013, Bell performed "You Don’t Miss Your Water" before President Barack Obama during "In Performance at the White House: Memphis Soul." The following year, Bell was featured in the documentary Take Me to the River, reflecting upon American music's soul. He was inducted into the Memphis Music Hall of Fame in 2016. In 2020, the National Endowment for the Arts celebrated him as a Heritage Fellow. Bell was instrumental in ushering in the Southern soul music genre, which is now known as the globally influential "Memphis Sound."

William Bell – Artist/Songwriter

Chips Moman – Producer

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