meta-scriptWho Are The Top GRAMMY Awards Winners Of All Time? Who Has The Most GRAMMYs? | GRAMMY.com
Collage image featuring photos of (L-R): Aretha Franklin, Quincy Jones, Stevie Wonder, Beyoncé, Bruce Springsteen, Jay-Z, Paul McCartney
(L-R): Aretha Franklin, Quincy Jones, Stevie Wonder, Beyoncé, Bruce Springsteen, Jay-Z, Paul McCartney

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Who Are The Top GRAMMY Awards Winners Of All Time? Who Has The Most GRAMMYs?

From Georg Solti to U2 and Beyoncé, these are the top 22 winners in GRAMMY history through the 64th GRAMMY Awards.

GRAMMYs/May 15, 2017 - 01:36 pm

Updated Sunday, Feb. 4, 2024, to reflect the results of the 2024 GRAMMYs, officially known as the 66th Annual GRAMMY Awards.

With a total of 86 categories celebrating the best of pop, rock, R&B, jazz, rap, Latin, classical, Musical Theater, and more, thousands of music creators have been recognized by the GRAMMYs since its inception in 1957.

The prestige of one GRAMMY win can catapult an artist's career to the next level, but there are some who have amassed more than 10, 20 and even 30 career GRAMMY wins. Ever wonder who these elite GRAMMY winners are? Look no further. We've compiled a list of the top GRAMMY winners of all time.

Beyoncé, 32

Beyoncé made history at the 2023 GRAMMYs by becoming the artist with the most GRAMMY wins — ever — when she won the GRAMMY for Best Dance/Electronic Music Album for her 2022 album, Renaissance. Beyoncé now counts 32 total GRAMMY wins.

Georg Solti, 31

Not only does the late conductor Georg Solti hold the record for the most GRAMMY Awards won in any genre with 31, he has the most wins in the Classical Field. Solti's last win was for Best Opera Recording for Wagner: Die Meistersinger Von Nurnberg for 1997.

Quincy Jones, 28

Quincy Jones' GRAMMY career as an artist/arranger/producer spans more than 10 Fields, from Children's to Jazz, Pop, Rap, R&B, and more, including his recent win for Best Music Film at the 61st GRAMMY Awards. He is also one of only 15 artists to receive the GRAMMY Legend Award.

Alison Krauss, 27

Alison Krauss holds the distinction as the female artist with the most awards in the Country Field. Krauss shares 14 of her wins with her backing band of nearly 30 years, Union Station.

Chick Corea, 27

Musician/composer Chick Corea is currently the artist with the most jazz GRAMMY wins, counting 27 GRAMMY Awards as a solo artist. Corea's Latin jazz piano stylings, compositions and arrangements have also earned him four Latin GRAMMY Awards.

Pierre Boulez, 26

Pierre Boulez earned his GRAMMYs primarily conducting the work of renowned 20th century composers such as Bela Bartók, Alban Berg and Claude Debussy. Boulez received The Recording Academy's Lifetime Achievement Award in 2015.

Vladimir Horowitz, 25

The late virtuoso pianist/composer Vladimir Horowitz earned GRAMMYs in every decade from the 1960s to the 1990s. He was also awarded a Recording Academy Lifetime Achievement Award in 1990 and has five recordings in the GRAMMY Hall Of Fame.

Stevie Wonder, 25

No stranger to the GRAMMY stage, Stevie Wonder is the only artist in GRAMMY history to win five or more awards on three separate nights. His career and GRAMMY history were celebrated on the television special "Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute" in 2015.

John Williams, 25

John Williams has cashed in on cinema soundtrack classics such as Jaws, Star Wars and Schindler's List for a place among the GRAMMY elite. Of his 24 GRAMMY wins, Williams has earned 12 in the Music For Visual Media Field and six for his work on the Star Wars franchise. His most recent win came at the 60th GRAMMYs for Best Arrangement, Instrumental Or A Cappella for "Escapades For Alto Saxophone And Orchestra From Catch Me If You Can."

Jay-Z, 24

Tied with Kanye West for the most GRAMMY wins by a rap artist, Jay-Z has wins in each of the four Rap Field categories. Hova's blueprint for GRAMMY success includes collaborations with other artists such as Beyoncé ("Drunk In Love"), Rihanna ("Umbrella") and Justin Timberlake ("Holy Grail").

Kanye West, 24

Kanye West is neck-and-neck with Jay Z for top GRAMMY-winning rap artist, but he has often competed against himself. For example, he had two nominations (and a win) each for Best Rap Performance and Best Rap Song for 2012, Best Rap Album for 2011, and Best Rap Song and Best Pop Performance By A Duo Or Group for 2007.

David Frost, 22

A giant in the Classical Field, renowned producer David Frost has won the coveted Classical Producer Of The Year GRAMMY seven times. He's also won three GRAMMYs each in the Best Classical Engineered Recording and Best Opera Recording categories over the years. Most recently, he took home two GRAMMYs at the 2023 GRAMMYs: Best Classical Solo Vocal Album and Best Opera Recording.

U2, 22

Led by frontman Bono, U2 hold the record for most GRAMMY wins by a rock act. Their most recent wins came in 2005, including Album Of The Year for How To Dismantle An Atomic Bomb.

Vince Gill, 22

Singer/songwriter Vince Gill has earned 20 of his GRAMMY wins in the Country Field, the most of any artist. He earned his first GRAMMY outside of the Country Field in 2017 for Best American Roots Song for writing the Time Jumpers' "Kid Sister." He also holds the distinction of garnering the most GRAMMYs in the 1990s (14), winning one or more GRAMMYs in every year of the decade.

Serban Ghenea, 21

A leading mix engineer, Serban Ghenea is a 21-time GRAMMY winner and three-time Latin GRAMMY winner. Throughout his extensive career, he’s mixed some of the biggest songs from legendary artists across a vast array of genres, including songs by Michael Jackson, Janet Jackson, Beyoncé, Justin Timberlake, Usher, Bjork, Faith Hill, Carrie Underwood, Beck, and many others. As of January 2024, Ghenea has mixed over 225 No. 1 singles and albums, including hits for Taylor Swift, Bruno Mars, Kelly Clarkson, Katy Perry, Ke$ha, Britney Spears, Black Eyes Peas, and many more.

Henry Mancini, 20

The composer behind TV and film themes such as "Peter Gunn" and "The Pink Panther Theme," the late Henry Mancini made early GRAMMY history with a then-record five wins in one night for 1961. Mancini's popular "Moon River" and later "Days Of Wine And Roses" each won both Record and Song Of The Year.

Pat Metheny, 20

Pat Metheny is all that jazz. The guitarist earned his first GRAMMY for Best Jazz Fusion Performance, Vocal Or Instrumental for Offramp for 1982. He has earned GRAMMYs in four consecutive decades since, most recently in 2012 as the Pat Metheny Unity Band for Unity Band for Best Jazz Instrumental Album.

Al Schmitt, 20

Working on projects by artists Ray Charles, Natalie Cole, Chick Corea, and Paul McCartney, among others, Al Schmitt won his 20 GRAMMYs as an engineer/mixer. Schmitt has also earned two Latin GRAMMYs and he received the Recording Academy Trustees Award in 2006.

Bruce Springsteen, 20

In addition to GRAMMY wins in every decade from the '80s through '00s, Bruce Springsteen has seen his albums Born To Run and Born In The U.S.A. inducted into the GRAMMY Hall Of Fame. In 2013 the quintessential rocker was honored as the MusiCares Person of the Year.

Tony Bennett, 19

An artist who truly seems to get better with age, Tony Bennett has won nine of his 18 career GRAMMYs since 2002. Including his 2015 win with Bill Charlap for The Silver Lining: The Songs Of Jerome Kern, Bennett has earned Best Traditional Pop Vocal Album honors 13 times, the most in the category's history.

Aretha Franklin, 18

Aretha Franklin reigns as the queen of R&B. She has 18 GRAMMY wins to date, five recordings in the GRAMMY Hall Of Fame, a Recording Academy Lifetime Achievement Award (1994) and a GRAMMY Legend Award (1991).

Yo-Yo Ma, 19

Cellist Yo-Yo Ma has strung together 18 GRAMMY wins, earning his first in 1984 for Bach: The Unaccompanied Cello Suites. Since then he's won GRAMMYs in the Folk and World Music Fields, the latter of which came for 2016 for the Best World Music Album-winning project with his Silk Road Ensemble, Sing Me Home.

Paul McCartney, 18

Winning Best New Artist with the Beatles for 1964, Paul McCartney has gone on to earn 18 career GRAMMYs as an artist, composer and arranger. While most of McCartney's GRAMMY history lies in pop and rock, he earned two 58th GRAMMY nominations for Best Rap Song and Best Rap Performance for Kanye West's "All Day" with Theophilus London and Allan Kingdom.

Jimmy Sturr, 18

Out of the 25 GRAMMYs ever awarded for polka, Jimmy Sturr earned 18 of them, including 13 wins for Best Polka Album. He will likely remain the highest GRAMMY-winning polka artist in history (given the discontinuation of the category), and was "Born To Polka."

Beyoncé accepts the Innovator Award onstage during the 2024 iHeartRadio Music Awards at Dolby Theatre in Los Angeles, California, on Monday, April 1.
Beyoncé accepts the Innovator Award onstage during the 2024 iHeartRadio Music Awards at Dolby Theatre in Los Angeles, California, on Monday, April 1.

Photo: Kevin Winter/Getty Images for iHeartRadio

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Beyond Country: All The Genres Beyoncé Explores On 'Cowboy Carter'

On 'COWBOY CARTER,' Beyoncé is free. Her eighth studio album is an unbridled exploration of musical genres — from country to opera and R&B — that celebrates the fluidity of music and her Texas roots.

GRAMMYs/Apr 3, 2024 - 08:50 pm

"Genres are a funny little concept, aren't they? In theory, they have a simple definition that's easy to understand. But in practice, well, some may feel confined."

With those words, spoken on "SPAGHETTII" by Linda Martell — the first commercially successful Black female artist in country music and the first to play the Grand Ole Opry solo — Beyoncé provides a proxy response to her original call on Instagram 10 days before COWBOY CARTER was released: "This ain’t a Country album. This is a “Beyoncé” album." 

She delivered on that promise with intent. Through a mix of homage and innovation, Beyoncé's latest is a 27-track testament to her boundless musicality and draws  from a rich aural palette. In addition to its country leanings, COWBOY CARTER includes everything from the soulful depths of gospel to the intricate layers of opera. 

Beyoncé's stance is clear: she's not here to fit into a box. From the heartfelt tribute in "BLACKBIIRD" to the genre-blurring tracks like "YA YA," Beyoncé uses her platform to elevate the conversation around genre, culture, and history. She doesn't claim country music; she illuminates its roots and wings, celebrating the Black artists who've shaped its essence.

The collective album proves no genre was created or remains in isolation. It's a concept stoked in the words of the opening track, "AMERIICAN REQUIEM" when Beyonce reflects, "Nothing really ends / For things to stay the same they have to change again." For country, and all popular genres of music to exist they have to evolve. No sound ever stays the same.

COWBOY CARTER's narrative arc, from "AMERICAN REQUIEM" to "AMEN," is a journey through American music's heart and soul, paying tribute to its origins while charting a path forward. This album isn't just an exploration of musical heritage; it's an act of freedom and a declaration of the multifaceted influence of Black culture on American pop culture.

Here's a closer look at some of some of the musical genres touched on in act ii, the second release of an anticipated trilogy by Beyoncé, the most GRAMMY-winning artist of all-time: 

Country 

Before COWBOY CARTER was even released, Beyoncé sparked critical discussion over the role of herself and all Black artists in country music. Yet COWBOY CARTER doesn't stake a claim on country music. Rather, it spotlights the genre through collaborations with legends and modern icons, while championing the message that country music, like all popular American music and culture, has always been built on the labor and love of Black lives. 

It's a reckoning acknowledged not only by Beyoncé's personal connection to country music growing up in Texas, but the role Black artists have played in country music rooted in gospel, blues, and folk music. 

Enter The World Of Beyoncé

Country legends, Dolly Parton ("DOLLY P", "JOLENE," and "TYRANT"), Willie Nelson ("SMOKE HOUR" and "SMOKE HOUR II"), and Martell ("SPAGHETTII and "THE LINDA MARTELL SHOW") serve mainly as spoken-word collaborators, becoming MCs for Queen Bey. Some of the most prolific country music legends receiving her in a space where she has been made to feel unwelcome in music (most notably with the racism surrounding her 2016 CMA performance of "Daddy Lessons" with the Dixie Chicks) provides a prolific release of industry levies. Martell, a woman who trod the dark country road before Bey, finally getting her much-deserved dues appears as an almost pre-ordained and poetic act of justice. 

"BLACKBIIRD," a version of the Beatles' civil rights era song of encouragement and hope for the struggle of Black women is led softly by Beyoncé, backed by a quartet of Black female contemporary country songbirds: Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts. 

Beyoncé holds space for others, using the power of her star to shine a light on those around her. These inclusions rebuke nay-sayers who quipped pre-release that she was stealing attention from other Black country artists. It also flies in the faces that shunned and discriminated against her, serving as an example of how to do better. The reality that Beyoncé wasn't stealing a spotlight, but building a stage for fellow artists, is a case study in how success for one begets success for others. 

Read more: 8 Country Crossover Artists You Should Know: Ray Charles, The Beastie Boys, Cyndi Lauper & More

Gospel, Blues, & Folk (American Roots)

As is Beyoncé's way, she mounts a case for country music with evidence to back up her testimony. She meanders a course through a sequence of styles that serve as the genre's foundation: gospel, blues, and folk music.

"AMERIICAN REQUIEM" and "AMEN" bookend the album with gospel-inspired lyrics and choir vocals. The opener sets up a reflective sermon buoyed by  the sounds of a reverberating church organ, while the closer, with its introspective lyrics, pleads for mercy and redemption. The main verse on "AMEN", "This house was built with blood and bone/ The statues they made were beautiful/ But they were lies of stone," is complemented by a blend of piano, and choral harmonies. 

Hymnal references are interlaced throughout the album, particularly in songs like "II HANDS II HEAVEN" and in the lyrical nuances on "JUST FOR FUN." In the later track, Beyoncé's voice soars with gratitude in a powerful delivery of the lines, "Time heals everything / I don't need anything / Hallelujah, I pray to her." 

The gospel-inspired, blues-based "16 CARRIAGES" reflects the rich history of country songs borrowing from the blues while simultaneously calling back to songs sung by field laborers in the colonial American South. "Sixteen dollars, workin' all day/ Ain't got time to waste, I got art to make" serves as the exhausted plea of an artist working tirelessly long hours in dedication to a better life. 

Rhiannon Giddens, a celebrated musician-scholar, two-time GRAMMY winner, and Pulitzer Prize recipient, infuses "TEXAS HOLD 'EM" with her profound understanding of American folk, country, and blues. She plays the viola and banjo, the latter tracing its origins to Sub-Saharan West Africa and the lutes of ancient Egypt. Through her skilled plucking and bending of the strings, Giddens bridges the rich musical heritage of Africa and the South with the soul of country, blues, and folk music.

Pop, Funk, Soul & Rock 'n' Roll 

All in, Beyoncé is a pop star who is wrestling with labels placed on her 27-year career in COWBOY CARTER. Fittingly, she brings in two other pop artists known for swimming in the brackish water between country and pop, Miley Cyrus and Post Malone. Her intentional inclusion of two artists who have blurred genres without much cross-examination begs the question, Why should Beyoncé's sound be segregated to a different realm? 

On "YA YA" Linda Martell returns as the listener's sonic sentinel, introducing the track like a lesson plan: "This particular tune stretches across a range of genres. And that’s what makes it a unique listening experience." The tune sinks into the strummed chords of Nancy Sinatra's "These Boots Are Made for Walkin'" before leaping into a fiery dance track that features reimagined lyrics from the Beach Boys, with soulful vocal flourishes and breaks that show the throughline connection between '60s era rock, funk, and pop music.

Robert Randolph lends his hands on "16 CARRIAGES" with a funk-infused grapple on his pedal-steel guitar. It's a style he honed through his early years touring and recording with his family band and later in his career as an in-demand collaborator working with names including the Allman Brothers, and Norah Jones

The lesson is solidified as the album transitions into an interlude on "OH LOUISIANA," featuring a sped-up sample of a classic track by Chuck Berry. This moment emphasizes the pop superstar's nod to civil rights era music history, spotlighting a controversial artist celebrated for his pioneering contributions to rock 'n' roll. (It's a part of music history Beyoncé knows well, after starring as Etta James in the 2008 film Cadillac Records, a veiled biopic of the legendary Chicago label Chess Records.)

Classical & Opera

Opera was missing from many listeners' Beyoncé Bingo card, but didn't surprise those that know her background. Beyoncé was trained for over a decade starting at an early age by her voice teacher David Lee Brewer, a retired opera singer who once lived with the Knowles family. 

COWBOY CARTER gives sing-along fans a 101 opera class with "DAUGHTER." In Italian, Beyoncé sings passages from the 1783 Italian opera "Caro Mio Ben," composed by Giuseppe Tommaso Giovanni Giordani. The aria is a classic piece of vocal training that fittingly shows off her full range — taking us back to the earliest days of her vocal teachings.

Hip-Hop & R&B

Midway through the album on "SPAGHETTII" Beyoncé announces, "I ain't no regular singer, now come get everythin' you came for," landing right where expectations have confined her: in the throes of a romping beat, experimenting with sounds that blend hip-hop with R&B and soul. The track notably highlights the talent of Nigerian American singer/rapper Shaboozey, who also shows up to the rodeo on "SWEET HONEY BUCKIN'" brandishing his unique mix of hip-hop, folk-pop, and country music. 

Beyoncé worked with longtime collaborator Raphael Saadiq on this album, a career legend in the R&B industry, who lends his mark to several tracks on which he wrote, produced, and played multiple instruments. Beyoncé also utilizes the Louisiana songwriter Willie Jones on "JUST FOR FUN," an artist who draws on a contemporary blend of country, Southern rap, and R&B in the hymnal ballad. 

The violin-heavy "TYRANT" and "SPAGHETTII" both underscore hip-hop's long love affair with the classical string instrument (See: Common's "Be," and Wu Tang Clan's "Reunited" as the tip of that particular iceberg) with a blend of soulful R&B lyrics paired with beat-based instrumentalization. 

In a world quick to draw lines and label sounds, Beyoncé's COWBOY CARTER stands as a vibrant mosaic of musical influence and innovation. Ultimately, Beyoncé's COWBOY CARTER isn't seeking anyone's acceptance. As a Texan once told she didn't belong, her critical response claps back at this exclusion.  It's also a reminder that in the hands of a true artist, music is limitless.

Run The World: Why Beyoncé Is One Of The Most Influential Women In Music History

Beyonce
Beyoncé attends the 2024 GRAMMYs on Feb. 4, 2024.

Photo: Kevin Mazur/Getty Images for The Recording Academy

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Beyoncé's New Album 'Cowboy Carter' Is Here: Check Out The Featured Artists, Cover Songs, And Tracklist

Beyoncé's highly anticipated 'COWBOY CARTER' opens up a Pandora's box of American lore, and the deep connections between Blackness and country music. Here's the rundown of the album's featured artists, cover songs and tracklisting.

GRAMMYs/Mar 29, 2024 - 06:00 pm

Beyoncé's act ii is upon us — say hello to COWBOY CARTER.

On March 29, the 32-time GRAMMY winner unleashed the follow-up to her acclaimed 2022 album, RENAISSANCE. While COWBOY CARTER hints "Bey goes country," the LP is more of a psychedelic opus, with glimmers of country twang and style.

Across a sprawling 27-song tracklist of inspired originals flecked with covers and interpolations, Queen Bey takes us on a rodeo ride through so many musical universes, paying homage to the Beatles, Chuck Berry, Willie Nelson, Dolly Parton, Linda Martell, and more.

Clearly, there's a treasure trove here — more than enough to keep the Beyhive abuzz throughout 2024. GRAMMY.com is here to help you pore over every twangy lick, mega-guest star and lyrical implication. 

As you dive into Beyoncé's astonishing new album, read on for some of the fundamentals of COWBOY CARTER.

Enter The World Of Beyoncé

The Tracklisting

Two days prior to COWBOY CARTER's release, Bey released the tracklist — fittingly, in the form of a rodeo poster. And much to the delight of the Beyhive, it's nearly double the length of its 16-track predecessor, RENAISSANCE.

Check out the rodeo poster, as well as the complete track listing, below.

  1. AMERIICAN REQUIEM

  2. BLACKBIIRD

  3. 16 CARRIAGES

  4. PROTECTOR

  5. MY ROSE

  6. SMOKE HOUR WILLIE NELSON

  7. TEXAS HOLD 'EM

  8. BODYGUARD

  9. DOLLY P

  10. JOLENE

  11. DAUGHTER

  12. SPAGHETTII

  13. ALLIGATOR TEARS

  14. SMOKE HOUR II

  15. JUST FOR FUN

  16. II MOST WANTED

  17. LEVII'S JEANS

  18. FLAMENCO

  19. THE LINDA MARTELL SHOW

  20. YA YA

  21. OH LOUISIANA

  22. DESERT EAGLE

  23. RIIVERDANCE

  24. II HANDS II HEAVEN

  25. TYRANT

  26. SWEET HONEY BUCKIIN'

  27. AMEN

The Cover Songs

Among two dozen dazzling Beyoncé originals, COWBOY CARTER features covers of the Beatles' "Blackbird," Dolly Parton's "Jolene" and Chuck Berry's "Oh Louisiana."

"BLACKBIIRD" (retitled from "Blackbird," with an act ii flavor) is a Paul McCartney song, credited to Lennon-McCartney and featured on 1968's The Beatles, commonly known as The White Album. The song's civil rights inspiration makes it more than a worthy selection: the use of McCartney's original guitar and foot-tapping track makes it especially ear-grabbing.

"JOLENE" is a Dolly Parton classic, similarly given symphonic heft by Bey; Parton offers a radio-like intro on the COWBOY CARTER rendition.

In Parton's pre-"JOLENE" intro, "DOLLY P," she connects "Jolene" to Bey's immortal line "Becky with the good hair" from the Lemonade track "Sorry": "You know that hussy with the good hair you sing about? Reminded me of someone I knew back when, except she has flamin' locks of auburn hair. Bless her heart. Just a hair of a different color, but it hurts just the same."

"OH LOUISIANA" is a Chuck Berry deep cut from 1971's undersung San Francisco Dues; a flicker of Berry's "Maybellene" appears in "SMOKE HOUR WILLIE NELSON," which also features interpolations of Roy Hamilton's "Don't Let Go" and Sister Rosetta Tharpe's "Down By The River Side."

Similarly, "YA YA" contains glimmers of Tommaso Giordani's "Caro Mio Ben," Lee Hazelwood's "These Boots Are Made For Walkin'," and the Beach Boys' "Good Vibrations."

The Guests

Beyoncé has always displayed razor-sharp intent with her collaborators, and COWBOY CARTER is no exception.

The featured guests highlight a slew of rising Black stars in the country scene. "BLACKBIIRD" spotlights four budding female artists, Brittney Spencer, Renya Roberts, Tanner Addell and Tiera Kennedy; Willie Jones shows off his chops on "JUST FOR FUN"; and country-rap fusionist Shaboozey stars on two tracks, "SPAGHETTII" and "SWEET HONEY BUCKIIN.'"

She also welcomes two country-loving pop stars, Miley Cyrus and Post Malone, who make appearances on "II MOST WANTED" and "LEVII'S JEANS," respectively. And along with Parton, Beyoncé honors two more country greats with two aptly titled homages: fellow Texan Willie Nelson appears on "SMOKE HOUR WILLIE NELSON" and "SMOKE HOUR II," and trailblazer Linda Martell "The Linda Martell Show"

Perhaps Beyoncé's cutest collaborator is her six-year-old daughter, Rumi Carter, who makes her adorable debut on "PROTECTOR."

With that, venture forth into COWBOY CARTER — another quintessentially Bey statement of purpose and prowess.

8 Country Crossover Artists You Should Know: Ray Charles, The Beastie Boys, Cyndi Lauper & More

Beyonce on stage accepting the GRAMMY Award for "Halo" During Her Record-Setting Night In 2010
Beyonce on stage accepting the GRAMMY Award for "Halo" During Her Record-Setting Night In 2010

Photo: Jeff Kravitz/FilmMagic

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GRAMMY Rewind: Watch Beyoncé Win A GRAMMY For "Halo" During Her Record-Setting Night In 2010

As you dive into Beyoncé's new album, 'COWBOY CARTER,' revisit the moment Queen Bey won a GRAMMY for "Halo," one of six golden gramophones she won in 2010.

GRAMMYs/Mar 29, 2024 - 05:05 pm

Amongst Beyoncé's expansive catalog, "Halo" is easily one of her most iconic songs. Today, the 2009 single is her most-streamed song on Spotify; it was her first video to reach one billion views on YouTube; and it helped her set one of her GRAMMY records in 2010.

In this episode of GRAMMY Rewind, watch the superstar take the stage to accept Best Female Pop Vocal Performance for "Halo" in 2010 — the year she became the first female artist to win six GRAMMYs in one night.

"This has been such an amazing night for me, and I'd love to thank the GRAMMYs," she said, admitting she was nervous before taking a deep breath.

Before leaving the stage, Beyoncé took a second to thank two more special groups: "I'd love to thank my family for all of their support, including my husband. I love you. And I'd like to thank all of my fans for their support over the years."

The five other awards Beyoncé took home that night were for the coveted Song Of The Year ("Single Ladies (Put A Ring On It)") and four R&B Categories: Best Contemporary R&B Album (I Am... Sasha Fierce), Best R&B Song ("Single Ladies"), Best Female R&B Vocal Performance ("Single Ladies"), and Best Traditional R&B Vocal Performance (for her cover of Etta James' "At Last"). 

As of 2024, Beyoncé has won the most GRAMMY Awards in history with 32 wins.

Press play on the video above to relive Queen Bey's "Halo" win for Best Female Pop Vocal Performance, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

Enter The World Of Beyoncé

Ray Charles performing in 2002
Photo: Martin Philbey/Redferns

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8 Country Crossover Artists You Should Know: Ray Charles, The Beastie Boys, Cyndi Lauper & More

Beyoncé's 'Cowboy Carter' is part of a proud lineage of artists, from Ringo Starr to Tina Turner, who have bravely taken a left turn into country's homespun, heart-on-sleeve aesthetic.

GRAMMYs/Mar 28, 2024 - 01:07 pm

When Beyoncé announced her upcoming album, Cowboy Carter, with the drop of two distinctly country tracks, she broke both genre and barriers. Not only did Queen Bey continue to prove she can do just about anything, but she joined a long tradition of country music crossover albums.

Country music is, like all genres, a construct, designed by marketing companies around the advent of widely-disseminated recorded music, to sell albums. But in the roughly 100 intervening years, genre has dictated much about the who and how of music making.

In the racially segregated America of the 1920s, music was no exception. Marketing companies began to distinguish between "race records" (blues, R&B, and gospel) intended for Black audiences and hillbilly music (country and Western), sold to white listeners. The decision still echoes through music genre stereotypes today.

But Black people have always been a part of country music, a message that's gained recognition in recent years — in part because of advocacy work by those like Rhiannon Giddens, who plays banjo and viola on "Texas Hold 'Em," one of two singles Beyoncé released in advance of Cowboy Carter.

And since rigid genre rules' inception, many artists from Lil Nas X to Bruce Springsteen have periodically dabbled in or even crossed over to country music.

In honor of Beyoncé's foray, here are eight times musicians from other genres tried out country music.

Ray Charles — Modern Sounds in Country and Western Music (1962)

In 1962, the soul music pioneer crossed the genre divide to cut a swingin' two-volume, 14-track revue of country and western music.

Part history lesson and part demonstration of Charles' unparalleled musicianship, Modern Sounds in Country and Western Music covers country songs by major country artists of the era, including Hank Williams, Don Gibson, and Eddy Arnold. An instant success, the record topped album sales charts and was Charles' first atop the Billboard Hot 200 charts.

Ringo Starr — Beaucoups of Blues (1970)

The Beatles' drummer loves country music. Ringo Starr cut this album, which sounds like something you'd two-step the night away to at a honky tonk, as his second solo project. He was inspired by pedal steel guitar player and producer Pete Drake, who worked on George Harrison's All Things Must Pass.

With Drake's help, Starr draws out a classic honky tonk sound — pedal steel, country fiddle, and bar room piano — to round out the album.

Beaucoups includes a textbook country heartbreak song, "Fastest Growing Heartache in the West," a bluesy ramblin' man ballad, "$15 Draw," and a surprisingly sweet love song to a sex worker, "Woman Of The Night."

The Pointer Sisters — Fairytale (1974)

Remembered for their R&B hits like "I'm So Excited" and "Jump (For My Love)", the Pointer Sisters dropped "Fairytale," a classic country heartbreak song into the middle of their second studio album, That's A Plenty.

Full of honky tonk pedal steel and fiddle, the track earned the band a GRAMMY award for Country and Western Vocal Performance Group or Duo in 1975, beating out Willie Nelson, Kris Kristofferson, Bobby Bare, and the Statler Brothers; they were the first, and to date, only Black women to receive the award.

The same year the song came out, the Pointer Sisters also became the first Black group to play the Grand Ole Opry, arriving to find a group of protesters holding signs with messages like 'Keep country, country!'

Tina Turner Tina Turns the Country On! (1974)

Also in 1974, Tina Turner cut her first solo album, Tina Turns the Country On!, while she was still performing with then-husband Ike Turner as the Ike & Tina Turner Revue.

Containing the seeds of the powerful, riveting voice she'd fully let loose in her long solo career after separating from her abusive husband, the album presents a stripped down, mellow Turner.

She covers songs like Kris Kristofferson's "Help Me Make It Through The Night" and Bob Dylan's "Tonight I'll Be Staying Here With You," and delivers a soaring rendition of Dolly Parton's "There Will Always Be Music."

Turner was nominated for a GRAMMY award for the album, but in Best R&B Vocal Performance, Female, category.

The Beastie Boys — Country Mike's Greatest Hits (1999)

This Beastie Boys cut only a few hundred copies (most reports say 300) of this spoof country album — reputedly conceived of as a Christmas present for friends and family, and never officially released.

Presenting the supposed greatest hits of a slightly dodgy, enigmatic character – Country Mike, who shares a name with band member "Mike D" Diamond — the album sounds like vintage steel guitar country. Think Hank Williams and Jimmy Rodgers with a dash of musical oddballs Louden Wainwright III and David Allen Coe's humor and funk.

Country Mike appears just briefly in the liner notes of the band's anthology album, The Sounds of Silence, (which also includes two of the album's tracks: "Railroad Blues" and "Country Mike's Theme"), as part of an alternate universe wherein Mike temporarily lost his memory when he was hit on the head.

"The psychologists told us that if we didn't play along with Mike's fantasy, he could be in grave danger," the notes read. "This song ('Railroad Blues') is one of the many that we made during that tragic period of time."

Cyndi Lauper — Detour (2016)

The "Girls Just Want To Have Fun" singer enjoyed herself thoroughly by deviating from her typical style with 2016's Detour.

Road tripping into country music land, Lauper covered country songs of the 1950s and 1960s, including Marty Robbins' "Begging You," Patsy Montana's "I Want to be a Cowboy's Sweetheart" and Dolly Parton's "Hard Candy Christmas" with guest appearances by Willie Nelson, Alison Krauss, Emmylou Harris, and Vince Gill.

Jaret Ray Reddick — Just Woke Up (2022)

It might be hard to imagine the Bowling for Soup frontman, known for teenage pop-punk angst hits like "Girl all the Bad Guys Want" and "Punk Rock 101" crooning country ballads.

But in 2022, under the name Jaret Ray Reddick, he cut his solo debut, Just Woke Up. Drawing inspiration from Reddick's native Texas, the steel guitar and twang driven album features duets with Uncle Cracker, Cody Canada, Frank Turner, and Stephen Egerton.

Self-effacing and personable as ever, Reddick heads off questions about the viability of his country music with the album's first track, "Way More Country," acknowledging the questions listeners might have:

"I sing in a punk rock band/ And I know every word to that Eminem song "Stan"/ And I've got about a hundred and ten tattoos / But I'm way more country than you."

Bing Crosby — "Pistol Packin' Mama" (Single, 1943)

Legendary crooner of classic Christmas Carols and American standards, Bing Crosby decided to try his hand at country music with his cover of Al Dexter's "Pistol Packin' Mama," the first country song to appear on Billboard's charts.

The song, which tells the story of a man begging his woman not to shoot him when she discovers him out on the town fooling around, has since also been covered by Willie Nelson, Hoyt Axton, and John Prine.

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