In handing out Grammys, the
National Academy of Recording Arts & Sciences has made its fair share of
questionable calls, both past (Milli Vanilli, Rob Thomas) and present (“Hey
There Delilah” for song of the year? really?). But just this once, let’s put
aside the quibbles and take a moment to recognize some of the nominations that this year’s Grammy voters actually got right.
10 reasons to thank the Academy
Sometimes, the Grammys get it right
By Andy Hermann, Metromix
December 7, 2007Amy Winehouse with six nominations
Forget the tabloid photos of her buying Blow Pops at 4 a.m. for a second. Winehouse is one of the most original and gifted artists to come along in years, and she deserves every last one of her nominations. Here’s hoping she cleans up her act in time to attend the awards—or even, god forbid, perform.
Feist with four nominations
OK, so nominating Feist for best new artist is a stretch (“The Reminder” is her third album and second one released in the U.S.). But her other three nominations—for best female pop vocal performance, best pop vocal album and best short form music video for the brilliant “1234” clip—are the best news we've heard in ages.
Justice’s “D.A.N.C.E.” for best dance recording
The Grammys created this award in 1998 and have been using it ever since as a poor man’s alternative to the pop category—last year “SexyBack” won, and other previous winners include Cher’s “Believe” and Baha Man’s “Who Let the Dogs Out?” So for them to even nominate the French techno duo’s bizarre schoolyard mashup is a huge step in the right direction.
The entire best alternative music album category
The “alternative” category has always been a haven for good music—past winners include Beck, Gnarls Barkley and Radiohead—but this year’s crop is especially good, with the Arcade Fire, the Shins, Bjork, the White Stripes and Lily Allen all receiving nods.
LCD Soundsystem’s “Sound of Silver” for best electronic/dance album
James Murphy’s disco-punk opus was one of the year’s best albums in any category of music. If he loses out to Shiny Toy Guns, we’ll cry. Seriously.
Queens of the Stone Age’s “Sick, Sick, Sick” for best hard rock performance
Queens’ latest, “Era Vulgaris,” was uneven at best, but this thrashing No Wave tantrum is the greatest (only?) mix of Sonic Youth and strip club metal we've ever heard. That it’s up against the likes of Ozzy Osbourne and Evanescence is sort of hilarious, but we’ll take it.
Lupe Fiasco, Meshell Ndegeocello and Alice Smith getting props in the best urban/alternative performance category
Another category that, since its creation in 2003, has been a haven for music adored by critics and ignored by audiences. Case in point: the very gifted Ms. Smith, who probably has most people going, “Who?” Don’t worry; you’ll be hearing more from her soon.
Bettye LaVette’s “The Scene of the Crime” for best contemporary blues album
LaVette’s amazing collaboration with Patterson Hood of the Drive-By Truckers is more Stax-style Southern soul than blues, but hey, whatever it takes to get a nomination. If it loses so the Academy can hand Eric Clapton his gajillionth trophy, we’ll throw a bottle of bourbon through the TV.
Alan Alda’s “Things I Overheard While Talking to Myself” for best spoken word album
Yep, the former “M*A*S*H” star is up against Bill Clinton, Jimmy Carter, Barack Obama and Maya Angelou. How fantastic is that? If he wins, several people owe us a Coke.
The entire best short form music video category
OK, so they probably nominated Feist’s “1234” because it was in an iPod commercial and Johnny Cash’s “God’s Gonna Cut You Down” because Justin Timberlake had something to do with it. But you gotta give the Grammys props for singling out Justice (again!), Gnarls Barkley’s wacky, animated “Gone Daddy Gone” clip and Mute Math’s mind-boggling “Typical,” which has them performing their entire song backwards. Can whoever’s in charge of this category take over the whole Grammy nomination process? Please?
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