Are you watching the Grammys alone tonight? Wishing you had someone there with you to enjoy the performances and award presentations help make fun of any and everything that deserves to be? Whether you're solo snarking, hanging out with a few pals, throwing your own Grammy mega-party or at the ceremony in person (we hear Taylor Swift is a big citybeat.com fan), join me tonight at this very cyber spot for some hot live blogging action. And when those witty comments pop into your head (or you become outraged with something I've written), feel free to post some comments of your own. The show airs live on CBS at 8 p.m.; pre-show red carpet festivities are probably going on now on E! And you can watch the program (and pre-show activities) through the Grammys site or through the Grammys YouTube channel.
Below is a little "pre-game show," addressing some of the more interesting story-lines this year, the saddest of which began just last evening when superstar Whitney Houston was found dead in her Beverly Hills hotel room. Even though her tragic death occurred just over 24 hours before the Grammys were set to begin, Houston's shadow will loom large over the ceremony, if not overshadow it completely.
Yesterday afternoon, I was thinking about some of the bigger story-lines leading up to the big event, like the protests over the Grammys dropping several categories this year and the chances of true "Indie" star Bon Iver winning either of the two big trophies it's up for (especially after mastermind Justin Vernon snubbed organizers by declining an invitation to perform at the ceremony). Of local interest — CIncy native Fred Hersch is up for two Grammys for his Alone at the Vanguard album (for Jazz Solo and Best Jazz Album). And Brian DeBruler and Michelle D'Amico from the locally-based independent label SOL Records are attending tonight's event for the first time. DeBruler recently became a voting member of the Academy (SOL artists also made the preliminary short list of nominations) and he and D'Amico will be spreading the word about his solid roster of Country/Roots acts like Dallas Moore, Ridge Runner and Pure Grain and doing lots of networking, no doubt. Unless they pull a Kanye and storm the stage ("Sorry Adele, but Dallas Moore is the greatest singer of all time!") or you spot 'em in the crowd, you probably won't notice SOL's reps while watching. But the pair has been posting regular updates from their journey; keep tabs on the SOL Records Facebook page here.
But after news of Houston's death spread across the country about 4 p.m. yesterday (California time), it was instantly clear that the singer would be the main thing on most viewers' (and attendees') minds.
Houston dying at the age of 48 would have been a shock regardless of when it occurred, but, in a moment of tragic serendipity, it happened on the very weekend her mentor and music biz legend Clive Davis is being celebrated for his contributions to music over the past half century, of which, it could be argued, Houston was one of his greatest. Last night, Davis' traditional pre-Grammys party (held just floors below the hotel room Houston's body was found) went ahead as scheduled, with Davis (according to AP reports) delivering a teary tribute to his megastar protégé. Many others also paid tribute, notably Tony Bennett, who called her "the greatest singer I've ever heard in my life." Also — strangely but not tackily — Bennett (who was also enamored with the late Amy Winehouse) said on stage that this was another reason to legalize drugs.
Houston's ex-husband and baby daddy Bobby Brown heard the news right before taking the stage in Mississippi on the New Edition reunion tour. He also talked about her unexpected passing onstage, fighting through tears. (It was the first time many in the crowd had heard the news; reports say many fans were also in tears.)
As of now, New Edition's tour appears to be going ahead as scheduled. The reunited group is slated to perform in Cincinnati at U.S. Bank Arena this Tuesday, which, in another odd coincidence (given Brown's often volatile romantic involvement with Whitney), is Valentine's Day.
The Grammys ceremony was to honor Davis with a lifetime achievement award tonight and I assume that will go ahead as planned, but with a different tone. Given Houston's passing, the ceremony has to honor one of Davis' most successful discoveries. If Johnny Depp died the night before a planned Academy Awards tribute to Tim Burton, can you fathom the ceremony not even mentioning the director's most famous muse?
Around midnight last night, the Grammy website announced that a tribute to Houston featuring actress/singer Jennifer Hudson had been added to tonight's ceremony.
Be back soon. In the meantime, anyone have any drinking game ideas to play as we watch?
It's easy sometimes to forget that by the time the Grammys telecast starts, the vast majority of trophies have already been given out at the pre-telecast ceremonies held earlier today. Here's a list of some of the artists who have already won one (or more) of those lil' gramophone statuettes.
• Dubstep artist Skrillex won three awards (Best Dance/Electronica Album, Best Dance Recording, Best Remixed Recording)
• Tony Bennett won Best Pop Duo/Group Performance for his duet with Amy Winehouse from his Duets II album, which also scored the trophy for Best Traditional Pop Vocal Album.
• Foo Fighters scored three Grammys earlier, including Best Rock Album.
• Bon Iver's self-titled album is up for Album of the Year but it has already won Best Alternative Album.
• Taylor Swift added two Grammys to her collection: Best Country Solo Performance and Best Country Song.
• Kanye probably won't rush the stage — unless he's careless with the Cristal (Editor "Hindsight is 20/20" note: Or not there, which was the case) — because he won Best Rap Album, Best Rap Song and Best Rap Collaboration.
• Adele — making her big return to the live stage tonight after her recent surgery — has already won Best Pop Vocal Album for 21.
• And here's some fun ones — Betty White (yes, that Betty White, the silver-haired sex goddess/elderly comedienne) won Best Spoken Word Album (for her autobiography audio book) and Louis CK won Best Comedy Album for Hilarious. I bet Louis and Betty are already back at their hotel, doing bumps of cocaine off of each other and getting crazy in the hottub. Wouldn't you be?
More soon — 20 minute countdown starts … now!
Unfortunately Cincy native Phil Hersch didn't win either of the awards he was up for. Best Instrumental Jazz Album went to Forever by Corea, Clarke & White and Best Improvised Jazz Solo went to Chick Corea for "500 Miles High" off of the same album. (It was an unfair fight for Hersch, like competing in a hotdog-eating contest where it's you vs. the team of Kobayashi, Joey "Jaws" Chestnut and a famished grizzly bear).
Five more minutes to showtime. Bruce Springsteen is up first (according to Ryan Seacrest).
The Boss and his E-Street Band(ish, minus Clarence Clemons; R.I.P Big Man) are starting things off with a performance of his new single. Bruce said something like, "America, you alive out there?" at the start of the song. Uh, yeah, all of us except Whitney Houston. Thanks for bringing us down right up top, Boss.
The song is "We Take Care of Our Own," clearly a commie liberal pinko bastard anthem. If he were a Republican, it would be "I Take Care of My Shit … You Take Care of Yours (And If You Can't It's Probably Because You Don't Believe in the Right God)."
Lady Gaga loved it.
And the bummer vibe continues! Host (?) LL Cool J just gave a nice, somber intro, led the audience in prayer (possibly a first) and played about 20 seconds of Whitney singing "I Will Always Love You."
Wouldn't a great tribute be Dolly Parton singing that song, just her and an acoustic guitar? Her version is even more chill-worthy.
But seriously — LL Cool J? He's a great MC/emcee — totally serviceable, but pretty much seems to just be keeping the show moving along.
Here comes Bruno Mars …
Bruno just told the group to get off their "rich asses" and dance. He's doing his retro thing, with cool, gold vintage suits (for him and all the band members). He looks and moves like James Brown and has a voice that resembles Sam Cooke. As far as current Pop stars go, I've always thought Mars had a little something more to offer. I wouldn't be shocked if he ended up having a long and legendary career. (Though I wouldn't be surprised if was the next Terrence Trent D'Arby either — that's the way the biz goes sometimes.)
Mars also references Whitney Houston. I think we have our drinking contest — every time Whitney is mentioned, do a shot or chug a beer or sip your wine (depending on your level of drinking limits; I'm sober, so I'll be drinking Diet Pepsi and water all night. For the contest, I'll take a big gulp of the Pepsi. Maybe I can get sponsorship out of it …)
Alicia Keys and Bonnie Raitt are on stage with with an acoustic guitar and electric piano. I was thinking earlier that one of the things Whitney's death would overshadow was the passing of Etta James recently. Raitt and Keys are playing "Sunday Kind of Love" in tribute to Etta. Love it — no stage set or fancy dancers, just the music.
They also mentioned Whitney, though. Drink up!
Oh yeah — they give awards out at this thing! Raitt and Keys give the Best Pop Solo Performance award to Adele's "Someone Like You." Bet she wins a ton tonight. Does anyone known anybody who hates Adele? She seems immune to criticism.
LL just said it was his job to keep things moving along (see, told ya!) and introduced Chris Brown.
Gonna stop putting times on the updates. Hey, I'm learning as I go along. This is my first "live blogging" attempt.
Chris Brown is performing on a very blah stage set, he and his dancers are dressed in very weak casual wear and he is lip synching the shit out of his song. I've always felt that Chris Brown should be labeled a dancer; singing seems to just be incidental. He's a great dancer, though. But the Grammy performance seemed especially half-hearted. Maybe he toned it down in tribute to Whitney.
By the way — lip syncing something that is already Auto-Tuned? Lame-squared.
Just saw a commercial for LL's new show on CBS. Now I understand why he's hosting.
Best Rap Performance is announced. Jay-Z and Kanye West won for "Otis." But they couldn't be bothered to show up. Or maybe Kanye couldn't get past security guards after his previous award show menacing.
Reba McEntire introduces Jason Aldean and Kelly Clarkson, who are doing a duet. The ceremony this year is supposedly going to be filled with special pairings of two popular artists. That's why Bon Iver didn't want to perform — Justin Vernon said they only wanted them to play if they did one of the duets. He didn't say who they would have been paired with. Maybe it was Black Eyed Peas.
The Aldean/Clarkson duet is pretty generic modern Country with some rock overtones. Like the guitarist's mohawk. The Grammys should have also made every put-together duo perform an actual good song.
Jack Black is doing a remote. He joked that he was outside of the Staples Center to maintain his "Indie Cred" (like that awesome indie movie he did, Kung Fu Panda).
Speaking of "Fu" (but spelled "Foo"), the Foo Fighters are introduced by Black and are also outside, performing in a big tent-like structure for, presumably, a bunch of regular folks totally unaware the Grammys are going on a few yards away. Or maybe they were booked through a casting agency. This is L.A.
Dave Grohl's rocking a Slayer shirt and they're killing a version of "Walk" from the most recent Foos album (already a big winner tonight). No mention of Whitney. And, hey, why aren't the Foos doing a duet? Did the Grammys lie to Bon Iver? Rhianna and Coldplay are the next performance. Maybe Dave Grohl has some kind of exemption deal?
Good Rock & Roll performance to liven things up a bit. Maybe the somber tone will keep fading now … until someone else mentions Whitney. The Whitney tribute later should do the trick.
Rihanna starts the performance with Coldplay rolling around onstage under a red light. Then things kick in and there's Coldplay. Uhhh. Where's Coldplay? Are they those weird dudes dancing behind her? She even has her own full-band there amongst her back-up dancing army.
She yelled, "Grammys, make some noise for Whitney." Drink up!
So now Chris Martin walks onstage by himself with an acoustic guitar after Ri-Ri's done her huge production. She reemerges to sing — an actual duet! — with the Brit.
Martin should have worn leather hot pants, too.
Now Coldplay is doing "Ever Tear a Waterfall" (under that neon nightmare color scheme featured on their new album) and Rihanna is gone. "Ever Tear a Waterfall" is the kind of thing that made Coldplay a punchline in The 40 Year Old Virgin ("You know how I know you're gay?).
So let me get this straight — Bon Iver turned down a chance to perform because the Grammys wanted them to play with someone else, but the "duet" would actual be the other artist performing their song, both doing a snippet of something together and then Bon Iver doing their own thang. C'mon, Justin. Suck it up and be a big boy.
Dig the commercial with Coldplay's "The Scientist" sung by Willie Nelson. The spot is for some sort of green-energy or farm-related charity. Oh, wait a minute — it's a spot Chipolte meant to play up their local ingredients claims. Isn't Chipolte owned by McDonald's now?
Two dudes from Super Bowl champs the New York Giants and somebody else from another CBS show are giving out the Best Rock Performance Grammy. Logically. It's an interesting category — Radiohead, Mumford & Sons, The Decemberists. Of course, the least surprising nominee wins — congrats again, Grohl and the Foos. Grohl won the same award last year with Them Crooked Vultures.
Grohl gives a cool speech, essentially saying the Grammys are irrelevant and musicians should do music because they love it. Good stuff. He finished by yelling, "Long live Rock & Roll." Which was followed by the announcer saying, "Ladies and gentlemen, Ryan Seacrest." Ouch.
Here comes the Beach Boys segment, kicking off with Maroon 5 doing "Surfer Girl." Weird choice but it sounds pretty good.
The Beach Boys reunion/celebration was one of the big selling points going into the Grammys. Even though most people might be confused — "The Beach Boys are still together — they just played some casino last month." The Beach Boys "reunion" is special because cofounder Brian Wilson is a part of it and he hasn't been a member of the band for decades. (Those casino and state fair versions were random members trying make a few bucks.)
Maroon 5 performs "Surfer Girl" and Foster the People do "Wouldn't It Be Nice." I believe playing with them are members of The Wondermints, the amazing group that backs Wilson for concerts. Both cover tributes are remarkably true to the originals, so much so that Adam Levine looks uncomfortable.
Then the Beach Boys come on to do "Good Vibrations." Sounds pretty good, but nothing exceptional. And even though he had his trademark "Where am I?" look on his face, it was pretty cool to see Brian Wilson back on stage with his old band. I would love to see one of their upcoming reunion tour dates.
But I have a major issue with this so-called reunion. Where the hell is John Stamos?! It's not a true reunion without the band's legendary bongo/percussion player. Fraud!
Stevie Wonder addressed Whitney — "up in heaven" — and played a little "Love Me Do" on harmonica. He's introducing Paul McCartney, who is joined by Diana Krall and Joe Walsh (which seems weird at first, but Walsh plays some lovely acoustic guitar and Krall and her band are all over Sir Paul's new album). Paul does "My Valentine" from his new standards album. Pleasant enough performance (elegant dress, small orchestra surrounding him and, best of all, no guest star like Lil Wayne or Justin Beiber), but kind of disappointing. McCartney's performance has been teased leading up to the event as if he was going to have a larger role. And anytime Paul doesn't play one of his classic, there's always a little bit of a let down.
Wait! Paul's coming back for more later in the show. Phew.
Chris Brown won Best R&B Album. Because there isn't a Best Dancer award, I guess.
Roots duo The Civil Wars are introduced and they seem like they're old pros who have been doing this kind of thing for decades. They offer a genuine funny moment by thanking their "opening acts" especially that upstart from Liverpool. But The Civil Wars are probably unknown to most viewers; they're actually pretty new, a great example of an independent act with oodles of talent becoming an "overnight success" on their own terms.
Civil Wars play a few bars of their own song and then introduce their pal Taylor Swift. Swift is performing atop the ruins of the old Hee Haw set, rocking a banjo and looking very Nicole-Kidman-in-Cold-Mountain. She's adorable regardless how mediocre some of her tunes can be. And even though she's performing with the cast of Little House on the Prairie (or at least dressed that way) who are playing actual "Country" instruments, the song still sounds 99 percent Pop. Can we stop calling her a "Country" artist now?
Swift does the "What? Me?" shocked look when the crowd gives her an enthusiastic ovation for her performance. So she's a good actress, too (early on that reaction always seemed endearingly genuine; now we know better).
So Doogie Howser is giving out the Song of the Year award, another CBS employee. It's like when the World Series is on Fox and half the game features cutaways to the actors and actresses from Fox programs that just happen to be premiering right after the game. Tacky!
Song of the Year goes to Adele. Alright, now she's starting to annoy me. For no other reason than I'd like to see some others take the podium.
Ooohhh — what just happened during Katy Perry's set? The sound kinda fizzled out and then the stage went dark, like there had been a major technical malfunction. Turns out it was part of some kind of Criss Angel magic trick gone wrong. Still not really sure what were were supposed to see. Whoops.
Perry's performance is a — surprise! — big spectacle with tons of backup dancers and musicians and lots of fire. There are also several ice sculptures in the shape of men. And each looks just like Russell Brand. Just saying …
Lady Antebellum wins one of the Country awards. Yawn.
Music world legend Gwyneth Paltrow (hey, she was on Glee, did a movie with Huey Lewis, married a Rock star and named her baby something crazy) introduces Adele's performance. Her vocal chords work! Yay!
As expected, there are no fireworks or pyrotechnics, no ridiculous costumes, no magic tricks, no collaboration with another major artist. Adele plays it straight and delivers a solid version of "Rolling in the Deep." Maybe Adele's success came from the same place that has caused more and more young musicians being drawn to the simple soulfulness of American Roots music, kids who in another time would have levitated towards Rap or Punk Rock or Electronica. In our chaotic times, gifted souls playing straight from the heart with minimal bullshit is apparently quite appealing. Advertising firms everywhere need to figure out how to exploit that, stat!
She lets out a little yelp of glee after the song finishes, clearly relieved it all went smoothly. Adele's performance earns the biggest ovation of the night (and shots of audience members, including Rihanna, showed many in sheer awe).
Taylor Swift comes back out to introduce the segment dedicated to music legend Glen Campbell. Campbell is living out the end of the biopic spoof Walk Hard, when Dewey Cox realizes his career is winding down and he's dying, so he writes a life-retrospective song and does a farewell performance. Campbell was diagnosed with Alzheimer's disease and he quickly wrote and recorded his latest album and booked tour dates because he knew that soon he wouldn't be able to.
The Band Perry does Campbell's "Gentle on My Mind" and Blake Shelton does "Southern Nights," then Campbell hits the stage and kills it. Recent interviews about Campbell have mentioned that the signs of his disease are quite evident in his mannerisms, speech and memory lapses. But Campbell gave a commanding performance of "Rhinestone Cowboy" and looked like the veteran performer he is. (Until the music stopped — I couldn't make it out, but Campbell was still talking into the mic to the crowd; it almost seemed like he forgot he was only doing one tune.)
The Grammys also paid tribute to those we've lost this year. Wait, hasn't that been what most of the majority of the show has been about so far?
Best New Artist time! Country star Carrie Underwood comes out to read the nominees and reveal the winner … but then she introduced Tony Bennett, who came out and did a duet of "It Had to Be You" with her. Focus people! Though can you really ever have too much Tony Bennett?
Their performance earns another standing ovation, I believe officially shattering the State of the Union's world record for most standing ovations over the course of an hour.
Bon Iver wins the Best New Artist trophy. Let the "Who the Hell is Bon Iver"ing begin! Justin Vernon, for a split second, seemed like he was going to tear the Grammys a new asshole. Instead, he gave one of the better acceptance speeches I've hard at a Grammys. Vernon (in his stylish1890s fashion) instead said he was grateful, but he made the point (similar to Dave Grohl earlier) that he makes music for the joy and soul-stirring satisfaction it gives him, not for money, parities, awards. And he also made a point to note all of the great talent in the room — and all the great talent NOT in the room, but who maybe should be. Good stuff.
Vernon also thanked his label, Jagjaguar Records, the small but incredibly consistent and reliable imprint based out of tiny Bloomington, Ind. That Bon Iver still put records out on the label is a sign that Vernon wasn't just sitting out some hipster anti-establishment rant. He believes in the power and magic of art and music above all else (especially the "industry" side). If he didn't, he would have been on Interscope years ago.
Apologies for any typos so far. This writing on the fly thing makes it hard to consider my words as carefully. I'm doing the besttt A cann.
I wouldn't call myself a fan of Whitney Houston's music — for the most part, I always thought she was a hugely talented singer but her material was usually average at best. But last night, I was driving around and "I Will Always Love You" came on the radio, about a half hour after news broke that she had died. It was written by Dolly Parton (whose version I love even more), but Whitney makes it her own and it's a pretty moving song, lyrically. I won't say I cried or anything, but I did get a chill while listening, considering I had just found out she was no longer among the living.
Jennifer Hudson's tribute had that same effect on me. After the "people who died this year" segment, she did a version of the song that was goose-bumpy and reverent. She seemed to struggle to get through it without breaking down, making it even more emotional.
Dance/Electronic music fans finally get to see it celebrated on the Grammys! The televised part! But two of the genres current superstars are apparently only primetime-worthy with their more famous chaperones. Following the show's already confusing collaboration theme (there doesn't seem to be much rhyme or reason to the concept), Chris Brown comes out yet again for a performance with David Guetta … well, not exactly sure what he was doing other than jumping up and down and waving his hands around. Then the Foo Fighters came out (yet again) and played one of their songs (without noticeable collaboration, which seems unfair to those nominees who would have killed to play the show), then segued into another one of their songs (possibly with Deadmau5 messing about in the mix), then the stage next to the Foos dropped its current to reveal the DJ set up of Deadmau5 himself. Or I think it was Deadmau5. He wears a giant mouse head, so for all I know it was just Chris Brown elbowing his way into more screen time.
It was a great notion, to finally give some props to Electronica/Dance music on the broadcast, but very poorly executed thanks to the producers' belief that viewers wouldn't keep watching unless they had someone famous on stage with them. Almost, Grammys. Maybe next year.
Oh shit — what the hell is Nicki Minaj doing?
I need a moment to process Micki Minaj's performance. Her Broadway musical adaptation of The Exorcist was awesome, but … I'm unable find the words at the moment. I love a great Pop freak and Nicki may be the freakiest out there right now. I'll add more once I have had time to digest what I just saw.
Song of the Year goes to that overrated hack Adele. She's not that good, ya know. And I hear that when she was 14, she released a cassette at a neighborhood record store under the name "Adelle," meaning she's just a big marketing gimmick phony put together by a giant corporation. (Thus concludes my sarcastic tribute to the weird Lana Del Rey backlash.)
Looks like this year's Grammys belong to Adele.
LL Cool J brings out Diana Ross to give out Album of the Year (it reminds me of the year Liz Taylor came out at the Oscars to give Best Picture to Gladiator and exclaimed the film's title with a mix of complete unfamiliarity and utter jubilation). Ross first announced that Paul Epworth won Producer of the Year (Non-Classical). Guess what album he worked on? Yup — Adele's.
Do I need to tell you who won Album of the Year? I'll give you a hint. It was Adele.
Adele scored her final trophy of the night for 21 and got so choked up she had to wipe tears (and more) from her face. She even told everyone what she was doing, the first time the word "snot" has ever been used in an Album of the Year acceptance speech (that I'm aware of). Adele owes it all to a "a rubbish relationship," she said when accepting, referring to her inspiration for the album. I wonder if her former beau gets any royalties?
Paul McCartney apparently cannot leave anywhere without playing a Beatles song, so after Adele's speech, he and his touring band came back on and played the last few pieces of the Abbey Road finale. It was perfect, of course, but it was especially cool to see Dave Grohl, Joe Walsh and Bruce Springsteen come out for "The End" and trade off solos with Sir Paul and his two gifted guitarists. Bruce, Grohl and Walsh, experienced veterans to a man, seemed beyond giddy to play with McCartney.
And with the words "And in the end the love you take is equal to the love you make," the Grammys 54th ceremony was in the books. It was a strange one, yet often predictable. And celebratory and full of love, but much, much sadder than usual.
I am still not sure what Nicki Minaj was trying to do with her crazy fire and brimstone performance, but I liked it. Something weird to break up the show's trademark predictability (at best) and tediousness (at worst). I'm going to sleep on it and hope my own nightmares collide with Minaj's Barbie Goes to Hell extravaganza and I wake up with a full understanding. I'll keep you posted.
In the meantime, below is the full list of winners. Thanks for reading and following along. Maybe we'll do it again soon.
2012 GRAMMY WINNERS
Album of the Year: "21," Adele
Record of the Year: "Rolling in the Deep," Adele
Song of the Year: "Rolling in the Deep," Adele Adkins & Paul Epworth
New Artist: Bon Iver
Pop Solo Performance: "Someone Like You," Adele
Pop Performance by a Duo or Group: "Body and Soul," Tony Bennett & Amy Winehouse
Pop Vocal Album: "21," Adele
Alternative Album: "Bon Iver," Bon Iver
Rock Song: "Walk," Foo Fighters
Rock Album: "Wasting Light," Foo Fighters
Rock Performance: "Walk," Foo Fighters
Hard Rock/Metal Performance: "White Limo," Foo Fighters
R&B Album: "F.A.M.E.," Chris Brown
R&B Song: "Fool For You," Cee Lo Green, Melanie Hallim & Jack Splash
R&B Performance: "Is This Love," Corrine Bailey Rae
Traditional R&B Vocal Performance: "Fool For You," Cee Lo Green & Melanie Fiona
Rap Album: "My Beautiful Dark Twisted Fantasy," Kanye West
Rap Performance: "Otis," Jay-Z and Kanye West
Rap Song: "All of the Lights," Jeff Bhasker, Stacy Ferguson, Malik Jones, Warren Trotter & Kanye West
Rap/Sung Collaboration: "All of the Lights," Kanye West, Rihanna, Kid Cudi & Fergie
Dance Recording: "Scary Monsters and Nice Sprites," Skrillex
Dance/Electronica Album: "Scary Monsters and Nice Sprites," Skrillex
Musical Theater Album: "The Book of Mormon," Robert Lopez, Trey Parker & Matt Stone
World Music Album: "Tassili," Tinariwen
Latin Pop Rock, Rock or Urban Album: "Drama y Luz," Mana
Tropical Latin Album: "Last Mambo," Cachao
Banda or Norteno Album: "Los Tigres Del Norte and Friends," Los Tigres Del Norte
Regional Mexican or Tejano Album: "Bicentenario," Pepe Aguilar
Country Solo Performance: "Mean," Taylor Swift
Country Album: "Own the Night," Lady Antebellum
Country Performance by a Duo or Group: "Barton Hollow," The Civil Wars
Country Song: "Mean," Taylor Swift
Jazz Vocal Album: "The Mosaic Project," Terri Lyne Carrington & various artists
Jazz Instrumental Album: "Forever," Corea, Clark & White
Improvised Jazz Solo: "500 Miles High," Chick Corea
Large Ensemble Jazz Album: "The Good Feeling," Christian McBride Big Band
Blues Album: "Revelator," Tedeschi Trucks Band
Folk Album: "Barton Hollow," The Civil Wars
Pop Instrumental Album: "The Road From Memphis," Booker T. Jones
Bluegrass Album: "Paper Airplane," Alison Krauss & Union Station
Americana Album: "Ramble at the Ryman," Levon Helm
Reggae Album: "Revelation Pt. 1: The Root of Life," Stephen Marley
Southern, Country, or Bluegrass Gospel Album:
New Age Album: "What's It All About," Pat Metheny
Children's Album: "All About Bullies... Big and Small," various artists
Producer of the Year, Non-Classical: Paul Epworth
Remixed Recording, Non-Classical: "Cinema (Skrillex remix)," Sonny Moore
Gospel Song: "Hello Fear," Kirk Franklin
Gospel/Contemporary Christian Performance: "Jesus," L'Andria Johnson
Gospel Album: "Hello Fear," Kirk Franklin
Choral Performance: "Light & Gold," Eric Whitacre
Classical Contemporary Composition: "Elmer Gantry," Robert Aldridge & Herschel Garfein
Producer of the Year, Classical: Judith Sherman
Orchestral Performance: "Brahms: Symphony No. 4," Gustavo Dudamel
Opera Recording: "Adams: Doctor Atomic," Alan Gilbert, conductor
Spoken Word Album: "If You Ask Me (And Of Course You Won't)," Betty White
Comedy Album: "Hilarious," Louis C.K.
Compilation Soundtrack Album For Visual Media: "Boardwalk Empire," various artists
Score Soundtrack Album For Visual Media: "The King's Speech," Alexandre Desplat
Song Written For Visual Media: "I See the Light," Alan Menken & Glenn Slater
Historical Album: "Band on the Run (Paul McCartney Archive Collection - Deluxe Edition)," Paul McCartney
Instrumental Arrangement Accompanying Vocalists: "Who Can I Turn To (When Nobody Needs Me)," Jorge Calandrelli