Daylight Robberies: The 10 worst Grammy wins in history
The Grammy Awards stand out as perhaps the most esteemed ceremony in the music industry. Whether acknowledged openly or not, the allure of that small golden gramophone often lingers in the minds of many artists from the very beginnings of their creative process. While the awards have faced criticism over the years concerning representation and a perceived ambiguity in category definitions, they consistently deliver an exhilarating evening of entertainment.
Some of the most influential artists globally are acknowledged at the Grammys. For instance, Beyoncé stands as the unparalleled record-holder, having clinched a remarkable 32 Grammy Awards during her career. In the realm of groups, U2 remains the one with the highest number of Grammy Awards, having amassed a total of 22.
However, within the triumphant victories and the celebrations of extraordinary talent, there have also been instances of perceived discrepancies — the award wins that leave many puzzled about how they could emerge victorious amid the accompanying competition in their category. These anomalies in the industry, characterised by successes that are challenging to comprehend and almost impossible to fully appreciate, add a layer of complexity to the narrative of Grammy recognition.
Controversial and disputed outcomes have been integral to the Grammy Awards throughout its history. Unfortunately, the prestigious ceremony has not been immune to disagreements, with numerous instances arising since its inception. These disagreements often centre around vocal performances, subpar musical arrangements, or a perceived overall lack of innovation in certain award categories. With that, let’s journey through some of the worst wins in Grammy history.
The 10 worst Grammy wins:
Best Album 1966: Frank Sinatra beats Highway 61 Revisited and Help!
‘Nobody sings them quite like Frank Sinatra‘ – that’s a quip affirmed in music history. However, the record September of my Years is not something that has been solidified quite so firmly. And yet, this assortment of solid pop songs curated by Sonny Burke somehow managed to eclipse Bob Dylan’s trailblazing masterpiece, Highway 61 Revisited, a record considered by many to be his finest work.
To add to this oddity, it also triumphed over The Beatles’ classic Help! as well. At least, unlike Bob, the Fab Four were actually nominated for their work. Alas, it remains a damning indictment against the so-called meritocracy of the Grammys that progressive records that changed the landscape of music missed out to the same old sweetness by a safer, well-connected star.
Best New Artist 1964: Bob Dylan loses to The Swingle Singers
It would seem that someone somewhere in the Grammys pipework really hates Bob Dylan. In 1963, at the age of just 22, he changed music forever with the release of The Freewheelin’ Bob Dylan. His poetry and political poise opened the world up to a new level of intellectualism and importance in the world of pop.
But what triumphed over this illuminating newcomer? The Swingle Singers. They should’ve been out of the running based on the name alone. The French acapella group founded by Ward Swingle were just getting swinging when they landed the ‘Best New Artist’ award for devolving back to the most basic form of music there is. A good 50+ members later, an incarnation of the ever-evolving group is still going, so I suppose they have longevity on their side.
Best Song 1969: ‘Little Green Apples’ beats ‘Hey Jude’
If the word ‘song’ in the dictionary had to come with a sonic example, you couldn’t go far wrong with selecting ‘Hey Jude’. It’s a melody so transcendent that you seem to know it when you’re born, as though it is hard-wired in our DNA-NA-NA-NA. But this gargantuan hit wasn’t recognised as such by the Grammys; instead, ‘Little Green Apples’ emerged victorious.
And it’s not like the ceremony aims to avoid repeat winners. Beyoncé has claimed a whopping 32 gongs. Meanwhile, the mighty Beatles ended their history-changing tenure with only seven victories. As for Bobby Russell’s effort, it is indeed a gorgeously performed little folk ditty, but the world had heard it before, and I’ll be damned if kids are born humming that tune.
Best Rock Song 1993: Eric Clapton beats Nirvana
Eric Clapton is an undisputed pioneer who became the 35th Annual Grammy Awards’ big winner. However, when you consider those in the same categories, some of his accolades that night don’t seem to make so much sense. For instance, his song ‘Layla’, while undeniably being an enduring classic, took home the award for ‘Best Rock Song’ that night, against Nirvana’s ‘Smells Like Teen Spirit’.
In 1993, the version of ‘Layla’ that won the award was a stripped-down acoustic rendition of that iconic song, then two decades old, that triumphed over Nirvana’s track, despite ‘Smells Like Teen Spirit’ being hailed a quintessential piece of the 1990s era and a pinnacle among Nirvana’s most acclaimed works.
Best Album 2008: Herbie Hancock beats Amy Winehouse
At the 2008 Grammy Awards, Amy Winehouse achieved remarkable success, clinching five prestigious awards, including ‘Song of the Year’ and ‘Best New Artist’. Her raw and soulful talent resonated with both critics and audiences, solidifying her as a force to be reckoned with in the music industry.
However, the most unexpected turn of events occurred when the award for Best Album was bestowed upon the seasoned jazz artist Herbie Hancock instead. Hancock, a longstanding figure in the music scene, had released an album featuring reimagined Joni Mitchell songs, showcasing his innovative approach to jazz.
Best Rap Album 2014: Macklemore beats Kendrick Lamar
The hip-hop community found itself in a state of dissatisfaction when Macklemore emerged victorious over Kendrick Lamar for the ‘Best Rap Album’ at the 2014 Grammy Awards. The upset stirred further bewilderment when Macklemore took to social media to share a text exchange with Lamar, expressing an apology for winning an award he believed Lamar rightfully deserved.
In retrospect, the Grammy outcomes for Macklemore and Lamar not only underscore the complexities and controversies within the music industry but also illuminate the undeniable talent and resilience of artists like Lamar, who ultimately received the recognition he deserved in subsequent award ceremonies.
Album of the Year 1990: Milli Vanilli controversy
In 1990, Milli Vanilli achieved the pinnacle of recognition by being bestowed with the coveted ‘Best New Artist’ award. However, their meteoric rise was soon marred by a startling revelation — the pop duo openly admitted that they had not lent their own vocals to any of their songs, both on their album and during live performances.
This admission led to a swift response from the Academy, which promptly stripped them of their award, marking one of the most dramatic and unprecedented moments in Grammy history. The fallout from the revelation had profound consequences for Milli Vanilli. Instantaneously transformed from chart-topping sensations to a subject of ridicule, the duo faced a steep decline in their public standing. Despite valiant attempts to stage a comeback and rebuild their tarnished reputation, Milli Vanilli struggled to regain their footing in the unforgiving landscape of the music industry.
Record of the Year 1983: Toto beat Paul McCartney
The Grammy Awards in 1983 were a defining moment for Toto, solidifying their place in music history. The widespread acclaim and multiple Grammy wins underscored the band’s versatility, musicianship, and ability to craft both individual hit songs and cohesive, award-winning albums.
However, many acknowledge that their numerous victories casted a shadow over the accomplishments of other notable talents, including Paul McCartney, Billy Joel, Stevie Wonder, and various others. Although their album Toto IV received substantial acclaim and their hit ‘Rosanna’ played a crucial role in their triumph that year, critics contend that other tracks on the album merited equal recognition.
Best Contemporary Recording 1967: New Vaudeville Band beat…everyone else
The ‘Best Contemporary Recording’ category in 1967 was abundant in exceptional choices. Not only did New Vaudeville Band put forward their song ‘Winchester Cathedral’ against Paul McCartney’s ‘Eleanor Rigby (Single)’, but they also took home the accolade instead of The Mamas & The Papas, The Beach Boys, The Monkees, and The Association.
‘Winchester Cathedral’ was released in 1966 and quickly climbed the charts, however, many other notable songs were released around the same time that undeniably deserved better recognition. This was a time which saw The Rolling Stones release ‘Paint It, Black’, Simon and Garfunkel release Sounds of Silence, and The Beatles release Revolver. Somehow, therefore, it seems strange to consider the results of the awards that year given the diverse array of talent on display.
Best Hard Rock or Metal Performance 1989: Jethro Tull won instead of Metallica
In quite possibly one of the most perplexing turns in all of Grammy history, Jethro Tull, a band who at the time were primarily associated with jazz and blues, emerged victorious in the category of ‘Best Hard Rock/Metal Performance’ at the 31st Annual Awards. This surprising win occurred, leaving contenders like Metallica, Iggy Pop, Jane’s Addiction, and AC/DC without the award.
Perhaps this is why 1989 marked the final year for the combined award, which afterwards saw the Grammys introduce separate categories for rock and metal, acknowledging the distinct nuances and contributions of each genre.
