Tuesday music musings, 11.2.14

It’s not always so cute to see Beatles fanboys get worked up over some perceived disrespect of whatever mark they made on popular music and American popular culture, but this is a rare exception:

Record of the Year, 1964: The was, of  course the year of the Beatles. But in all their wisdom, the Grammy voters selected Stan Getz and Astrud Gilberto’s “Girl From Ipanema” as Record of the Year. More outrageous, the Best Rock and Roll Recording was Petula Clark’s forgettable pop quickie, “Downtown.” The Beatles did win Best New Artist and Best Performance by a Vocal Group. Ironically, the song that garnered them the latter award was “A Hard Day’s Night,” even though that year’s winner for Best Motion Picture Score was … “Mary Poppins.”

Let me amplify on that a bit. In 1964, the Beatles had 19 Top 40 singles, including six No. 1s. 19! We’re talking about everything from “I Want to Hold Your Hand” to “I Feel Fine.” The only one of those 19 I’d rank behind “The Girl From Ipanema” is “My Bonnie” (which was done with Tony Sheridan and originally released in 1961).

The whole thing goes on in that vein, and all I can do is just laugh and shake my head. Seriously, why not just dismiss the Grammys as the farce they so often are and go on?

If my research was correct, the Rolling Stones never won any Grammys for any of their seminal works either, but oddly enough I don’t think I’ve seen any Rolling Stones fans get all in a tizzy about it. The same goes for Rush, just to cite another example. The Grammy Awards are legendary for this sort of thing. Hell, people still talk in certain circles 20 years later about Jethro Tull beating Metallica in the Best Hard Rock/Metal Performance Vocal or Instrumental category at the 1989 Grammys. And was Faith Hill’s Breathe really the best that country music had to offer for 2001 eligibility period? Yeah, every so often they get it right, but the rest of the time it’s like, “meh, so what?” Should the Beatles have won those awards? Maybe, maybe not. But even if they had won, they’d still have been overrated.

Next up, via Country California, Eric Church to Rolling Stone:

I can’t imagine continuing to try to push the envelope.

It’d have been nice if the RS writer asked Church why he felt the need to continually “push the envelope,” whatever the hell that means anymore. He may or may not be the best thing since Waylon (I’m going to go with not judging from what I’ve heard so far), but with all that pretentious posturing I just can’t take him seriously. I’m beginning to think he really doesn’t have nearly as much confidence in his artistry as he likes to make people think he does. If he did, he wouldn’t be such a loudmouth.

And I never thought I’d side with Rascal Flatts in pretty much any argument, let alone sympathize with them, but I totally do re: kicking Church off their tour:

We asked him four times to stay to the allotted amount of time that he had to play. We sat him down in our dressing room and were like, ‘Look. We’ll put you on early so you can play longer. But please, just be off the stage because we still have to do our show.’

For every minute that you go overtime, especially in New York City, you’re charged thousands of dollars by the minute in labor fees.

If he’d cost me that kind of money I’d have been hard-pressed to give him one chance, let alone four.



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