Imagine if we could go back in time and improve the Grammy Awards! Specifically, what if we could make sure they reward the best Record of the Year candidates?
I’m attempting to rewrite history by choosing which of the Record of the Year nominees should have won the award, from 1959 all the way through the present.
The rule is that I can only choose from the five (or eight) nominees the Recording Academy gave us. I can’t go off the board and select another song. That limitation forces me to stay within the spirit of the Grammys, instead of picking some obscure Joy Division or Leonard Cohen track that the Academy never would’ve considered.
Let’s get started! If you’re so inclined, follow along with this Spotify playlist featuring every Record of the Year Grammy nominee in history — all 369 of them! — in chronological order.
Our Revised Record of the Year Winners
1959
Actual winner:
Nel Blu Dipinto Di Blu (Volare), Domenico Modugno
Also nominated:
Catch a Falling Star, Perry Como
The Chipmunk Song (Christmas Don’t Be Late), David Seville
Fever, Peggy Lee
Witchcraft, Frank Sinatra
I worried that the inaugural Grammy Awards in 1959 might feature Record of the Year nominees that have been completely forgotten. But that’s not the case at all!
This category offers at least three tracks that have endured: “Volare,” “Fever,” and the adorable novelty holiday tune “The Chipmunk Song.” And Frank Sinatra, a perennial Grammy heavy hitter, rounds out the category.
This choice is easy. Built around finger snaps, a simple bassline, and a few well-placed drumrolls, Peggy Lee’s “Fever” was minimal, moody, and sensual. Artists like Billie Eilish are still using a similar template to this day. “Fever” wouldn’t sound out of place on the radio today. That’s remarkable.
Revised 1959 winner: Fever, Peggy Lee
1960
Actual winner:
Mack the Knife, Bobby Darin
Also nominated:
A Fool Such as I, Elvis Presley
High Hopes, Frank Sinatra
Like Young, Andre Previn
The Three Bells, the Browns
Elvis and Sinatra in the same category! The Elvis track isn’t anything special, but Ol’ Blue Eyes is a serious contender here with “High Hopes.”
Still, “Mack the Knife” is so euphoric, with its big band arrangement and Bobby Darin’s ebulient vocals, that it stands above the rest. There’s a reason this track spent nine weeks at #1. The Recording Academy got this one correct.
Revised 1960 winner: Mack the Knife, Bobby Darin
1961
Actual winner:
Theme from a Summer Place, Percy Faith
Also nominated:
Are You Lonesome Tonight?, Elvis Presley
Georgia on My Mind, Ray Charles
Mack the Knife, Ella Fitzgerald
Nice ‘n’ Easy, Frank Sinatra
“Georgia on My Mind” is an all-time classic, from the legendary Ray Charles. This became his signature song and took his career to a new level, becoming his first #1 hit. It should be the obvious winner here. But the competition for 1961 the Record of the Year is fierce.
“Theme from ‘A Summer Place'” is a beautiful orchestral composition. Elvis and Sinatra are nominated again, along with iconic soul singer Ella Fitzgerald. She’s nominated for “Mack the Knife,” the same track which won a year earlier.
This is a rock-solid group of contenders, but nobody’s beating Ray Charles.
Revised 1961 winner: Georgia On My Mind, Ray Charles
1962
Actual winner:
Moon River, Henry Mancini
Also nominated:
Big Bad John, Jimmy Dean
The Second Time Around, Frank Sinatra
Take Five, Dave Brubeck Quartet
(Up a) Lazy River, Si Zentner
Frank Sinatra was nominated for Record of the Year seven times, second-most only behind Beyonce’s eight. “The Second Time Around” was one of the better songs for which he earned a ROY nom. But in 1962 it had the misfortune of being nominated against two recordings in the Grammy Hall of Fame: “Moon River” and “Take Five.”
Taking its name from its unusual 5/4 time signature, Dave Brubeck’s “Take Five” has become a jazz standard, and one of the most well-known jazz songs in history.
The dreamy “Moon River” is also a standard, having been covered by everyone from Amy Winehouse to Frank Ocean.
Is “Moon River” really the better song? I’m not sure. But it has the nostalgia factor working for it, and it provides more of an emotional impact.
Revised 1962 winner: Moon River, Henry Mancini
1963
Actual winner:
I Left My Heart in San Francisco, Tony Bennett
Also nominated:
Desafinado, Stan Getz & Charlie Boyd
Fly Me to the Moon Bossa Nova, Joe Harnell & His Orchestra
I Can’t Stop Loving You, Ray Charles
What Kind of Fool Am I?, Sammy Davis, Jr.
There’s no reason to debate this one for too long. “I Left My Heart in San Francisco” is one of the signature songs from one of the most prominent crooners in music history. It’s the logical pick, despite another great performance from Ray Charles.
Revised 1963 winner: I Left My Heart in San Francisco, Tony Bennett
1964
Actual winner:
Days of Wine and Roses, Henry Mancini
Also nominated:
Dominique, the Singing Nun
Happy Days Are Here Again, Barbra Streisand
I Wanna Be Around, Tony Bennett
Wives and Lovers, Jack Jones
Stevie Wonder had a #1 song in 1963. So did Lesley Gore. And the Four Seasons. Memorable songs like “He’s So Fine,” “Surf City,” “Sukiyaki,” “My Boyfriend’s Back,” and “So Much in Love” all topped the chart too.
But somehow, we got this subpar group of Record of the Year nominees. This contest is between Bennett and Streisand, but neither is nominated for one of their best songs.
You probably recognize “Happy Days Are Here Again” as an upbeat, bouncy song, as performed by many artists over the years. Streisand’s version is so slow that it sucks most of the joy out of the tune. Still, the way she belts at the end is impressive. That single moment is enough to make it the least-bad nominee here.
Revised 1964 winner: Happy Days Are Here Again, Barbra Streisand
1965
Actual winner:
The Girl from Ipanema, Astrud Gilberto and Stan Getz
Also nominated:
Downtown, Petula Clark
Hello, Dolly!, Louis Armstrong
I Want to Hold Your Hand, Beatles
People, Barbra Streisand
All five of these songs are memorable hits. In 1964, the Beatles were still in the early days of their boy band era. “I Want to Hold Your Hand” was a bit more frivolous than their later work. But it was their first #1 single in America, and it remains one of the best straight-up pop songs in history.
Petula Clark’s “Downtown” is such an oddity, in a good way. It has the catchy melody of a sitcom theme song and the energy of a Broadway show anthem, paired with a dash of youthful naivete and enthusiasm. Fun fact: Led Zeppelin’s Jimmy Page played on the track.
“Hello, Dolly!” was a fun song, but it’s not at the same level as Louis Armstrong’s later gem “What a Wonderful World.” “People” was Barbra Streisand’s first Top 10 hit, but I can’t get past those inane lyrics (“People who need people are the luckiest people in the world…”)
This race is between Petula Clark and the Beatles, and I just can’t deny “I Want to Hold Your Hand.” Sure, its lyrics are pretty silly too, but this song changed the course of popular music around the world.
Revised 1965 winner: I Want to Hold Your Hand, the Beatles
1966
Actual winner:
A Taste of Honey, Herb Alpert and the Tijuana Brass
Also nominated:
Yesterday, Beatles
The In Crowd, Ramsey Lewis Trio
King of the Road, Roger Miller
The Shadow of Your Smile, Tony Bennett
Herb Alpert’s “A Taste of Honey” may be the best of the many instrumental and orchestral songs that got nominated for Record of the Year in the early years of the Grammys.
The lively jazz-pop tune was not a bad choice at the time. And Roger Miller’s “King of the Road” was the first great country song nominated for ROY. But the Beatles’ iconic “Yesterday” is obviously the pick here.
Revised 1966 winner: Yesterday, the Beatles
1967
Actual winner:
Strangers in the Night, Frank Sinatra
Also nominated:
Almost Persuaded, David Houston
Monday, Monday, the Mamas & the Papas
What Now My Love, Herb Alpert & Tijuana Brass
Winchester Cathedral, New Vaudeville Band
Sinatra won his only Record of the Year trophy for “Strangers in the Night.” It was one of his better songs of this era, but “Monday, Monday” made more impact in popular culture, and has endured far better than any of the other nominees.
What really stands out here is the massive number of legendary songs from 1966 that didn’t get nominated, including the Beach Boys’ “Good Vibrations,” the Beatles’ “Eleanor Rigby,” the Supremes’ “You Keep Me Hanging On” and “You Can’t Hurry Love,” the Rolling Stones’ “Paint it Black,” Percy Sledge’s “When a Man Loves a Woman,” the Troggs’ “Wild Thing,” the Four Tops’ “Reach Out, I’ll Be There,” Simon & Garfunkel’s “The Sounds of Silence,” and ? and the Mysterians’ “96 Tears.”
But I can only choose from the five songs the Academy gave us. “Monday, Monday” has already been inducted into the Grammy Hall of Fame. Now, at least for me, it wins Record of the Year as well.
Revised 1967 winner: Monday, Monday, the Mamas & the Papas
1968
Actual winner:
Up, Up and Away, the 5th Dimension
Also nominated:
By the Time I Get to Phoenix, Glen Campbell
My Cup Runneth Over, Ed Ames
Ode to Billie Joe, Bobbie Gentry
Somethin’ Stupid, Nancy Sinatra & Frank Sinatra
We’ve got our first country music ROY winner, as the two best songs in this underwhelming group are both country: Glen Campbell’s “By the Time I Get to Phoenix” and Bobbie Gentry’s “Ode to Billie Joe.”
Campbell had three Record of the Year nominations. He’s a country artist who deserves induction in the Rock and Roll Hall of Fame. “By the Time I Get to Phoenix” was an emotional breakup ballad that even Frank Sinatra admired.
Meanwhile, the bluesy country track “Ode to Billie Joe” unfolds like a Taylor Swift song. In some ways, it really feels similar to Swift’s “All Too Well.” The original version was seven minutes long, but it was cut to four for release.
The story is revealed line by line, telling the tale of a troubled boy in a rural Mississippi town who takes his own life by jumping from a bridge, with an unanswered question about what mystery object the narrator was seen throwing off the same bridge. Its simple guitar instrumentation puts the focus squarely on the lyrics, with well-timed string flourishes to add drama and tension.
The impressive craftsmanship of “Ode to Billie Joe” makes Bobbie Gentry our pick for 1968.
Revised 1968 winner: Ode to Billie Joe, Bobbie Gentry
1969
Actual winner:
Mrs. Robinson, Simon & Garfunkel
Also nominated:
Harper Valley PTA, Jeannie C. Riley
Hey Jude, Beatles
Honey, Bobby Goldsboro
Wichita Lineman, Glen Campbell
“Mrs. Robinson” and “Hey Jude” are both all-time classics, and the others don’t quite compare, so this is obviously a two-song race.
“Hey Jude” is probably a better song from the rock critic perspective, but I’m going with Simon & Garfunkel, only because their song is a bit more fun. And it was from one of the year’s most memorable movies. Besides, the Beatles are already getting plenty of love elsewhere in this column.
Revised 1969 winner: Mrs. Robinson, Simon & Garfunkel
1970
Actual winner:
Aquarius/Let the Sunshine In, the 5th Dimension
Also nominated:
A Boy Named Sue, Johnny Cash
Is That All There Is?, Peggy Lee
A Time for Us, Henry Mancini
Spinning Wheel, Blood, Sweet & Tears
Johnny Cash’s “A Boy Named Sue” is a bit of a novelty song, a tale about a guy who grew up tough because his father named him Sue, forcing him to constantly defend himself in fights when he got teased.
Though only somewhat humorous, the song is a good representation of Cash’s ability to interpret a story and tell it as his own (the song was written by poet Shel Silverstein.) It features Cash’s famous idgaf attitude, and the appealing sing-speak vocals that helped him create other memorable tracks like “Ring of Fire” and “I Walk the Line.”
“Spinning Wheel” is a worthy challenger, but the Man in Black wins his Record of the Year Grammy here.
Revised 1970 winner: A Boy Named Sue, Johnny Cash
1971
Actual winner:
Bridge Over Troubled Water, Simon & Garfunkel
Also nominated:
Close to You, Carpenters
Everything is Beautiful, Ray Stevens
Fire and Rain, James Taylor
Let it Be, Beatles
“Bridge Over Troubled Water” was wildly popular, but I’ve never been particularly enamored with that track. Sorry to say, it’s fairly boring.
A better option is “Fire and Rain,” perhaps James Taylor’s best song. The understated tune about persevering through grief fully deserved its ROY nomination.
But once again, the Beatles released another legendary track. “Let it Be” became their swan song, and Record of the Year would have been a fitting send-off for the Fab Four.
Revised 1971 winner: Let it Be, the Beatles
1972
Actual winner:
It’s Too Late, Carole King
Also nominated:
Joy to the World, Three Dog Night
My Sweet Lord, George Harrison
Theme from Shaft, Isaac Hayes
You’ve Got a Friend, James Taylor
The fact that the Recording Academy nominated “Theme From Shaft” for Record of the Year in 1972 is pretty badass. An edgy slice of soul-funk deliciousness with orchestral flourishes? No wonder this song went to #1.
The theme won Isaac Hayes the Oscar for Best Original Song, making him the first Black person to win the category, and the first person to win that award for a song they performed.
Rock and Roll Hall of Famers Carole King and James Taylor are in the category too, but neither is nominated for their best song.
George Harrison’s first single as an ex-Beatle is hard to pass up. “My Sweet Lord” blends a beautiful pop melody with simple lyrics about spirituality. Rolling Stone is just one of many publications that has called this one of the greatest songs of all-time.
It’s a tough call, but I have to go with Harrison edging out Hayes to win Record of the Year.
Revised 1972 winner: My Sweet Lord, George Harrison
1973
Actual winner:
The First Time Ever I Saw Your Face, Roberta Flack
Also nominated:
Alone Again (Naturally), Gilbert O’Sullivan
American Pie, Don McLean
Song Sung Blue, Neil Diamond
Without You, Nilsson
1973 has two clearly deserving winners in “American Pie” and “Without You.” Don McLean’s acclaimed tune about “the day the music died” chronicles the plane crash that took the lives of Buddy Holly, Richie Valens, and the Big Bopper, and it also includes vague lyrics that seemed to refer to a number of pop culture figures, including Bob Dylan, Mick Jagger, and the Beatles.
There’s no denying “Without You” is an awesome vocal performance from Harry Nilsson. It could be argued this was the song that, for better or worse, established the blueprint for the overwrought, bombastic ballad, which would be followed by purveyors of soft pop for decades to come.
“Without You” is the song I’d rather hear on the radio right now, but “American Pie” is an all-timer.
Revised 1973 winner: American Pie, Don McLean
1974
Actual winner:
Killing Me Softly With His Song, Robert Flack
Also nominated:
Bad, Bad Leroy Brown, Jim Croce
Behind Closed Doors, Charlie Rich
You Are the Sunshine Of My Life, Stevie Wonder
You’re So Vain, Carly Simon
This year features three songs listed on Rolling Stone’s Top 500 Songs of All Time list. That’s serious competition.
The first, Roberta Flack’s “Killing Me Softly,” was not a bad choice by the Recording Academy. The gentle ballad spent five weeks at #1 and remains an all-time favorite among critics. But it’s hard for me to choose it, given that the Fugees completely transformed that track and created a superior version 20 years later.
Stevie Wonder’s “You Are the Sunshine Of My Life” is a good song from a good album, but he’s made many better songs over the years. In fact, “Superstition” was eligible this year, but Grammy voters opted for the less-adventurous song. “Superstition” would’ve been a slam-dunk winner, had it been nominated.
“You’re So Vain,” meanwhile, may be the best song in Carly Simon’s storied career. “You’re so vain you probably think this song is about you” is one of the great musical put-downs of all-time.
The ambiguous backstory — Was it written about Mick Jagger? Warren Beatty? James Taylor? David Geffen? — has helped make it one of rock music’s best mysteries and gives it something of a mystical quality that makes it ROY-worthy.
Revised 1974 winner: You’re So Vain, Carly Simon
1975
Actual winner:
I Honestly Love You, Olivia Newton-John
Also nominated:
Don’t Let the Sun Go Down on Me, Elton John
Feel Like Makin’ Love, Roberta Flack
Help Me, Joni Mitchell
Midnight at the Oasis, Maria Muldaur
This was the year both Elton John and Joni Mitchell nabbed the only Record of the Year nominations of their respective Hall of Fame careers. Those are the two best songs in a field featuring sleepy tracks by Maria Muldaur, Roberta Flack, and Olivia Newton-John.
“Help Me” was the only Top 10 hit of Mitchell’s career. It has the qualities of the best Joni Mitchell songs — a pleasant but not overpowering melody and vocal delivery, with an intriguing lyric. Is it the best Joni Mitchell song ever? Nah, but it’s an overlooked treasure in her catalog.
“Don’t Let the Sun Go Down on Me,” though, is celebrated to this day. Though Elton’s original version doesn’t reach the majestic heights of his 1991 live remake with George Michael, it’s still the best option among this bunch.
Revised 1975 winner: Don’t Let the Sun Go Down on Me, Elton John
1976
Actual winner:
Love Will Keep Us Together, Captain & Tennille
Also nominated:
At Seventeen, Janis Ian
Lyin’ Eyes, Eagles
Mandy, Barry Manilow
Rhinestone Cowboy, Glen Campbell
Aside from the cornball Captain & Tenille song, every nominee in 1976 had something to offer. “Mandy” was the best torch ballad of Barry Manilow’s career. The harmonies of the country-tinged “Lyin’ Eyes” made it one of the Eagles’ best songs. Janis Ian’s “At Seventeen” was a depressing but powerful tale of teenage loneliness, displaying a brutal level of angst 20 years before emo became a thing.
“Rhinestone Cowboy” achieved the rare feat of topping the country and pop singles charts at the same time. Campbell didn’t write the song about navigating the ups and downs of a career in the country music industry, but the story resonated with him, and he sure sold it. Thematically, it’s a predecessor to Eminem’s “Lose Yourself,” with a guitar and honky tonk bars instead of a mic and rap clubs.
It’s really hard to choose between the four good songs in this category. The Eagles probably deserve this one on merit, but if given the choice, I’d rather hear “Mandy” or “Rhinestone Cowboy” on the radio right now. The former is my guilty pleasure, but there’s something about the latter’s message of persistence and determination that wins out.
Revised 1976 winner: Rhinestone Cowboy, Glen Campbell
1977
Actual winner:
This Masquerade, George Benson
Also nominated:
Afternoon Delight, Starland Vocal Band
50 Ways to Leave Your Lover, Paul Simon
I Write the Songs, Barry Manilow
If You Leave Me Now, Chicago
Soulful jazz-pop singer George Benson released a few extraordinary songs in his day, like “Give Me the Night” and “Turn Your Love Around.” “This Masquerade” was not one of them.
“Afternoon Delight” isn’t as bad as some critics claim, but I’m not giving Record of the Year to a goofy song about bonking at lunchtime. “I Write the Songs” was a big hit for Barry Manilow, but it’s well-known that, despite the title, he didn’t even write it.
This is a contest between Rock and Roll Hall of Famers Chicago and Paul Simon. “If You Leave Me Now” is a bit cheesy, but who can resist Peter Cetera’s dreamy “ooh-ooh-ooh no, baby please don’t go!” It’s the song among this group that still gets the most airplay on oldies stations today.
Simon has a long Grammy history and a great track record, but “50 Ways to Leave Your Lover” always felt a bit too silly. Those rhymes — “Just slip out the back, Jack / Make a new plan, Stan / You don’t need to be coy, Roy” — sorry, we just can’t reward that. Simon himself called it a “nonsense song.”
So in a bit of an upset, Chicago wins this one. “If You Leave Me Now” was not the best song of 1976, but it’s the best option from this list.
Revised 1977 winner: If You Leave Me Now, Chicago
1978
Actual winner:
Hotel California, the Eagles
Also nominated:
Blue Bayou, Linda Ronstadt
Don’t it Make My Brown Eyes Blue, Crystal Gayle
Evergreen, Barbra Streisand
You Light Up My Life, Debby Boone
The Eagles famously didn’t show up for the 1978 Grammys because they didn’t think “Hotel California” would win. How could it not, given this competition?
Four treacly ballads, versus an iconic rock song. (Actually, I have a soft spot for “You Light Up My Life” — it’s fun to sing at karaoke or in the shower. But it’s still not a great song.)
This one doesn’t require any more discussion. The Eagles were the correct pick, now and then.
Revised 1978 winner: Hotel California, the Eagles
1979
Actual winner:
Just the Way You Are, Billy Joel
Also nominated:
Baker Street, Gerry Rafferty
Feels So Good, Chuck Mangione
Stayin’ Alive, Bee Gees
You Needed Me, Anne Murray
Of all the songs Billy Joel released over the years, “Just the Way You Are” was certainly… one of them. Chuck Mangione somehow got nominated for a 10-minute instrumental jazz trumpet tune. Anne Murray was one of my mom’s favorite singers, but we can’t give Record of the Year to the queen of passionless balladry.
With those three crossed off the list, we’re down to the Bee Gees and Gerry Rafferty. “Baker Street” is a rare song in which the actual hook was a sax riff. If only the rest of the song had been as glorious as that saxophone.
The Saturday Night Fever anthem “Stayin’ Alive” is the only real option here. The Grammys thought so, too. At the 1979 ceremony, producers thought it would be fun to have the Bee Gees’ brother, Andy Gibb, present the Record of the Year category, assuming it would go to the Bee Gees. Instead, Gibb had to announce Billy Joel as the winner. Awkward!
Revised 1979 winner: Stayin’ Alive, Bee Gees
1980
Actual winner:
What a Fool Believes, Doobie Brothers
Also nominated:
After the Love Has Gone, Earth, Wind & Fire
I Will Survive, Gloria Gaynor
The Gambler, Kenny Rogers
You Don’t Bring Me Flowers, Barbra Streisand & Neil Diamond
“You Don’t Bring Me Flowers” was one of the best live performances in Grammy history, as Neil Diamond and the Barbra Streisand took the stage unannounced for their first-ever performance of the song. The crowd went crazy as Streisand overcame her stage fright and created a magical moment in Grammy history.
But that doesn’t necessarily mean the song deserves Record of the Year. Not in a year with four other memorable hits.
“What a Fool Believes” is the ultimate yacht rock song. That bouncy piano riff is hard to resist. “The Gambler” is one of the great storytelling songs of all-time. “After the Love Has Gone” is a beautiful slow jam.
But my winner is “I Will Survive.” The song’s message of perseverence resonates more than four decades later. Thanks to its disco groove and Gloria Gaynor’s powerful vocals, the song has never gone out of style. And it probably never will.
Revised 1980 winner: I Will Survive, Gloria Gaynor
1981
Actual winner:
Sailing, Christopher Cross
Also nominated:
The Rose, Bette Midler
Lady, Kenny Rogers
Theme from New York, New York, Frank Sinatra
Woman in Love, Barbra Streisand
Wow, talk about the era of easy listening and soft pop. This year’s nominees seem pulled straight from a dentist office’s playlist of inoffensive background music.
That’s not to say they’re bad songs. In fact, this is a solid group of nominees, one through five.
“Sailing” and “The Rose,” in particular, are two songs I will always defend, no matter how cheesy they may be. There’s a reason N Sync recorded a remake of “Sailing” and Family Guy put “The Rose” and its epic, final-verse wall of vocals in a road trip scene.
The Lionel Richie-penned “Lady” was a huge hit for Kenny Rogers, whose smoky growl is a perfect fit for the song’s downcast tones and minor key arrangement. The Barry Gibb-penned “Woman in Love” carries a similarly dark vibe and allows Barbra Streisand to belt on the chorus.
But this is where Frank Sinatra finally gets his due. Ol’ Blue Eyes was 64 years old when his remake of Liza Minelli’s “Theme from New York, New York” gave him an improbable late-career smash and became one of his signature songs. Who can resist the dramatic orchestration and Sinatra’s performance when he finally cuts loose vocally at the song’s climax?
Revised 1981 winner: Theme from New York, New York, Frank Sinatra
1982
Actual winner:
Bette Davis Eyes, Kim Carnes
Also nominated:
Arthur’s Theme (Best That You Can Do), Christopher Cross
(Just Like) Starting Over, John Lennon
Endless Love, Diana Ross & Lionel Richie
Just the Two of Us, Grover Washington, Jr. & Bill Withers
“Endless Love” is simply one of the greatest duets of all-time, performed by two of the greatest pop-soul voices of all-time. It’s the best selection for 1982, no matter how much I like the endearingly weird “Bette Davis Eyes,” the posthumous John Lennon chart-topper “Starting Over,” and the downcast but appealing “Just the Two of Us.”
So I’m not going to overthink this one. Lionel Richie and Diana Ross, two performers at the recent Fool in Love festival, get the nod for 1982.
Revised 1982 winner: Endless Love, Diana Ross & Lionel Richie
1983
Actual winner:
Rosanna, Toto
Also nominated:
Steppin’ Out, Joe Jackson
Ebony and Ivory, Paul McCartney & Stevie Wonder
Always On My Mind, Willie Nelson
Chariots of Fire, Vangelis
Can I stan Toto for one minute? These guys are proficient musicians who had a number of hits, ranging from hard rock to soft pop. They deserve to be in consideration for the Rock and Roll Hall of Fame.
“Rosanna” doesn’t get enough love. It’s been overshadowed these days by “Africa,” another track from the same album. The catchy chorus and punchy instrumentation made “Rosanna” a smash hit. But it’s still only the third-best song in this group, tied with the dramatic instrumental “Chariots of Fire.”
The two best songs here are “Steppin’ Out” and “Always On My Mind.” One a jazzy pop tune by a gay new wave rocker, the other a plaintive piano ballad from a Nashville legend.
Joe Jackson’s Night and Day is an outstanding album that pays homage to Cole Porter. “Steppin’ Out” was its biggest hit. I’d love to award him Record of the Year, but Willie Nelson’s version of “Always On My Mind” has that sad, lonely quality that makes the listener feel Willie’s pain.
And the song has endured, thanks partly to the Pet Shop Boys dance remake. The weed-loving outlaw country star gets the Grammy here.
Revised 1983 winner: Always On My Mind, Willie Nelson
1984
Actual winner:
Beat It, Michael Jackson
Also nominated:
Flashdance…What a Feeling, Irene Cara
Every Breath You Take, Police
All Night Long, Lionel Richie
Maniac, Michael Sembello
This is an excellent group of songs. “Every Breath You Take” and “All Night Long” are both worthy of winning ROY. “Maniac” is an underrated banger. “Flashdance” is one of the great pop songs of the ’80s, its wistful little synth riff pairing with an up-tempo dance beat and unstoppable hook to create a perfect pop song.
But there’s another perfect pop song in this bunch, and it comes from a perfect album. You know I’m talking about “Beat It” and Thriller. Michael Jackson walked away with a record 8 Grammys in 1984, and I wouldn’t take any of those away from him.
Revised 1984 winner: Beat It, Michael Jackson
1985
Actual winner:
What’s Love Got to Do With It, Tina Turner
Also nominated:
Hard Habit to Break, Chicago
Girls Just Want to Have Fun, Cyndi Lauper
The Heart of Rock & Roll, Huey Lewis and the News
Dancing in the Dark, Bruce Springsteen
“What’s Love Got to Do With It” was a deserving ROY winner and the perfect comeback vehicle for Tina Turner. But there’s something special about “Girls Just Want to Have Fun.” This is a song that’s never going away. It has been all over the radio for the past 40 years, since it’s so fun and has a positive message.
Since the Academy somehow overlooked “Purple Rain” and “When Doves Cry” (perhaps they canceled each other out in the voting?), Cyndi is the best option here.
Revised 1985 winner: Girls Just Want to Have Fun, Cyndi Lauper
1986
Actual winner:
We Are the World, USA for Africa
Also nominated:
Money for Nothing, Dire Straits
The Boys of Summer, Don Henley
The Power of Love, Huey Lewis and the News
Born in the USA, Bruce Springsteen
The history-making collab “We Are the World” couldn’t lose at the Grammys. Not with more than 40 artists from various genres all banding together to raise millions for African famine relief. Voters were obviously going to reward the song that did so much good for the world. I’m under no such obligation, however.
“We Are the World” is perfect for the Song of the Year category, which rewards the songwriters. Give Lionel Richie and Michael Jackson their flowers for penning this anthem. As for Record of the Year, let’s go in a different direction.
Don Henley and Dire Straits both have strong rock songs in contention. And “The Power of Love” may have been the best song of Huey Lewis & the News‘ career. But this one is going to the Boss.
Bruce Springsteen’s Born in the USA was the top-selling album of 1985, sending an incredible seven songs into the Top 10 on Billboard. The title track became an anthem of patriotism in some circles, thanks to its shout-along chorus, although its actual message was more of an attack on the ills of our nation in the Reagan era, and a lament about veterans and blue-collar workers getting left behind.
An infectious melody, thoughtful lyrics, and a political protest all in one song — what more could you want from a Record of the Year?
Revised 1986 winner: Born in the USA, Bruce Springsteen
1987
Actual winner:
Higher Love, Steve Winwood
Also nominated:
Sledgehammer, Peter Gabriel
Greatest Love of All, Whitney Houston
Addicted to Love, Robert Palmer
That’s What Friends Are For, Dionne Warwick & Friends
With due respect to Whitney’s vocal masterpiece and Dionne‘s all-star AIDS fundraiser single, the two best songs here are “Higher Love” and “Sledgehammer.”
Any respectable rock critic would choose the innovative Peter Gabriel track. But everything about “Higher Love” is so damn good: the way-too-long clanging percussion intro, the perky synth stabs, the horn bursts, the optimistic lyrical message, the strong vocals, that unstoppable hook, and Chaka Khan’s guest harmonies.
“Sledgehammer” can settle for the award for Best Music Video. I’m giving Record of the Year to “Higher Love.”
Revised 1987 winner: Higher Love, Steve Winwood
1988
Actual winner:
Graceland, Paul Simon
Also nominated:
La Bamba, Los Lobos
I Still Haven’t Found What I’m Looking For, U2
Luka, Suzanne Vega
Back in the High Life Again, Steve Winwood
“Graceland” is a peppy tune, and “La Bamba” is a fun remake. But U2 and Suzanne Vega have the best songs in this group.
“Luka” was unlike any ROY nominee in recent history. Acoustic guitar-based rock songs by solo female artists just weren’t getting nominated back then. But the Academy couldn’t ignore this gripping story about a child dealing with the trauma and shame of physical abuse.
“I Still Haven’t Found What I’m Looking For” was one of three U2 smashes from 1987 that all became legendary. This one incorporates spiritual leanings and subtle gospel sounds into a traditional rock song.
“With or Without You” would’ve been a better choice, but any of The Joshua Tree singles would have been worthy ROY winners.
Revised 1988 winner: I Still Haven’t Found What I’m Looking For, U2
1989
Actual winner:
Don’t Worry, Be Happy, Bobby McFerrin
Also nominated:
Giving You the Best That I Got, Anita Baker
Fast Car, Tracy Chapman
Man in the Mirror, Michael Jackson
Roll With It, Steve Winwood
“Don’t Worry, Be Happy” was a fun a capella tune, but it really shouldn’t be winning Record of the Year. The contrast is jarring between Bobby McFerrin’s effort, which essentially tells listeners to ignore their problems, and the songs from Michael Jackson and Tracy Chapman, both of which tackle poverty and other serious social issues facing the nation.
“Man in the Mirror” goes big, loading up with a gospel choir, soaring key changes, and more “hoo!” and “shamon!” exclamations than we thought we ever needed. “Fast Car” is understated in comparison, its simple acoustic melody and lyrics painting a bleak tale of a struggling couple in Reagan’s America.
“Man in the Mirror” has sometimes received critical derision for being a bit schmaltzy. I don’t share that view. It holds up as a great song. But “Fast Car” really hits the listener in a deeper way. Most of us at some point in our lives could imagine ourselves being one of the people in that fast car, wondering how we’re going to pay the rent or the grocery bill.
Fun note: “Fast Car” is one of a small number of songs to have been performed twice at the Grammys.
Revised 1989 winner: Fast Car, Tracy Chapman
1990
Actual winner:
Wind Beneath My Wings, Bette Midler
Also nominated:
The End of the Innocence, Don Henley
She Drives Me Crazy, Fine Young Cannibals
We Didn’t Start the Fire, Billy Joel
The Living Years, Mike & the Mechanics
“We Didn’t Start the Fire” is a cool song that receives too much criticism. Seriously, it’s one of the most succinct summaries of 20th century history, and it’s one of the great sing-along songs of all-time. But even Billy Joel has said he doesn’t love the song. So Joel essentially pulled his own work out of the running here.
I have a soft spot for a sappy song, especially one with a children’s choir, so I will sing along with “The Living Years” anytime it comes on the radio. But I can’t rightfully say it’s the best of these tracks. The same goes for “Wind Beneath My Wings.”
That leaves “She Drives Me Crazy” and “The End of the Innocence.” The former gets more radio play these days, thanks in part to its catchy chorus. The quirky song blends rock guitars, a lite-soul falsetto, and a pop sensibility into a formula that somehow works. (Perhaps not coincidentally, the track was produced by Prince associate David Z.) It was an unlikely #1 hit, especially since it was performed by a weird-looking band with a weird name and a weird music video.
“The End of the Innocence” always makes me nostalgic, yet I’m never sure exactly what I’m nostalgic for. The lyrics pondering the loss of childhood innocence are definitely thought-provoking. Or maybe it’s Bruce Hornsby’s piano playing that conjures up a sense of comfort. Or that melancholy sax. About the only things that don’t work are the drums, which sound dated.
Don Henley is great, but let’s give this one to the endearing weirdos.
Revised 1990 winner: She Drives Me Crazy, Fine Young Cannibals
1991
Actual winner:
Another Day in Paradise, Phil Collins
Also nominated:
Vision of Love, Mariah Carey
U Can’t Touch This, MC Hammer
From a Distance, Bette Midler
Nothing Compares 2 U, Sinead O’Connor
Aside from the awful “From a Distance,” this is a strong group. Phil Collins’ “Another Day in Paradise” was slightly awkward in its efforts to address homelessness, but it was well-intentioned and had a pleasant melody.
Mariah Carey burst onto the scene with “Vision of Love” and some of the most impressive vocal runs pop music had ever seen. MC Hammer became the first rapper ever nominated for Record of the Year, and while some people today take “U Can’t Touch This” less than seriously, it was a monumental success at the time.
Either Mariah or Hammer would have been a worthy winner. But Sinead O’Connor’s version of Prince’s “Nothing Compares 2 U” is the one that stands out 30 years later. Her passionate delivery makes this one of the great pop songs of its era.
Sinead wouldn’t have wanted this award. She spoke out against the Grammys holding a ceremony during the middle of the Gulf War. But all these years later, we can look back and retroactively declare her the victor.
Revised 1991 winner: Nothing Compares 2 U, Sinead O’Connor
1992
Actual winner:
Unforgettable, Natalie Cole with Nat King Cole
Also nominated:
(Everything I Do) I Do it for You, Bryan Adams
Baby Baby, Amy Grant
Something to Talk About, Bonnie Raitt
Losing My Religion, R.E.M.
Reminder that Nirvana’s “Smells Like Teen Spirit” was eligible this year. Instead, we got a very generic group of adult contempo fare, and one gem from an alt-rock group.
I have a lot of affection for Bonnie Raitt, but “Losing My Religion” is easily the best choice among this batch. R.E.M. had already cleaned up at the MTV Video Music Awards, and they won three other Grammys in 1992, so it would have been nice to see them win ROY as well. All praise the mandolin!
Revised 1992 winner: Losing My Religion, R.E.M.
1993
Actual winner:
Tears in Heaven, Eric Clapton
Also nominated:
Achy Breaky Heart, Billy Ray Cyrus
Beauty and the Beast, Celine Dion & Peabo Bryson
Constant Craving, k.d. lang
Save the Best for Last, Vanessa Williams
Yeesh. This is possibly the weakest batch of Record of the Year nominees in history. “Tears in Heaven” is a sentimental song written about the tragic incident that took the life of Eric Clapton’s son. Despite its backstory, the song is pure shlock. It’s hard to listen to today. “Beauty and the Beast” is better, but not by much.
“Achy Breaky Heart” is an underrated guilty pleasure, but it’s not ROY-level. Neither is “Save the Best for Last,” a fairly plain song with a decently warm melody and one of the better performances of Vanessa Williams’ career.
Thank goodness for “Constant Craving.” k.d. lang saves this category and gives us a legitimately deserving winner with her impeccable vocal delivery and harmony blends. lang, incidentally, makes our list of LGBTQ artists who should be inducted into the Rock and Roll Hall of Fame.
Revised 1993 winner: Constant Craving, k.d. lang
1994
Actual winner:
I Will Always Love You, Whitney Houston
Also nominated:
A Whole New World, Peabo Bryson & Regina Belle
The River of Dreams, Billy Joel
If I Ever Lose My Faith in You, Sting
Harvest Moon, Neil Young
This is the easiest call in Grammy history. Three past-their-prime rockers and a Disney ballad versus Whitney Houston delivering the performance of a lifetime? There’s no contest. It’s “I Will Always Love You,” end of discussion.
The Academy got this one right by rewarding one of the great pop songs in music history.
Revised 1994 winner: I Will Always Love You, Whitney Houston
1995
Actual winner:
All I Wanna Do, Sheryl Crow
Also nominated:
I’ll Make Love to You, Boyz II Men
He Thinks He’ll Keep Her, Mary Chapin Carpenter
Love Sneakin’ Up On You, Bonnie Raitt
Streets of Philadelphia, Bruce Springsteen
Sheryl Crow’s “All I Wanna Do” is a fresh, vibrant song that signaled the arrival of a new rock star. The Recording Academy’s decision to award it Record of the Year was surprising, but welcome.
There’s only one other nominee that would’ve been a better pick: Bruce Springsteen’s “Streets of Philadelphia,” the theme to the movie Philadelphia, in which Tom Hanks plays a lawyer with AIDS.
The Boss gets the call here for his emotional, Academy Award-winning rock ballad.
Revised 1995 winner: Streets of Philadelphia, Bruce Springsteen
1996
Actual winner:
Kiss From a Rose, Seal
Also nominated:
One Sweet Day, Mariah Carey & Boyz II Men
Gangsta’s Paradise, Coolio featuring L.V.
One of Us, Joan Osborne
Waterfalls, TLC
“One Sweet Day” set the all-time Billboard record with 16 weeks at #1. In fact, it was still at #1 when the Grammys aired in 1996. But when’s the last time you heard it? The song has completely disappeared off the face of the earth. It has that “generic ballad” quality that made it temporarily successful on the charts in the ’90s, but which doesn’t endure.
“Kiss From a Rose” is pretty good. “Waterfalls” was a smash, but I always wondered why that song got so much attention, when another song from that TLC album — the impossibly sexy “Creep” — was better.
“One of Us” and “Gangsta’s Paradise” are the songs that stand out. Joan Osborne’s question “What if God was one of us? / Just a slob like one of us?” is a great thought experiment for religious and atheist folks alike.
My quibble with the track is that it’s excessively polished. It was jarring to see Osborne perform “One of Us” live, because her voice sounded so much different. On the record, she has a clean, innocent, little-girl voice, somewhat like Cyndi Lauper. In concert, Osborne’s voice is a bluesy, raspy roar. It always felt odd that the track would mask her real voice to such a degree.
Backed by a glorious set of strings, Coolio’s “Gangsta’s Paradise” focuses on the plight of the inner city kid who’s surrounded by dangers of all kinds. “They say I got to learn, but nobody’s here to teach me,” the rapper pleads. This was the rap song that even people who didn’t like rap music still liked. The Stevie Wonder interpolation makes it instantly familiar and comfortable.
“Gangsta’s Paradise” becomes the first rap song to win Record of the Year in our revised Grammy exercise.
Revised 1996 winner: Gangsta’s Paradise, Coolio featuring L.V.
1997
Actual winner:
Change the World, Eric Clapton
Also nominated:
Give Me One Reason, Tracy Chapman
Because You Loved Me, Celine Dion
Ironic, Alanis Morissette
1979, Smashing Pumpkins
Props to Tracy Chapman. Her comeback album New Beginning was the best album of 1995, and “Give Me One Reason” brought her back to the Top 10. And Celine’s ballad was one of Diane Warren’s best songs.
But to me, this is a contest between Alanis and the Pumpkins. “Ironic” has one of the most infectious hooks of all-time, and it remains a pleasure to listen to, even if its lyrics are never actually ironic.
“1979” was just one of many epic songs from the Pumpkins’ ambitious double-album Mellon Collie and the Infinite Sadness. I would’ve preferred to see the more dramatic “Tonight, Tonight” in this category. But you have to love the nostalgia of “1979” and the appeal of its warped synth riffs.
I keep going back and forth on this one. Initially, I chose the Pumpkins, but right now I’m feeling Alanis.
Revised 1997 winner: Ironic, Alanis Morissette
1998
Actual winner:
Sunny Came Home, Shawn Colvin
Also nominated:
Where Have All the Cowboys Gone?, Paula Cole
Everyday is a Winding Road, Sheryl Crow
MMMBop, Hanson
I Believe I Can Fly, R. Kelly
This was a good year for hip hop, but sadly, the Academy didn’t deem Diddy’s “I’ll Be Missing You,” Notorious B.I.G.’s “Hypnotize,” or their collab “Mo Money Mo Problems” to be worthy of a ROY nomination.
This was also peak Lilith Fair era, and three women from that female-heavy tour found themselves up for Record of the Year. “Where Have All the Cowboys Gone?” is the best of that group, but there’s one track here I like better.
The teen brothers of Hanson were unfairly lumped in with the other boy bands of the time. They actually wrote their own songs and played their own instruments. Despite its silly title and chorus, “MMMBop” is mature and insightful when you give it a deeper look.
The song has, as Rolling Stone put it, “shockingly unstupid lyrics about the meaning of life.” Taylor Hanson captures the message of the song in the line, “So hold on to the ones who really care / In the end, they’ll be the only ones there.“
Kids dishing out life lessons that actually make sense? With a fun pop hook and clean production from the Dust Brothers? That all makes “MMMBop” the best option for 1998.
Revised 1998 winner: MMMBop, Hanson
1999
Actual winner:
My Heart Will Go On, Celine Dion
Also nominated:
The Boy Is Mine, Brandy & Monica
Iris, Goo Goo Dolls
Ray of Light, Madonna
You’re Still the One, Shania Twain
The 1999 category featured a solid group of songs. We’ll rule out “Iris” immediately. It’s a good song, but a bit too lightweight. “You’re Still the One” is a fine ballad and a big hit, but Shania had at least three other songs on Come on Over that were better (why no love for “That Don’t Impress Me Much?”)
This race is between “The Boy is Mine,” “Ray of Light,” and “My Heart Will Go On.” Truthfully, I’m tempted to follow the Academy’s lead and give the award to Celine. Sure, her Titanic theme may have been a sappy love song, but it might be the absolute greatest sappy love song in history. That counts for something, doesn’t it? And Titanic was the #1 cultural event of the year.
But I have to acknowledge that the Madonna and Brandy & Monica tracks are just a bit more deserving. Both songs are artistically excellent. Madonna wins the tiebreaker because it’s the song I’d rather play on repeat, since it’s so joyous and fun.
Revised 1999 winner: Ray of Light, Madonna
2000
Actual winner:
Smooth, Santana featuring Rob Thomas
Also nominated:
I Want It That Way, Backstreet Boys
Believe, Cher
Livin’ La Liva Loca, Ricky Martin
No Scrubs, TLC
Here’s one of the best groups of ROY nominees in history. Santana and Cher both made epic comebacks in 1999, and both would be excellent winners.
Ricky Martin took over the pop world with the undeniable “Livin’ La Vida Loca.” “I Want it That Way” is maybe the greatest boy band song in history. And TLC’s “No Scrubs” is an almost-perfect R&B-pop anthem.
How to choose from this group? They’ve all stood the test of time reasonably well. “Smooth” rode the wave of Santana nostalgia, but, looking back, it was perhaps a touch overrated. I love Carlos Santana and hate to take this award away from him, but he can still have Album of the Year for Supernatural.
“Believe” and “No Scrubs” are the tunes that rise to the top here. How can you compare an innovative Autotune dance banger with a soulful, danceable tell-off? For the sake of legacy, Cher gets the slight edge.
I want to live in a universe where Cher wins Record of the Year at age 53.
Revised 2000 winner: Believe, Cher
2001
Actual winner:
Beautiful Day, U2
Also nominated:
Say My Name, Destiny’s Child
I Try, Macy Gray
Music, Madonna
Bye Bye Bye, N Sync
For the second straight year, the Academy selected an incredibly strong group of Record of the Year nominees in Grammy history. Any of these five songs would have been a great winner.
U2 and Madonna have already won ROY Grammys in this exercise. That doesn’t mean we can’t reward them again. But “Beautiful Day” and “Music” are just a notch below the songs they already won for, “I Still Haven’t Found What I’m Looking For” and “Ray of Light.”
“I Try” was a huge hit and has a nice hook, but in retrospect, it feels less fresh than it did at the time. Now, it just sounds like standard adult contemporary fare. Macy Gray’s personality really carried that song.
That leaves “Say My Name” and “Bye Bye Bye.” The outstanding Destiny’s Child track probably deserves to win. But Beyonce is going to win this award many times as this article moves into the 2000s.
And no disrespect, but do we want to give Record of the Year to the LeToya and LaTavia iteration of Destiny’s Child? Before the iconic trio of Beyonce, Kelly, and Michelle took over the world? That just feels off.
So that leaves N Sync. Let’s face it: “Bye Bye Bye” is a banger, one of the great pure pop songs of the 2000s. And this was the peak of the boy band era, so choosing N Sync here is representative of the times. It might sound crazy, but it ain’t no lie. I’m going with “Bye Bye Bye.”
Revised 2001 winner: Bye Bye Bye, N Sync
2002
Actual winner:
Walk On, U2
Also nominated:
Video, India.Arie
Fallin’, Alicia Keys
Ms. Jackson, Outkast
Drops of Jupiter (Tell Me), Train
India.Arie was the H.E.R. of the early 2000s, the female R&B artist who gets a disproportionate amount of Grammy attention compared to her modest album sales. Arie’s self-acceptance anthem “Video” is a worthy nominee. But this is clearly a race between Alicia Keys and Rock & Roll Hall of Fame inductees Outkast.
“Fallin'” is a stunner, the kind of career-introducing debut single that only comes along once a decade. The song shows off her powerful pipes, her capable musicianship as a pianist, and her songwriting and producing talents. It instantly made Alicia Keys one of the most formidable artists in music.
Outkast had been around for a few years, but they’d never had a pop Top 10 hit until “Ms. Jackson” soared to #1. For many, the song was the introduction to Big Boi’s steady flow and Andre 3000’s delightful quirk.
From his numerous catchphrases — “Forever ever? Forever ever?” — to the subtle touches like the “Here Comes the Bride” piano riff, the song about Andre’s tumultuous relationship with Erykah Badu (and her mother) remains one of rap’s great confessional songs.
This is such a tough call. In any other year, “Fallin'” would win. But the personal nature of “Ms. Jackson” gives it more weight. The lyrics manage to capture the entirety of a complex situation in just a few verses, while at the same time offering an incredibly infectious hook.
Revised 2002 winner: Ms. Jackson, Outkast
2003
Actual winner:
Don’t Know Why, Norah Jones
Also nominated:
A Thousand Miles, Vanessa Carlton
Without Me, Eminem
Dilemma, Nelly & Kelly Rowland
How You Remind Me, Nickelback
“Don’t Know Why” is a perfectly fine lite-jazz-pop song, but it’s exactly the kind of ultra-conservative tune that gave the Grammys a reputation for being out of touch with modern music. All respect to Norah Jones, but I’m going in a different direction.
Eminem’s “Without Me” feels like an unimaginative rewrite of “The Real Slim Shady.” Like much of Eminem’s work, it’s cartoonish, contains dated pop culture references and gay slurs, and hasn’t stood the test of time.
Hot take: “How You Remind Me” was actually a really good rock song that only became a punchline after Nickelback released ten other songs that sounded just like it. It’s better than you want to acknowledge. But no, I’m not going to seriously consider giving Nickelback this award.
“Dilemma” was the rare rap ballad that became a big hit. Nelly’s performance is fine, but Kelly Rowland really powers this song. It would be odd to reward “Dilemma” when Nelly has made other better songs, and when the featured artist is the star of the track.
So I’m going with “A Thousand Miles.” This song offers some of the catchiest piano playing this side of Alicia Keys, plus glorious bursts of strings. And it has endured — even Gen Z seems to recognize the song.
Vanessa Carlton becomes the most unlikely winner of this “revised Grammy” exercise.
Revised 2003 winner: A Thousand Miles, Vanessa Carlton
2004
Actual winner:
Clocks, Coldplay
Also nominated:
Crazy in Love, Beyonce & Jay-Z
Where is the Love, Black Eyed Peas & Justin Timberlake
Lose Yourself, Eminem
Hey Ya!, Outkast
Coldplay’s unexpected ROY win in 2004 was especially disappointing, considering that they were up against “Crazy in Love,” “Lose Yourself,” and “Hey Ya!”
“Lose Yourself” is the second-most important song of Eminem’s career, behind “Stan.” But if you haven’t noticed, I’m not Marshall’s biggest fan. He places third in this category.
Both “Hey Ya!” and “Crazy in Love” combine R&B, hip hop, and pop with touches of funk and disco into an exuberant formula that makes them classics. “Crazy in Love” seems to have done a better job of remaining relevant in the 2020s.
The first note of that horn sample is still enough to get people to the dance floor. It’s also a bigger part of the culture today — you just don’t hear “Hey Ya!” as much anymore.
Revised 2004 winner: Crazy in Love, Beyonce & Jay-Z
2005
Actual winner:
Here We Go Again, Ray Charles and Norah Jones
Also nominated:
Let’s Get It Started, Black Eyed Peas
American Idiot, Green Day
Heaven, Los Lonely Boys
Yeah!, Usher featuring Lil Jon & Ludacris
Jay-Z probably deserved to win Record of the Year in 2005 for “99 Problems,” the hard rock-meets-rap smash produced by Rick Rubin. I would’ve even settled for another The Black Album banger, “Dirt Off Your Shoulder.” But neither was nominated.
So with the absence of Jay-Z, I’m only going to seriously consider two songs for 2005: “American Idiot” and “Yeah!” Usher created one of the smoothest pop-dance-soul tracks of this era, with Lil Jon adding the hype and Ludacris supplying one of the most compelling guest verses in the history of rap features.
But 2005 was right in the middle of the George W. Bush era, and Green Day were one of the few acts to speak out about his politics in their music. “American Idiot” was a throwback punk song that revived the band’s career and showed that rock music wasn’t quite dead yet as an influential art form (that would come later.)
Much of America rejoiced when Billie Joe Armstrong sneered, “I’m not a part of the redneck agenda!” Green Day won the actual Record of the Year Grammy in 2006 for “Boulevard of Broken Dreams,” but “American Idiot” is the song that deserved the honor a year earlier.
Revised 2005 winner: American Idiot, Green Day
2006
Actual winner:
Boulevard of Broken Dreams, Green Day
Also nominated:
We Belong Together, Mariah Carey
Feel Good Inc., Gorillaz
Hollaback Girl, Gwen Stefani
Gold Digger, Kanye West featuring Jamie Foxx
Mariah’s comeback smash was epic, and Gorillaz created a unique new sound. But this award belongs to “Gold Digger,” the song that catapulted Kanye West into the stratosphere.
“Gold Digger” shows why so many music critics couldn’t get enough of Kanye’s work, no matter how off-putting his personality may have been. It’s a deliberate effort at pop stardom, and it works, thanks to the Ray Charles sample and the humorous lyrics, which feature numerous lines specifically designed for listeners to sing along (“We want prenup!“)
Who knows — maybe some of Kanye’s bizarre behavior over the years could’ve been avoided if he’d just gotten one of the big prizes that he always wanted from the Grammys. This one should have belonged to him.
Revised 2006 winner: Gold Digger, Kanye West featuring Jamie Foxx
2007
Actual winner:
Not Ready to Make Nice, The Chicks
Also nominated:
Be Without You, Mary J. Blige
You’re Beautiful, James Blunt
Crazy, Gnarls Barkley
Put Your Records On, Corinne Bailey Rae
The Chicks’ “Not Ready to Make Nice” is a powerful tell-off to all those who had canceled them after they criticized President Bush. It’s easy to see why the Academy embraced it.
Mary J. Blige’s performance of “Be Without You” at the 2007 show was one of the most impressive vocal displays in modern Grammy history.
But, ultimately, “Crazy” was the song of 2006. It was everywhere, for months. The track borrows from funk, pop, R&B, rock, and dance, and even throws in strings for good measure. Cee Lo and Danger Mouse lost their minds, and the world was better for it.
Revised 2007 winner: Crazy, Gnarls Barkley
2008
Actual winner:
Rehab, Amy Winehouse
Also nominated:
Irreplaceable, Beyonce
The Pretender, Foo Fighters
Umbrella, Rihanna featuring Jay-Z
What Goes Around…Comes Around, Justin Timberlake
Let’s not pretend this contest is anything other than “Rehab” vs “Umbrella.”
“Rehab” taps into the retro-soul revival. Amy Winehouse was spunky, humorous, rebellious, and soulful. The fact that it was a true story — Winehouse’s family had previously tried to get her to go to rehab, and she would in fact end up going to rehab just before the Grammys — made her performance all the more convincing.
“Umbrella” was the song of the summer, as listeners everywhere went around singing the hook “ella, ella, eh eh eh…” It notched seven weeks at #1. But in my mind, it’s one notch below “Rehab.”
For the first time since 1994, the Grammys actually made the right call. “Rehab” takes it.
Revised 2008 winner: Rehab, Amy Winehouse
2009
Actual winner:
Please Read the Letter, Alison Krauss & Robert Plant
Also nominated:
Chasing Pavements, Adele
Viva La Vida, Coldplay
Bleeding Love, Leona Lewis
Paper Planes, M.I.A.
This is a ho-hum group of just-decent mainstream pop songs, so I guess we’ll have to settle for… WAIT A MINUTE, “PAPER PLANES” WAS NOMINATED FOR RECORD OF THE YEAR?
An alt-hip-hop song with island beats, a sing-along hook, and gunshots and cash registers really got nominated? Yes, somehow that happened. M.I.A. was at the peak of her fame, having appeared on the hip-hop smash “Swagga Like Us” by four of the year’s biggest rappers.
The year-old “Paper Planes” was revived and rose to #4 on the Hot 100, compelling the Recording Academy to give it a look in its biggest category for singles.
Crafting a song with a totally unique sound is nearly impossible anymore, but M.I.A. pulled it off, bringing together her disparate influences to create an innovative recording. I definitely want to live in the simulation where “Paper Planes” wins Record of the Year.
Revised 2009 winner: Paper Planes, M.I.A.
2010
Actual winner:
Use Somebody, Kings of Leon
Also nominated:
Halo, Beyonce
I Gotta Feeling, Black Eyed Peas
Poker Face, Lady Gaga
You Belong With Me, Taylor Swift
Kings of Leon inexplicably won Record of the Year in 2010 for “Use Somebody.” Actually, their win made sense when you consider that they were the only rock artist nominated. The large contingent of rock voters had no choice but to vote for them, since the hard rockers weren’t going to choose Gaga, Taylor, or Beyonce.
It’s somewhat surprising that Beyonce didn’t win for “Halo,” an epic and uplifting mainstream ballad, exactly the kind of song that appeals to conservative Grammy voters. But having to compete with two other divas kept her from getting enough votes.
With respect to the other two divas, this was the year of The Fame and Lady Gaga. We would’ve preferred to see her nominated for the superior “Paparazzi.” But “Poker Face” was a smash hit and should have served as a fitting cap on Gaga’s year of dominance on the charts and in pop culture.
Revised 2010 winner: Poker Face, Lady Gaga
2011
Actual winner:
Need You Now, Lady Antebellum
Also nominated:
Nothin’ on You, B.o.B featuring Bruno Mars
Love the Way You Lie, Eminem featuring Rihanna
F— You, Cee Lo Green
Empire State of Mind, Jay-Z featuring Alicia Keys
It may have reached #1, but I always found “Love the Way You Lie” difficult to listen to. For one thing, Eminem criminally underutilized Rihanna. But worse than that, it was hard to hear Rihanna singing about staying in an abusive relationship, in the aftermath of what happened with her and Chris Brown.
So this is a contest between “F— You” and “Empire State of Mind.” Cee Lo Green’s tune juxtaposes a classic Motown arrangement with lyrical venom towards an old flame and their new partner, masking his anger with humor. Who can’t relate to his frustrating story about seeing an ex with someone new?
Jay-Z declared himself “the new Sinatra” and created a new NYC anthem, with a fiery assist from Alicia Keys. Jay ambitiously aimed to create a contemporary, spiritual successor to Sinatra’s “Theme From New York, New York” (our 1981 winner), and damned if he didn’t pull it off. He and Alicia win this award, by the narrowest of margins.
Revised 2011 winner: Empire State of Mind, Jay-Z featuring Alicia Keys
2012
Actual winner:
Rolling in the Deep, Adele
Also nominated:
Holocene, Bon Iver
Grenade, Bruno Mars
The Cave, Mumford & Sons
Firework, Katy Perry
Bon Iver’s “Holocene” in the 2012 ROY category was one of the most surprising nominations I’ve ever seen. It’s a brilliant song, with its long pauses between vocal lines building a sense of anticipation, along with the gentle acoustic strums and Justin Vernon’s falsetto cooing.
It was never a hit, failing to crack the Hot 100. But it’s exactly the kind of song the Grammys should nominate on a regular basis — excellent songs that aren’t necessarily hits. This is a rare case of the Academy finding a hidden gem and giving it the spotlight it deserved.
“Holocene” would be an easy pick here if not for Adele’s “Rolling in the Deep,” the monster bluesy pop single that helped make Adele one of the biggest superstars in the world. This is a diva coming of age, showing off her incredible voice and songwriting skill.
Revised 2012 winner: Rolling in the Deep, Adele
2013
Actual winner:
Somebody That I Used to Know, Gotye featuring Kimbra
Also nominated:
Lonely Boy, Black Keys
Stronger (What Doesn’t Kill You), Kelly Clarkson
We Are Young, fun. featuring Janelle Monae
Thinkin Bout You, Frank Ocean
We Are Never Ever Getting Back Together, Taylor Swift
This was the first time the Grammys nominated six songs for ROY, and all were outstanding choices.
The standout was “Thinkin Bout You,” Frank Ocean’s introduction to the mainstream. The confessional track to his first love marries an R&B vocal with a chilled-out arrangement featuring strings and swirling keys. Pitchfork calls it the 5th-best song of the 2010s decade.
Choosing Frank here means that Taylor Swift will go winless in this article, as this was her best chance. The irresistible “We Are Never Ever Getting Back Together” might be the best of Swift’s many hits from her 2010s pop turn. Great melody, great lyrics, great attitude. Unfortunately, Taylor will never win ROY in this revised Grammy exercise. Like, ever.
Revised 2013 winner: Thinkin Bout You, Frank Ocean
2014
Actual winner:
Get Lucky, Daft Punk featuring Pharrell Williams & Nile Rodgers
Also nominated:
Radioactive, Imagine Dragons
Royals, Lorde
Locked Out of Heaven, Bruno Mars
Blurred Lines, Robin Thicke featuring TI & Pharrell Williams
“Get Lucky” was a fun Record of the Year winner. It was exciting to see the Academy reward a quirky act like the robotic duo Daft Punk. That would be my pick, too, if not for Lorde’s scintillating debut effort.
“Royals” rewrites the pop diva playbook. In an era when Beyonce and RiRi and Gaga and Taylor were trying to create the most catchy, danceable earworms, a teenager from New Zealand realized that lo-fi was the way to go, creating a model for future stars to follow.
Revised 2014 winner: Royals, Lorde
2015
Actual winner:
Stay With Me, Sam Smith
Also nominated:
Fancy, Iggy Azalea featuring Charli XCX
All About That Bass, Meghan Trainor
Chandelier, Sia
Shake it Off, Taylor Swift
Sia’s “Chandelier” remains one of the greatest vocal performances in pop music. It ranks right up there with Whitney, Celine, Toni, Adele, and all the great divas who belted out ballads over the years. The fact that she performed the song live several times and hit all the notes was remarkable.
“Chandelier” was also the biggest song of the year from a cultural perspective, with its wonderfully odd music video and Sia’s quirky presentation adding to the well-deserved hype.
“Stay With Me” shows off Sam Smith’s beautiful voice, and “Shake it Off” is a fun tell-off to the haters. But “Chandelier” earns this crown for 2015.
Revised 2015 winner: Chandelier, Sia
2016
Actual winner:
Uptown Funk, Mark Ronson featuring Bruno Mars
Also nominated:
Really Love, D’Angelo
Thinking Out Loud, Ed Sheeran
Blank Space, Taylor Swift
Can’t Feel My Face, the Weeknd
“Uptown Funk” was a juggernaut. The throwback, genre-mashing track may not have broken any new ground musically, but it takes us back to a comfortable place, with a retro style that sounds like Prince meets James Brown meets the Gap Band. It topped the Hot 100 for a whopping 14 weeks, and very much deserved its Record of the Year win.
It has competition from “Thinking Out Loud,” the best ballad of Ed Sheeran’s career, and “Can’t Feel My Face,” the Weeknd song with the space-age Michael Jackson vibe that helped the song reach #1.
The Weeknd would’ve been a worthy victor, but I’m sticking with the Academy’s choice this time. “Uptown Funk” was more impactful, and rightfully earns this award.
Revised 2016 winner: Uptown Funk, Mark Ronson featuring Bruno Mars
2017
Actual winner:
Hello, Adele
Also nominated:
Formation, Beyonce
7 Years, Lukas Graham
Work, Rihanna featuring Drake
Stressed Out, Twenty One Pilots
Although Adele’s “Hello” was a fine song, it didn’t reach the heights of her previous smashes “Rolling in the Deep” and “Someone Like You.” “Work” is a bit overrated, its repetitive chorus becoming grating after repeated listens.
Beyonce dropped “Formation” just before her Super Bowl guest performance, and won over crowds with the lyrical celebration of southern Black culture and commentary on Black Lives Matter. With its rubberband synths, horn blasts, whisper raps and chanting vocals, “Formation” sounds like nothing else in popular music. This song and its album, Lemonade, saw Beyonce taking her art to a whole new level.
Revised 2017 winner: Formation, Beyonce
2018
Actual winner:
24K Magic, Bruno Mars
Also nominated:
Despacito, Luis Fonsi & Daddy Yankee featuring Justin Bieber
Redbone, Childish Gambino
The Story of OJ, Jay-Z
Humble, Kendrick Lamar
If there was ever a year for Kendrick Lamar to win Record of the Year, this would be it. With its pulsing piano beat, “Humble” was a big hit and maybe the most accessible track of Lamar’s career so far.
“Despacito” and “24K Magic” were big hits as well, but they couldn’t compare to the ferocity and infectious groove of “Humble.”
And yet… I find myself drawn more to Childish Gambino’s “Redbone,” an irresistible piece of psychedelic soul with the coolest falsetto this side of Prince. This is simply a flawless track. “Stay woke!“
Revised 2018 winner: Redbone, Childish Gambino
2019
Actual winner:
This is America, Childish Gambino
Also nominated:
I Like It, Cardi B, Bad Bunny & J Balvin
The Joke, Brandi Carlile
God’s Plan, Drake
Shallow, Lady Gaga & Bradley Cooper
All the Stars, Kendrick Lamar & SZA
Rockstar, Post Malone featuring 21 Savage
The Middle, Zedd, Maren Morris & Grey
In 2019, the Grammys expanded Record of the Year to eight nominees. “This is America” was a deserving winner. There’s only one song among this group that could challenge it, and that’s Brandi Carlile’s “The Joke.”
Carlile’s incredible performance on the broadcast showed off her stunning voice and made the entire music industry question why they hadn’t paid her enough attention over the years. “The Joke” is a remarkable song about outsiders who feel marginalized, especially the LGBTQ community.
Aside perhaps from Beyonce and Taylor, no recording artist has released as much quality music over the past decade as Brandi Carlile. This would’ve been a fitting ROY win.
Revised 2019 winner: The Joke, Brandi Carlile
2020
Actual winner:
Bad Guy, Billie Eilish
Also nominated:
Hey Ma, Bon Iver
7 Rings, Ariana Grande
Hard Place, H.E.R.
Talk, Khalid
Old Town Road, Lil Nas X featuring Billy Ray Cyrus
Truth Hurts, Lizzo
Sunflower, Post Malone & Swae Lee
Shout-out to another great Bon Iver song that somehow found its way into the ROY category. “7 Rings” and “Truth Hurts” also deserve mention. And Post Malone, who unfortunately has 18 career Grammy nominations with no wins, had a solid entry with “Sunflower.”
But for us, this comes down to “Bad Guy” against “Old Town Road.”
“Old Town Road” spent a historic 19 weeks at #1 and somehow melded hip hop and country into a completely new sound. It’s a great song. But how often do you hear it these days? It seems that some folks unfortunately view it as a novelty song, so over time, it probably won’t be looked back on with the level of respect it deserves.
“Bad Guy,” meanwhile, still gets played on the radio all the time. It established the template for Billie Eilish’s music and career, which have thrived since the moment this song started getting spins. This is a rare case where the Recording Academy made the right decision.
Revised 2020 winner: Bad Guy, Billie Eilish
2021
Actual winner:
Everything I Wanted, Billie Eilish
Also nominated:
Black Parade, Beyonce
Colors, Black Pumas
Rockstar, DaBaby featuring Roddy Ricch
Say So, Doja Cat
Don’t Start Now, Dua Lipa
Circles, Post Malone
Savage, Megan Thee Stallion featuring Beyonce
The underrated “Everything I Wanted” remains one of the best songs Eilish has ever released. Her gentle cooing created the best hook of her career. It’s easy to see why the Academy chose it.
That said, Beyonce had the two best songs in this category, with “Black Parade” and “Savage.” Written in the aftermath of the George Floyd killing and released on Juneteenth, “Black Parade” felt appropriately weighty.
“Motherland drip on me,” Bey sings on the celebratory ode to Black culture, Black activism, and Black history. It was the song we needed during the chaos of the summer of 2020.
By the end of the year, though, “Savage” had become the go-to song for escapism. It was the best rap song of the year, and maybe the best song of the year, period, with Megan Thee Stallion absolutely owning the track and Beyonce adding some of the most forceful rap verses she’s ever delivered.
Revised 2021 winner: Savage, Megan Thee Stallion featuring Beyonce
2022
Actual winner:
Leave the Door Open, Silk Sonic
Also nominated:
I Still Have Faith in You, Abba
Freedom, Jon Batiste
I Get a Kick Out of You, Tony Bennett & Lady Gaga
Peaches, Justin Bieber featuring Daniel Caesar & Giveon
Right on Time, Brandi Carlile
Kiss Me More, Doja Cat featuring SZA
Happier Than Ever, Billie Eilish
Montero (Call Me By Your Name), Lil Nas X
Drivers License, Olivia Rodrigo
In 2022, the Grammys expanded the big categories again, growing to an absurd 10 nominees. Aside from bizarre inclusion of Abba, the Recording Academy selected a decent group of songs.
But let’s be honest. “Drivers License” was the Record of the Year. It was the song that was everywhere. Even grown men were singing along to Olivia Rodrigo’s relatable tale of teenage heartbreak. Saturday Night Live dedicated an entire sketch to it. Rodrigo’s soaring vocals are assured and mature. This should’ve been her award.
Revised 2022 winner: Drivers License, Olivia Rodrigo
2023
Actual winner:
About Damn Time, Lizzo
Also nominated:
Don’t Shut Me Down, ABBA
Easy on Me, Adele
Break My Soul, Beyonce
Good Morning Gorgeous, Mary J. Blige
You and Me on the Rock, Brandi Carlile featuring Lucius
Woman, Doja Cat
Bad Habit, Steve Lacy
The Heart Part 5, Kendrick Lamar
As it Was, Harry Styles
Even with so many songs nominated here, it’s pretty easy to single out the winner. Beyonce’s Renaissance was an ambitious project that blended together multiple sub-genres of dance music in a way that no one had ever done before, and “Break My Soul” was one of its highlights.
Lyrically, Beyonce hits on some universal themes with an uplifting message about staying positive despite challenges like a stressful work environment. Musically, she creates a hip-hop house and bounce anthem with a powerful, thumping beat.
Brandi Carlile, Harry Styles, and Steve Lacy deserve honorable mention, but Beyonce wins her third Record of the Year in the past seven years, and fourth overall.
Revised 2023 winner: Break My Soul, Beyonce
2024
Actual winner:
Flowers, Miley Cyrus
Also nominated:
Worship, Jon Batiste
Not Strong Enough, Boygenius
What Was I Made For?, Billie Eilish
On My Mama, Victoria Monet
Vampire, Olivia Rodrigo
Anti-Hero, Taylor Swift
Kill Bill, SZA
It’s hard to re-analyze a category from the recent past, because we don’t have the benefit of history to see how these songs have aged.
“Flowers” was a solid choice, but I think this should have been a race between Boygenius and SZA. Boygenius made by far the best album of 2023, and “Not Strong Enough” was its catchiest number, a perfect mix of sweet harmonies and loud guitars.
Against all odds, SZA created a mega-smash at pop radio with by sticking to a true R&B sound, a genre that Top 40 radio has for some reason largely ignored in recent years. SZA’s thoughts of murderous revenge on an ex are just the right combination of anger, depression, frustration, and humor.
In my world, Boygenius would have won Album of the Year, and SZA would have taken home Record of the Year.
Revised 2024 winner: Kill Bill, SZA
2025
Actual winner:
Not Like Us, Kendrick Lamar
Also nominated:
Now and Then, the Beatles
Texas Hold ‘Em, Beyonce
Espresso, Sabrina Carpenter
Birds of a Feather, Billie Eilish
Good Luck, Babe!, Chappell Roan
Fortnight, Taylor Swift featuring Post Malone
360, Charli XCX
The most recent Record of the Year category featured several worthy songs, from Billie Eilish to Charli XCX. Beyonce’s country turn was excellent, but the two standout songs of the year were Kendrick Lamar’s “Not Like Us” and Chappell Roan’s “Good Luck, Babe!”
As much as I love Roan’s summer breakthrough single, Lamar’s Drake diss track was the one I keep coming back to in retrospect. That simple string sample and the ferocious lyrics made the song the best of the year.
Revised 2025 winner: Not Like Us, Kendrick Lamar
2026
Actual winner:
Luther, Kendrick Lamar & SZA
Also nominated:
DtMF, Bad Bunny
Manchild, Sabrina Carpenter
Anxiety, Doechii
Wildflower, Billie Eilish
Abracadabra, Lady Gaga
The Subway, Chappell Roan
APT., Rosé & Bruno Mars
Most of these songs are good, but not great. For me, one of these tracks is better than the rest, and that’s “APT.” by Rosé and Bruno Mars.
This is a flawless pop song, with powerful hooks and appealing sing-along chants. That “don’t you want me like I want you, baby?” pre-chorus is perfection.
Rosé becomes our first K-Pop winner, and Mars gets his second victory as a featured artist, following “Uptown Funk.”
Revised 2026 winner: APT. Rose & Bruno Mars
List of the Revised Record of the Year Winners
Here’s the complete list of the songs that should have won Record of the Year. This list is far from perfect, but it’s undoubtedly a much better group of songs than the actual winners.
*denotes actual winner chosen by the Grammys
1959: Fever, Peggy Lee
1960: Mack the Knife, Bobby Darin*
1961: Georgia On My Mind, Ray Charles
1962: Moon River, Henry Mancini*
1963: I Left My Heart in San Francisco, Tony Bennett*
1964: Happy Days Are Here Again, Barbra Streisand
1965: I Want to Hold Your Hand, the Beatles
1966: Yesterday, the Beatles
1967: Monday, Monday, the Mamas & the Papas
1968: Ode to Billie Joe, Bobbie Gentry
1969: Mrs. Robinson, Simon & Garfunkel*
1970: A Boy Named Sue, Johnny Cash
1971: Let it Be, the Beatles
1972: My Sweet Lord, George Harrison
1973: American Pie, Don McLean
1974: You’re So Vain, Carly Simon
1975: Don’t Let the Sun Go Down on Me, Elton John
1976: Rhinestone Cowboy, Glen Campbell
1977: If You Leave Me Now, Chicago
1978: Hotel California, Eagles*
1979: Stayin’ Alive, Bee Gees
1980: I Will Survive, Gloria Gaynor
1981: Theme from New York, New York, Frank Sinatra
1982: Endless Love, Diana Ross & Lionel Richie
1983: Always On My Mind, Willie Nelson
1984: Beat It, Michael Jackson*
1985: Girls Just Want to Have Fun, Cyndi Lauper
1986: Born in the USA, Bruce Springsteen
1987: Higher Love, Steve Winwood*
1988: I Still Haven’t Found What I’m Looking For, U2
1989: Fast Car, Tracy Chapman
1990: She Drives Me Crazy, Fine Young Cannibals
1991: Nothing Compares 2 U, Sinead O’Connor
1992: Losing My Religion, R.E.M.
1993: Constant Craving, k.d. lang
1994: I Will Always Love You, Whitney Houston*
1995: Streets of Philadelphia, Bruce Springsteen
1996: Gangsta’s Paradise, Coolio featuring L.V.
1997: Ironic, Alanis Morissette
1998: MMMBop, Hanson
1999: Ray of Light, Madonna
2000: Believe, Cher
2001: Bye Bye Bye, N Sync
2002: Ms. Jackson, Outkast
2003: A Thousand Miles, Vanessa Carlton
2004: Crazy in Love, Beyonce & Jay-Z
2005: American Idiot, Green Day
2006: Gold Digger, Kanye West featuring Jamie Foxx
2007: Crazy, Gnarls Barkley
2008: Rehab, Amy Winehouse*
2009: Paper Planes, M.I.A.
2010: Poker Face, Lady Gaga
2011: Empire State of Mind, Jay-Z featuring Alicia Keys
2012: Rolling in the Deep, Adele*
2013: Thinkin Bout You, Frank Ocean
2014: Royals, Lorde
2015: Chandelier, Sia
2016: Uptown Funk, Mark Ronson featuring Bruno Mars*
2017: Formation, Beyonce
2018: Redbone, Childish Gambino
2019: The Joke, Brandi Carlile
2020: Bad Guy, Billie Eilish*
2021: Savage, Megan Thee Stallion featuring Beyonce
2022: Drivers License, Olivia Rodrigo
2023: Break My Soul, Beyonce
2024: Kill Bill, SZA
2025: Not Like Us, Kendrick Lamar*
2026: APT., Rose & Bruno Mars
Overall Analysis of Our Winners
The list includes a number of iconic songs that the Academy didn’t choose, from “Yesterday” to “Stayin’ Alive” to “Drivers License.”
The list is a good mix of pop, rock, and R&B, though country music is underrepresented. And there aren’t many hip hop winners until the 2000s, when the Academy finally started giving us more diverse groups of nominees.
Beyonce and George Harrison of the Beatles each won four Record of the Year trophies in this revised Grammy exercise, tying for the most wins.
Based on our selections, the Grammys only made the correct choice 13 times in 67 years. Yikes!
Most wins:
Beyonce 4
George Harrison 4 (including the Beatles)
The Beatles 3
Jay-Z 2
Bruno Mars 2
Bruce Springsteen 2
Strongest Record of the Year nominees: 1984, 2000, 1999, 1980, 1972, 1996, 1961, 2001, 1991, 2013
Weakest Record of the Year nominees: 1964, 1960, 1968, 1977, 1992, 1993
Have a different opinion? Tell us who you would have chosen to win Record of the Year!
Last Updated on June 29, 2026