hailing the game-changing recordings that make up the

2013 Grammy Hall of Fame inductees.


Twenty-seven titles will be added to the Grammy Hall of Fame this year -- ranging from a 1920s jug-band classic and the first Cajun song to be recorded up through the debut LP from Whitney Houston. Now in its 40th year, and with 933 titles in its collection, the Grammy Hall of Fame honors culturally and historically-significant recordings that are at least 25 years old.

Act Naturally
Buck Owens
Capitol (1963)
Owen's first country & western No. 1 was the first prime example of his trademark "freight train" sound rooted in western swing, and its success allowed him to hire his first full-time band.

Ain't Nobody Here But Us Chickens
Louis Jordan & His Tympany Five
Decca (1946)
The 11th of saxophonist/singer/songwriter Jordan's 18 chart-toppers, "Ain't Nobody Here but Us Chickens" was No. 1 for 17 weeks and spent six months on the chart, both records for "The King of Jukeboxes."

Allons À Lafayette - (Lafayette)
Joe Falcon
Columbia (1928)
The first commercially recorded Cajun song, featuring accordionist Falcon and his guitarist/singer wife Cleoma, led to them recording for Columbia, Decca, Bluebird and Okeh.

Back In Black AC/DC
AC/DC
Albert/Atlantic (1980)
The first album after Bon Scott's death is a landmark collection of anthems, a pinnacle of the transition from the darkness of '70s metal into the party atmosphere of '80s hard rock.

Band On The Run
Paul McCartney & Wings
Apple (1973)
McCartney's fifth post-Beatles album-recorded in Lagos, Nigeria-was the best-selling set in Britain in 1974 and hit No. 1 in the United States on three different occasions while yielding three top 10 singles and winning two Grammys.

Bonaparte's retreat
W.H. Stepp
Library of Congress (1937)
A Kentucky fiddle tune written for the concert stage rather than the dance hall, Stepp's is the basis of Aaron Copland's "Hoedown" and its numerous interpreters include Doc Watson and Mike Seeger.

Crosscurrents
Lennie Tristano Sextet
Capitol (1949)
The debut album from the pianist who introduced the language of contemporary classical music to jazz in the late '40s includes what may be the earliest recorded examples of free improvisation.

El Día Que Quieras
Carols Gardel
Paramount (1935)
The title song from one of the last films of tango's first superstar, Gardel, who was a revered figure at the time of his death in a plane crash in 1935.

Elton John
Elton John
Uni Records (1970)
"Your Song," one of the first Elton John-Bernie Taupin compositions, opens John's major-label debut and marks the first strike in one of the most significant music careers of the '70s.

Foggy Mountain Banjo
Lester Flatt, Earl Scruggs & the Foggy Mountain Boys
Columbia (1961)
A year before they sold out Carnegie Hall, Flatt, Scruggs and the Boys recorded Foggy Mountain Banjo, the landmark bluegrass album that sparked new interest in the banjo, owing to Scruggs' revolutionary finger-picking style.


Here's Little Richard

Little Richard
Specialty (1957)
The original album's liner notes spell out the appeal of Little Richard's debut LP: A demo of "Tutti Frutti" earned him airfare to Hollywood to record for Specialty; seven of the album's dozen songs had already charted; he had won the Billboard Triple Crown Award; and his outrageous stage persona had earned him roles in two rock'n'roll films.

Hit The Road Jack
Ray Charles
ABC-Paramount (1961)
Charles' first song to go to No. 1 on the R&B and pop charts after his move to ABC/Paramount from Atlantic, the track features his legendary accompanists David "Fathead" Newman, Hank Crawford, Philip Guilbeau, the Raelettes and the solo vocal of Margie Hendrix.

Hound Dog
Willie Mae "Big Mama" Thornton
Peacock (1953)
Bandleader Johnny Otis tapped the young team of Leiber & Stoller to write and produce the single, a first for the songwriting duo. With Otis on drums, the result topped the R&B chart for seven weeks.

I Got You (I Feel Good)
James Brown
King (1965)
Brown recorded his signature song and biggest hit-No. 1 R&B/No. 3 pop-with saxophonist Maceo Parker and the Fabulous Flames after it gained popularity in the film "Ski Party."

John Coltrane & Johnny hartman
John Coltrane & Johnny Hartman
Impulse! (1963)
Coltrane, passionate about exploring ballads at the time, suggested working with deep-voiced crooner Hartman and after a single post-gig meeting, recorded the album's six songs in two sessions. It's the only Coltrane album with a singer.

Lost In The Stars
Original Broadway Cast
Decca (1949)
Maxwell Anderson and Kurt Weill's musical is based on the South Africa-set novel "Cry, the Beloved Country" and is rooted in spirituals, blues and Zulu tribal music.

Mingus Ah um
Charles Mingus
Columbia (1959)
The album's nine tracks, among them the gospel-driven "Better Git It in Your Soul" and the tender ballad "Goodbye Pork Pie Hat," were the culmination of compositional and improvisational ideas that sprang from the composer's workshops he led in the early '50s.

My Black Mama (Parts 1 & 2)
Son House
Paramount (1930)
Considered the most significant of the Southern blues artists rediscovered in the early '60s, the legendary Charley Patton secured the bottleneck guitarist and singer's deal with Paramount, "My Black Mama" being the first release from those sessions.

Near You
Francis Craig & His Orchestra
Bullet (1947)
Craig, a Nashville bandleader, had the biggest hit of 1947 with "Near You," which spent 17 weeks on Billboard's Disc Jockey chart that year.

On Broadway
The Drifters
Atlantic (1963)
Leiber & Stoller took Mann & Weill's song, recorded first by the Crystals and the Cookies, simplified the rhythm, adjusted the lyric to one of strife and brought in a young Phil Spector to play a guitar solo, producing an early touchstone of soul music.


Piano Man

Billy Joel
Columbia (1973)
A semifictionalized version of his experiences at a Los Angeles piano bar, the track was Joel's first hit single, reaching No. 25 on the Billboard Hot 100, from his first album for Columbia.

Stealin' Stealin'
Memphis Jug Band
Victor (1928)
"Stealin' Stealin'" was one of more than 100 sides that Will Shade's Memphis Jug Band recorded under various names between 1927 and 1934, the song gaining fame on a 1959 Folkways compilation.

That N*****'s Crazy
Richard Pryor
Partee/Stax (1974)
The Grammy winner for best comedy album of 1974 included such well-known routines as "Black & White Lifestyles," "Exorcist" and "Wino & Junkie," and sat atop the R&B albums chart for four weeks.

Theme From 'New York, New York' Frank Sinatra
Frank Sinatra
Reprise (1980)
Known for their work with Liza Minnelli, songwriters John Kander and Fred Ebb wrote the tune for her to sing in Martin Scorsese's film of the same name, although it became Sinatra's final top 40 hit and a signature, celebratory song for New York.

The Times They Are A-Changin'
Bob Dylan
Columbia (1964)
One of the "finger-pointing" songs Dylan wrote between Dr. Martin Luther King Jr.'s March on Washington and the assassination of President Kennedy; what began as topical for the civil rights movement continues to have resonance.


The Titanic

Ernest V. "Pop" Stoneman
Okeh (1924)
Country music pioneer Stoneman had a knack for writing tragedy songs, beginning with his first recording, "The Titanic," accompanied by his own autoharp and harmonica.

Whitney Houston
Whitney Houston
Arista (1985)
A breakthrough No. 1 album for Houston, her debut signified the arrival of a new R&B style, one that emphasized intense balladry, and joyful rhythms, garnering Houston her first Grammy.

 

Grammys