January 1, 1966 – January 7, 1966:
Simon & Garfunkel – The Sound Of Silence
January 8, 1966 – February 4, 1966:
The Beatles – We Can Work It Out
February 5, 1966 – February 18, 1966:
Petula Clark – My Love
February 19, 1966 – February 25, 1966:
Lou Christie – Lightnin’ Strikes
February 26, 1966 – March 4, 1966:
Nancy Sinatra – These Boots Are Made For Walkin’
March 5, 1966 – April 8, 1966:
Barry Sadler – The Ballad Of The Green Berets
April 9, 1966 – April 29, 1966:
The Righteous Brothers – (You’re My) Soul And Inspiration
April 30, 1966 – May 6, 1966:
Young Rascals – Good Lovin’
May 7, 1966 – May 27, 1966:
The Mamas & the Papas – Monday, Monday
May 28, 1966 – June 10, 1966:
Percy Sledge – When A Man Loves A Woman
June 11, 1966 – June 24, 1966:
The Rolling Stones – Paint It Black
June 25, 1966 – July 8, 1966:
The Beatles – Paperback Writer
July 9, 1966 – July 15, 1966:
Frank Sinatra – Strangers In The Night
July 16, 1966 – July 29, 1966:
Tommy James and the Shondells – Hanky Panky
July 30, 1966 – August 12, 1966:
The Troggs – Wild Thing
August 13, 1966 – September 2, 1966:
The Lovin’ Spoonful – Summer in the City
September 3, 1966 – September 9, 1966:
Donovan – Sunshine Superman
September 10, 1966 – September 23, 1966:
The Supremes – You Can’t Hurry Love
September 24, 1966 – October 14, 1966:
The Association – Cherish
October 15, 1966 – October 28, 1966:
Four Tops – Reach Out, I’ll Be There
October 29, 1966 – November 4, 1966:
Question Mark & the Mysterians – 96 Tears
November 5, 1966 – November 11, 1966:
The Monkees – Last Train to Clarksville
November 12, 1966 – November 18, 1966:
Johnny Rivers – Poor Side Of Town
November 19, 1966 – December 2, 1966:
The Supremes – You Keep Me Hangin’ On
December 3, 1966 – December 9, 1966:
The New Vaudeville Band – Winchester Cathedral
December 10, 1966 – December 30, 1966:
The Beach Boys – Good Vibrations
December 31, 1966 – February 17, 1967:
The Monkees – I’m a Believer
(Data is compiled from various charts including Billboard’s “Pop,” “Airplay,” “R&B” and “Singles” Charts. “Hot 100” is the primary chart used starting October, 1958)
Winners Announced: March 15, 1966 Televised “Best on Record”: May 16, 1966 Held at: Chicago, Los Angeles, Nashville, and New York Eligibility Year: December 1, 1964 – November 1, 1965
Grammy Highlights and Achievements
Roger Miller Dominates: The country artist was the night’s big winner, taking home six awards including Best Country & Western Album for The Return of Roger Miller.
Frank Sinatra’s September of My Years: Sinatra won Album of the Year, while his classic “It Was a Very Good Year” won Best Male Vocal Performance.
The Sound of Music Reigns: The film’s soundtrack, featuring Julie Andrews, won for Best Original Score Written for a Motion Picture.
Herb Alpert’s A Taste of Honey: Herb Alpert & the Tijuana Brass swept several awards, signaling the mainstream acceptance of Latin-influenced sounds.
Trivia
First Nashville Ceremony: This was the first year the Grammys were held in Nashville, expanding its geographical reach.
Tom Jones Breakthrough: The Welsh singer won Best New Artist, riding the wave of his hit “What’s New Pussycat?”
Record of the Year Surprise: Herb Alpert’s instrumental “A Taste of Honey” won Record of the Year, a rare win for a non-vocal track.
Grammy’s Jazz Nod: The Ramsey Lewis Trio’s jazz version of “The In Crowd” won Best Jazz Performance by a Group.
Record of the Year:
A Taste of Honey – Herb Alpert and the Tijuana Brass
Album of the Year:
September of My Years – Frank Sinatra (Reprise)
Song of the Year:
The Shadow of Your Smile (Love Theme From The Sandpiper) – Paul Francis Webster and Johnny Mandel, songwriters
Best New Artist:
Tom Jones
Most Promising New Recording Artist:
Peter Serkin – pianist
Best Vocal Performance, Male:
It Was a Very Good Year – Frank Sinatra
Best Vocal Performance, Female:
My Name Is Barbra – Barbra Streisand
Best Performance By a Vocal Group:
We Dig Mancini – Anita Kerr Singers
Best Contemporary (Rock and Roll) Single: King of the Road – Roger Miller
Best Contemporary (Rock and Roll) Vocal Performance, Male: King of the Road – Roger Miller
Best Contemporary (Rock and Roll) Vocal Performance, Female:
I Know a Place – Petula Clark
Best Contemporary (Rock and Roll) Performance Group (Vocal or Instrumental):
Flowers on the Wall – Statler Brothers
Best Rhythm and Blues Recording:
Papa’s Got a Brand New Bag – James Brown (King)
Best Instrumental Jazz Performance, Small Group or Soloist With Small Group:
The In Crowd – Ramsey Lewis Trio
Best Instrumental Jazz Performance, Large Group or Soloist With Large Group:
Ellington ’66 – Duke Ellington Orchestra
Best Original Jazz Composition:
Jazz Suite on the Mass Texts – Lalo Shifrin, Composer
Best Country and Western Single
King of the Road – Roger Miller
Best Performance By a Chorus:
Anyone for Mozart? – Swingle Singers
Best Country and Western Album:
The Return of Roger Miller – Roger Miller (Smash)
Best Country and Western Song:
King of the Road – Roger Miller, songwriter
Best Country and Western Vocal Performance, Male:
King of the Road – Roger Miller
Best Country and Western Vocal Performance, Female:
Queen of the House – Jody Miller
Best New Country and Western Artist:
Statler Brothers
Best Gospel or Other Religious Recording (Musical):
Southland Favorites – George Beverly Shea and the Anita Kerr Quartet (RCA)
Best Folk Recording:
An Evening With Belafonte/Makeba – Harry Belafonte and Miriam Makeba (RCA)
Best Instrumental Arrangement:
A Taste of Honey – Herb Alpert, arranger
Best Arrangement Accompanying a Vocalist or Instrumentalist:
It Was a Very Good Year – Gordon Jenkins, arranger
Best Instrumental Performance, Non-Jazz:
A Taste of Honey – Herb Alpert and the Tijuana Brass
Best Score From an Original Show Album:
On a Clear Day – Alan Lerner and Burton Lane (RCA)
Best Original Score Written for a Motion Picture or Television Show:
The Sandpiper – Johnny Mandel, composer (Mercury)
Album of the Year, Classical:
Horowitz at Carnegie Hall, An Historic Return – Vladimir Horowitz (Columbia)
Best Classical Performance, Orchestra:
Ives, Symphony No. 4 – Leopold Stokowski conducting American Symphony Orchestra
Best Classical Chamber Music Performance, Instrumental or Vocal:
Bartók, The Six String Quartets – Juilliard String Quartet
Best Classical Performance, Instrumental Soloist(s) (With Orchestra):
Beethoven, Concerto No. 4 in G Major for Piano and Orchestra – Artur Rubinstein; Erich Leinsdorf conducting Boston Symphony
Best Classical Performance, Instrumental Soloist (Without Orchestra):
Horowitz at Carnegie Hall, An Historic Return – Vladimir Horowitz
Best Opera Recording:
Berg, Wozzeck – Karl Bohm conducting Orchestra of German Opera, Berlin; solos: Fisher-Dieskau, Lear and Wunderlich (Deutsche Grammophon)
Best Classical Choral Performance (Other Than Opera):
Stravinsky, Symphony of Psalms; Poulenc, Gloria – Robert Shaw conducting Robert Shaw Chorale and RCA Victor Symphony Orchestra
Best Classical Vocal Performance, With or Without Orchestra:
Strauss, Salome (Dance of the Seven Veils – Interlude, Final Scene); The Egyptian Helen (Awakening Scene) – Leontyne Price
Best Composition By a Contemporary Classical Composer:
Symphony No. 4 – Charles Ives, Composer
Best Comedy Performance:
Why Is There Air? – Bill Cosby
Best Spoken Word or Drama Recording:
John F. Kennedy: As We Remember Him (Columbia)
Best Recording for Children:
Dr. Seuss Presents Fox in Sox and Green Eggs and Ham – Marvin Miller (RCA)
Best Album Cover, Graphic Arts:
Bartók, Concerto No. 2 for Violin; Stravinsky, Concerto for Violin – James Alexander, graphic artist; George Estes, art director (RCA)
Best Album Cover, Photography
Jazz Suite on the Mass Texts – Ken Whitmore, photographer; Bob Jones, art director (RCA)
Best Album Notes:
September of My Years – Stan Cornyn, annotator (Reprise)
Sidenote: The best-selling song of 1965 was Wooly Bully by Sam the Sham and the Pharaohs, which peaked at number two on June 5, 1965.
December 26, 1964 – January 22, 1965: The Beatles – I Feel Fine
January 23, 1965 – February 5, 1965: Petula Clark – Downtown
February 6, 1965 – February 19, 1965: Righteous Brothers – You’ve Lost That Lovin’ Feelin’
February 20, 1965 – March 5, 1965: Gary Lewis & The Playboys – This Diamond Ring
March 6, 1965 – March 12, 1965: The Temptations – My Girl
March 13, 1965 – March 26, 1965: The Beatles – Eight Days a Week
March 27, 1965 – April 9, 1965: The Supremes – Stop! In the Name of Love
April 10, 1965 – April 23, 1965: Freddie and the Dreamers – I’m Telling You Now
April 24, 1965 – April 30, 1965: Wayne Fontana & The Mindbenders – Game of Love
May 1, 1965 – May 21, 1965: Herman’s Hermits – Mrs. Brown, You’ve Got a Lovely Daughter
May 22, 1965 – May 28, 1965: The Beatles – Ticket to Ride
May 29, 1965 – June 11, 1965: The Beach Boys – Help Me Rhonda
June 12, 1965 – June 18, 1965: The Supremes – Back In My Arms Again
June 19, 1965 – June 25, 1965: Four Tops – I Can’t Help Myself (Sugar Pie, Honey Bunch)
June 26, 1965 – July 9, 1965: The Byrds – Mr. Tambourine Man
July 10, 1965 – August 6, 1965: The Rolling Stones – (I Can’t Get No) Satisfaction
August 7, 1965 – August 13, 1965: Herman’s Hermits – I’m Henry VIII, I Am
August 14, 1965 – September 3, 1965: Sonny & Cher – I Got You Babe
September 4, 1965 – September 24, 1965: The Beatles – Help!
September 25, 1965 – October 1, 1965: Barry McGuire – Eve Of Destruction
October 2, 1965 – October 8, 1965: The McCoys – Hang On Sloopy
October 9, 1965 – November 5, 1965: The Beatles – Yesterday
November 6, 1965 – November 19, 1965: The Rolling Stones – Get Off of My Cloud
November 20, 1965 – December 3, 1965: The Supremes – I Hear A Symphony
December 4, 1965 – December 24, 1965: The Byrds – Turn! Turn! Turn!
December 25, 1965 – December 31, 1966: The Dave Clark Five – Over and Over
(Data is compiled from various charts including Billboard’s “Pop,” “Airplay,” “R&B” and “Singles” Charts. “Hot 100” is the primary chart used starting October, 1958)
It may be hard for anyone living in the rich commercialism of today to understand the climate of the late sixties and early seventies. You could make a good amount of cash in freelance photography. Poster art was big and companies were looking for new poster art material as well as music companies looking for record album cover material. And you had to have a basic knowledge of photography to use a film camera.
Music concerts were relatively cheap and security at music concerts was pretty basic. So basic that once I even used my counterfeiting skills to produce a fake New York Times press badge, complete with the New York Times seal trademark. I used that badge to get me into a couple of Rolling Stones concerts, a James Brown concert, and several other venues. Even if the concert was affordable, the press pass allowed me backstage access. Then one day I ran into a real New York Times reporter who had just retired and was living in Detroit. The press badge was retired.
Veterans from the war in Vietnam were returning at a record rate and government money was flowing like maple syrup over buttermilk pancakes. Not only in the area of education under the GI bill, but also in grants and small business loans. A White Vietnam vet could get one amount to start a small business, but that amount would quadruple if he partnered with a Black Vietnam veteran. That’s one reason I was in such demand. I was a veteran, I was Black, I spoke good English and was fairly well educated as well as being congenial. I had already established myself as being a decent photographer when I was hired by the J. L. Hudson company as their first Black photographer in heir hundred year history. But besides that, I was a pretty good artist also who picked up a few jobs doing pastel portraits at the state fair. I would get proposals that only wanted use of my name, but I saw that as being unethical and maybe illegal. That’s when I met Jimmy Samuels.
Jimmy got the idea to open up a little storefront art gallery on Woodward Avenue, and my friend Bill Riser and I jumped right in and we started the “Gallery of Imo”. This was called an opportunity for Blacks in the neighborhood to see real Black artists at work and to purchase good artwork and paintings done by Black artists. The gallery was made possible with a single government grant. Jimmy was a sweet talker and a con artist who should have been an used car salesman. Barack Obama reminded me of old Jimmy. Jimmy even brought his girlfriend into the gallery as our book keeper, but she spent more time partying with Jimmy than keeping our books. I sold several paintings while at the gallery and I sometimes wonder where they are now.
In my personal life, I was going to college under the G. I. Bill and receiving a extra stipend for housing since I had a dependent (my daughter Angela), but I lived at home with my mom and didn’t need to pay rent. That, with the paycheck from Hudson’s was more than adequate to provide for a pretty decent lifestyle, even the purchase of a bright red 1965 Chevrolet Corvair Monza and a Hasselblad camera.
F. Lee Bailey, the famous lawyer and attorney had created his program of “New Detroit”, part of which was to take the fine arts into the inner city neighborhoods through a program he financed called “Metro Arts”. The idea being to gather promising young Black artists, musicians, and dancers, train them and have them give performances at the very popular Cobo Hall Arena.
Built in 1960, Cobo became a must-stop venue for the biggest and wildest rock-and-roll bands of the ’60s and ’70s; not to mention the temporary home for the Detroit Pistons. Black Sabbath, Jimi Hendrix, the Rolling Stones and Bruce Springsteen all played shows at the arena. Thin Lizzy and Queen performed in 1977 for $7.50 a seat. Cobo Arena was the setting for one of The Doors’ best complete concert performance recording on May 8, 1970. KISS played Cobo numerous times in the 1970s, including a sold-out three-night stand in 1976.
As part of his New Detroit program, Jimmy Samuels, Bill Riser and I were successful in obtaining a grant from Mr. Bailey to purchase a defunct and abandoned motel off of Woodward for the purpose of setting up an artist commune. Bailey cut the check for two hundred and fifty thousand dollars and the money was deposited into a three party bank account. That would require all three signatures to withdraw any funds from that account.
But that’s when things began to go sour. The director of the Metro Arts program who was hired because she lived in the inner city, moved into the prestigious apartments of Lafayette Towers and bought a brand new Cadillac. The music director she had hired with six figure salary who was supposed to be so great, turned out to not have a degree in music or any degree at all. Metro Arts was in trouble. Then, our friend Jimmy Samuels figured out he could transfer money from our account without needing the other signatures. The check to pay for the motel bounced and Jimmy was nowhere to be found. The gallery, even though successful, was abandoned soon after.
It was under those circumstances that I met Bill Hanson, another veteran and photographer, who with several other veterans had set up a small studio over an abandoned auto repair shop they called “Cinema 76″. The seventy six was in reference to the American revolution. Bill and his cohorts were more into cinematography and thought I could be useful in taking their still shots, plus being Black, I could get them more federal grant money.
Cinema 76 was successful in getting a grant, not from the U. S. Government, but from the Canadian Arts Council. The Canadian Arts Council was even more liberal in their grants than our government. Our first big professional movie would be exploring the deforestation of the Canadian forests. To narrate the movie, it was decided to use an old actor by the name of “Iron Eyes Cody”. Now Cody wasn’t a real Native American, he was really Italian, but he had played so many Indian parts in the movies that he thought he was. Cody was perfect in comparing the Native stewardship of the environment with that of the White man with scenes of the lumber industry destruction and deforestation ecological ruin. The closing scenes in the movie were of Cody walking out of the forest and standing by a river with trash and debris floating by. There would be a close up as a tear rolled down his cheek.
The movie was a success and actually aired on Canadian television. Around this time, an American group had formed that called themselves “Keep America Beautiful”. They saw our film and offered to purchase it. I wasn’t privy to whatever deal resulted and I won’t attempt to even speculate. The got the film and Cinema 76 ceased to exist. When the Keep America Beautiful folks aired their public service commercial a few months later, our film had been cut and altered to a thirty second infomercial called the “Crying Indian”.
I never saw the other fellows after that, but Chuck and I remained friends for quite a while. Dinners at Chuck’s house were always interesting. He lived in an all White neighborhood, so my visits to his house usually brought out the bevy of curious neighbors, probably afraid that I was moving in. Chuck had the honor of being the only person I know whose cat was deemed a neighborhood terror. He was all black and evidently possessed by some demonic spirit. Chuck would warn, “don’t pet the cat” on every visit. The cat would jump up on the dinner table while we were dining and Chuck would say “don’t pet the cat”. His cat had a nasty habit of lurking in the bushes and attacking whoever happened to be passing by. One swipe of his paw on anyone’s bare leg and he would scurry away before any attempt to catch him. Neighborhood kids were hi favorite targets. Chuck’s cat was s notorious that he had been cited because of it and the local newspaper had even written an article.
Chuck ultimately received a grant to document the lives of a wolf pack that required him and his wife to actually live with an isolated pack of wolves on a Michigan Island. I don’t think Chuck and his ever became as famous as the Jim and Jamie Dutcher, he wasn’t financed by National Geographic, but he was definitely a pioneer.
Fredric Durrette served one tour in Vietnam, retired as E8 in the navy submarine service after 23 years. Major hobbies are collecting old stuff from the 20s and restoring old racing bicycles. Worked as a commercial photographer at JL Hudsons in Detroit and continue photography as a hobby. Love Sade, sixties soul, seventies rock, and all jazz. Attended Woodstock in 69! http://snakesafe.jalbum.net/
Winners Announced: April 13, 1965 Televised: May 18, 1965 Held at: Beverly Hilton Hotel, Beverly Hills Host/Emcee: Steve Allen Eligibility Year: December 1, 1963 – November 30, 1964
Grammy Highlights and Achievements
Beatles Invasion: The Beatles won their first Grammy for Best New Artist, officially marking the British Invasion in the American music scene.
Jazz Legend Takes the Stage: Stan Getz & João Gilberto’s Getz/Gilberto scored multiple wins, including Album of the Year and Best Jazz Instrumental Album.
“Hello, Dolly!” Triumph: Louis Armstrong’s Hello, Dolly! won Song of the Year, beating out stiff competition.
Folk Rising: Bob Dylan received recognition with a Grammy for Best Folk Recording for his iconic album The Times They Are A-Changin’.
Trivia
Roger Miller’s Bonanza: The country singer had a big night, taking home five awards, including Best Country & Western Album for Dang Me/Chug-a-Lug.
Back-to-Back Host: Steve Allen, well known as the first host of The Tonight Show, returned to host the Grammy ceremony for the second year in a row.
Henry Mancini’s Musical Prowess: He continued to cement his reputation, winning Best Original Score for the movie The Pink Panther.
Novelty Honors: Allan Sherman’s Hello Muddah, Hello Fadduh received the Best Comedy Performance award, adding some lightheartedness to the ceremony.
Record of the Year:
The Girl From Ipanema – Stan Getz and Astrud Gilberto
Album of the Year:
Getz/Gilberto, Stan Getz and Joao Gilberto (Verve)
Song of the Year:
Hello, Dolly! – Jerry Herman, songwriter
Best New Artist of 1964:
The Beatles
Most Promising New Recording Artist:
Marilyn Horne
Best Vocal Performance, Male:
Hello, Dolly! – Louis Armstrong
Best Vocal Performance, Female:
People – Barbra Streisand
Best Performance By a Vocal Group:
A Hard Day’s NightA Hard Day’s Night – The Beatles
Best Performance By a Chorus:
The Swingle Singers Going Baroque – Swingle Singers
Best Rock and Roll Recording:
Downtown – Petula Clark (Warner Brothers)
Best Rhythm and Blues Recording:
How Glad I Am – Nancy Wilson (Capitol)
Best Instrumental Jazz Performance, Small Group or Soloist With Small Group:
Getz/Gilberto, Stan Getz
Best Instrumental Jazz Performance, Large Group or Soloist With Large Group:
Guitar From Ipanema – Laurindo Almeida
Best Original Jazz Composition:
The Cat – Lalo Schifrin, Composer
Best Country and Western Single:
Dang Me – Roger Miller
Best Country and Western Album:
Dang Me/Chug-a-Lug – Roger Miller (Smash):
Best Country and Western Song:
Dang Me – Roger Miller, songwriter
Best Country and Western Vocal Performance, Male:
Dang Me – Roger Miller
Best Country and Western Vocal Performance, Female:
Here Comes My Baby – Dottie West
Best New Country and Western Artist of 1964:
Roger Miller
Best Gospel or Other Religious Recording (Musical):
Great GospelGreat Gospel Songs – Tennessee Ernie Ford (Capitol)
Best Folk Recording:
We’ll Sing in the Sunshine – Gale Garnett (RCA)
Best Instrumental Arrangement:
The Pink Panther Theme – Henry Mancini, arranger
Best Accompaniment Arrangement for Vocalist(s) or Instrumentalist(s):
People – Peter Matz, arranger
Best Instrumental Composition (Other Than Jazz):
The Pink Panther Theme – Henry Mancini, Composer
Best Instrumental Performance, Non-Jazz:
The Pink Panther Theme – Henry Mancini
Best Score From an Original Cast Show Album:
Funny Girl – Jule Styne and Bob Merrill, composers (Capitol)
Best Original Score Written for a Motion Picture or Television Show:
Mary Poppins, Richard M. Sherman and Robert B. Sherman, composers
Album of the Year, Classical:
Bernstein, Symphony No. 3 (‘Kaddish’) – Leonard Bernstein conducting New York Philharmonic Orchestra (Columbia)
Best Classical Performance, Orchestra:
Mahler, Symphony No. 5 in C-Sharp Minor; Berg, ‘Wozzeck’ Excerpts – Erich Leinsdorf conducting Boston Symphony
Best Chamber Performance, Instrumental:
Beethoven, Trio No. 1 in E-Flat, Op. 1, No. 1 – Jascha Heifetz and Gregor Piatigorsky; Jacob LateinerJacob Lateiner, pianist
Best Chamber Music Performance, Vocal:
It Was a Lover and His Lass, Morley, Byrd and others – Noah GreenbergNoah Greenberg conducting New York Pro MusicaNew York Pro Musica
Best Classical Performance, Instrumental Soloist(s) (With Orchestra):
Prokofiev, Concerto No. 1 in D Major for Violin, Isaac Stern; Eugene Ormandy conducting Philadelphia Orchestra
Best Performance, Instrumental Soloist (Without Orchestra):
Vladimir Horowitz Plays Beethoven, Debussy, Chopin (Beethoven, Sonata No. 8 Pathetique; Debussy, Preludes; Chopin, Etudes and ScherzosScherzos 1’4) – Vladimir Horowitz
Best OperaOpera Recording:
Bizet, Carmen – Herbert von Karajan conducting Vienna Philharmonic Orchestra and Chorus; solos: Price, Corelli, Merrill and Freni (RCA)
Best Classical Choral Performance (Other Than Opera):
Britten, A Ceremony of Carols – Robert Shaw conducting Robert Shaw Chorale
Best Classical Vocal Soloist Performance (With or Without Orchestra):
Berlioz, Nuits d’Ete Falla: El Amor Brujo, Leontyne Price – Fritz Reiner conducting Chicago Symphony
Best Classical Composition By a Contemporary Composer:
Samuel Barber – Concerto
Best Comedy Performance:
I Started Out as a Child – Bill Cosby
Best Documentary, Spoken Word or Drama Recording (Other Than Comedy):
BBC Tribute to John F. Kennedy, That Was the Week That Was, cast (Decca)
Best Recording for Children:
Mary Poppins, Julie Andrews and Dick Van Dyke (Buena Vista)
Best Album Cover:
People – Robert Cato, art director; Don Bronstein, photographer (Columbia)
Best Album Cover, Classical:
Saint-SaënsSaint-Saëns, Carnival of the Animals; Britten, Young Person’s Guide to the Orchestra – Robert Jones, art director; Jan Balet, graphic artist (RCA)
Best Album Notes:
Mexico (Legacy Collection) – Stanton Catlin and Carleton Beals, annotators (Columbia)
December 7, 1963 – January 3, 1964:
The Singing Nun – Dominique
January 4, 1964 – January 31, 1964:
Bobby Vinton – There! I’ve Said It Again
February 1, 1964 – March 20, 1964:
The Beatles – I Want to Hold Your Hand
March 21, 1964 – April 3, 1964:
The Beatles – She Loves You
April 4, 1964 – May 8, 1964:
The Beatles – Can’t Buy Me Love
May 9, 1964 – May 15, 1964:
Louis Armstrong – Hello, Dolly!
May 16, 1964 – May 29, 1964:
Mary Wells – My Guy
May 30, 1964 – June 5, 1964:
The Beatles – Love Me Do
June 6, 1964 – June 26, 1964:
The Dixie Cups – Chapel of Love
June 27, 1964 – July 3, 1964:
Peter and Gordon – A World Without Love
July 4, 1964 – July 17, 1964:
The Beach Boys – I Get Around
July 18, 1964 – July 31, 1964:
The Four Seasons – Rag Doll
August 1, 1964 – August 14, 1964:
The Beatles – A Hard Day’s Night
August 15, 1964 – August 21, 1964:
Dean Martin – Everybody Loves Somebody
August 22, 1964 – September 4, 1964:
The Supremes – Where Did Our Love Go
September 5, 1964 – September 25, 1964:
The Animals – The House of the Rising Sun
September 26, 1964 – October 16, 1964:
Roy Orbison – Oh, Pretty Woman
October 17, 1964 – October 30, 1964:
Manfred Mann – Do Wah Diddy Diddy
October 31, 1964 – November 27, 1964:
The Supremes – Baby Love
November 28, 1964 – December 4, 1964:
The Shangri-Las – Leader of the Pack
December 5, 1964 – December 11, 1964:
Lorne Greene – Ringo
December 12, 1964 – December 18, 1964:
Bobby Vinton – Mr. Lonely
December 19, 1964 – December 25, 1964:
The Supremes – Come See About Me
December 26, 1964 – January 22, 1965:
The Beatles – I Feel Fine
(Data is compiled from various charts including Billboard’s “Pop,” “Airplay,” “R&B” and “Singles” Charts. “Hot 100” is the primary chart used starting October, 1958)
Winners Announced: May 12, 1964 Held at: Chicago, Los Angeles and New York Host: Dean Martin Eligibility Year: December 1, 1962 – November 30, 1963
Musical Highlights and Achievements
Barbra’s Big Night: Barbra Streisand dazzled the Grammys with her debut album, taking home two awards, including Album of the Year for The Barbra Streisand Album.
“Days of Wine and Roses” Domination: Henry Mancini’s Days of Wine and Roses won the Song of the Year award and became an instant classic.
Jazz Takes the Stage: Jazz great Stan Getz and João Gilberto’s bossa nova record Getz/Gilberto was a critical success, winning the Best Jazz Instrumental Album.
Legendary Ladies: Streisand and Ella Fitzgerald were among the women who shone that night, highlighting the influence of female artists in a largely male-dominated industry.
Trivia
Frank Sinatra’s Absence: Despite his influence and the release of The Concert Sinatra, the legend was notably absent from the winners’ list.
British Invasion Lags Behind: Even though The Beatles had ignited a global frenzy, their work didn’t capture Grammy gold until later years.
Dean Martin, the Rat Pack Charmer: The host, known for his smooth voice and comedic timing, was a key member of the legendary Rat Pack, enhancing the evening’s glamorous vibe.
Streisand’s Swift Rise: At just 21, Barbra Streisand became one of the youngest Album of the Year winners at the time.
Record of the Year:
The Days of Wine and Roses – Henry Mancini
Album of the Year:
The Barbra Streisand AlbumThe Barbra Streisand Album – Barbra Streisand (Columbia)
Song of the Year:
The Days of Wine and Roses – Henry Mancini and Johnny Mercer, composers
Best Vocal Performance, Male:
Wives and Lovers – Jack Jones
Best Vocal Performance, Female:
The Barbra Streisand Album – Barbra Streisand
Best Performance By a Vocal Group:
Blowin’ in the Wind – Peter, Paul and Mary
Best Performance By a Chorus:
Bach’s Greatest Hits – Swingle Singers
Best Rock and Roll Recording:
Deep Purple – Nino Tempo and April Stevens (Atco):
Best Rhythm and Blues Recording:
Busted – Ray Charles (ABC/Paramount):
Best Instrumental Jazz Performance, Soloist or Small Group:
Conversations With Myself – Bill Evans
Best Instrumental Jazz Performance, Large Group:
Encore: Woody Herman, 1963 – Woody Herman Band
Best Original Jazz Composition:
Gravy Waltz – Steve Allen and Ray Brown, composers
Best Country and Western Recording:
Detroit City – Bobby Bare (RCA)
Best Gospel or Other Religious Recording (Musical):
Dominique – Soeur Sourire (The Singing Nun) (Philips)
Best Folk Recording:
Blowin’ in the Wind – Peter, Paul and Mary (Warner Brothers):
Best Performance By an Orchestra for Dancing:
This Time by Basie! Hits of the ’50s and ’60s – Count Basie
Best Performance By an Orchestra or Instrumentalist With Orchestra, Not for Jazz or Dancing:
Java – Al Hirt
Best Instrumental Arrangement:
I Can’t Stop Loving You – Quincy Jones, arranger
Best Background Arrangement:
The Days of Wine and Roses – Henry Mancini, arranger
Best Instrumental Theme:
More (Theme From Mondo Cane) – Norman NewellNorman Newell, Nino Oliviero and Riz Ortolani, composers
Best Original Score From a Motion Picture or Television Show:
Tom Jones – John Addison, Composer
Best Score From an Original Cast Show Album:
She Loves Me – Jerry Bock and Sheldon Harnick, composers (MGM)
Album of the Year, Classical:
Britten, War Requiem – Benjamin Britten conducting London Symphony Orchestra and Chorus (London)
Most Promising New Classical Recording Artist:
André WattsAndré Watts, pianist
Best Classical Performance, Orchestra:
BartókBartók, Concerto for Orchestra – Erich Leinsdorf conducting Boston Symphony Orchestra
Best Classical Performance, Chamber Music:
Evening of Elizabethan MusicElizabethan Music – Julian Bream Consort
Best Classical Performance, Instrumental Soloist(s) (With Orchestra):
Tchaikovsky, Concerto No. 1 in B-Flat Minor for Piano and Orchestra – Artur Rubinstein; Erich Leinsdorf conducting Boston Symphony Orchestra
Best Classical Performance, Instrumental Soloist or Duo (Without Orchestra):
The Sound of Horowitz, Vladimir Horowitz
Best Opera Recording:
Puccini, Madama Butterfly – Erich Leinsdorf conducting RCA ItalianaRCA Italiana Opera Orchestra and Chorus; solos: Price, Tucker and Elias (RCA)
Best Classical Performance, Choral:
Britten, War Requiem – David WillcocksDavid Willcocks directing Bach Choir; Edward Chapman, directing Highgate School; Benjamin Britten conducting London Symphony Orchestra and Chorus
Best Classical Performance, Vocal Soloist (With or Without Orchestra):
Great Scenes From Gershwin’s Porgy and BessGershwin’s Porgy and Bess – Leontyne Price
Best Classical Composition By Contemporary Composer:
War Requiem – Benjamin Britten, Composer
Best Comedy Performance:
Hello Mudduh, Hello Faddah – Allan Sherman
Best Documentary, Spoken Word or Drama Recording (Other Than Comedy):
Who’s Afraid of Virginia Woolf? – Edward Albee (Warner Brothers):
Best Recording for Children:
Bernstein Conducts for Young People – Leonard Bernstein conducting New York Philharmonic (Columbia)
Best Album Cover, Other Than Classical:
The Barbra Streisand Album – John BergJohn Berg, art director (Columbia)
Best Album Cover, Classical:
Puccini, Madama Butterfly – Robert Jones, art director (RCA)
Best Album Notes:
The Ellington Era – Stanley DanceStanley Dance and Leonard Feather, annotators (Columbia)
About Doo-Wop Songs: The PCM Doo Wop list is based first and foremost, on the most well-known and recognized “oldies” Doo Wop songs, the songs that had the biggest influence on the genre, and songs that best represented Doo-Wop of the era. Take our 1960 Quiz!
