Peggy Lee presents the Grammy for album of the year to Henry Mancini for Peter Gunn. |
It
took a while to get off the ground but the first Gramophone Awards, soon to be known as simply the Grammies, were presented by the
recently formed National Academy of
Recording Arts and Sciences (NARAS) at ceremonies held at the Beverly Hills Hilton and a New York City ballroom on May 4,
1959. Comedian Mort Saul hosted the ceremony which was broadcast nationally on NBC Radio and TV. Ratings were
unimpressive, but perhaps that was due the stodginess of the industry executives
who made the nominations and voted on the winners. Just as Rock
and Roll was revolutionizing the music
business and sending record sales through the roof, no rock song, star, or
record was even nominated.
Music
industry lore has it that the idea for the awards was hatched by the Los Angeles based recording executives
who had been charged with selecting artists to be represented on the Hollywood Walk of Fame. They were said to be concerned that
contemporary artists could not be recognized for their current
achievements. Inspired by the dazzlingly
successful Oscar Awards for the
movies, which generated audiences and ticket sales in a big way, the industry
big wigs decided to make their own awards and create an important sound
organization to sponsor them.
NARAS
was officially created in 1957 with executives, musicians, producers,
and engineers allowed membership and
voting rights. But qualifications for
Academy membership was set to insure that only veteran industry insiders would
vote effectively excluding almost everyone involved in the Rock and Roll revolution. Academy members selected nominees for
recordings released in 1958 to be awarded in the May ’59 ceremonies.
Meanwhile
there was controversy over exactly what to call the new awards, and what they
should look like. The early front runner
was the Edison or Eddie after the inventor of the phonograph. But Edison’s clumsy cylinder recordings had been rendered obsolete decades earlier by
the disks Gramophone player invented
by Edison competitor Emile Berliner.
The
original awards themselves were a gold
plated lead statue of a Gramophone designed and assembled by Billings Artworks in Ridgway, Colorado. Compared to its hefty
cousins the Oscars and Emmys, the
original trophies were rather diminutive and prone to damage because of their high
soft lead content.
The
big winner that first year was Italian hit
Nel
Blu Dipinto Di Blu—Volare—by Domenico Modugno who walked off with
Song and Record of the Year. Also
taking home multiple trophies were Ella Fitzgerald
for Best Female Vocal Performance for Ella Sings the Irving Berlin Song Book and
Best Individual Jazz Performance for
Ella Sings the Duke Ellington Song Book and
Count Basie for Best Performance by a Dance Band and Best Performance by a Jazz
Band. Both Fitzgerald and Basie were
impeccable artists, but their awards snubbed the burgeoning be-bop and West Coast sound.
Henry Mancini also did well
taking home the gold for Album of the
Year for The Music From Peter Gunn and Best Arrangement for the same LP.
The
extremely relaxed Perry Como won Best Male Performance for his signature
Catch
a Falling Star. Ross Bagdasarian Sr. who recorded as Dave Seville won Best Comedy Performance for catch novelty number The
Chipmunk Song. Keely Smith and Louis Prima copped the Best
Performance by a Vocal Group or Chorus Grammy for That Old Black Magic. The last of the great radio comedians, Stan Freberg won in
the Spoken Word category for the collection
of skits from his show on The Best of the Stan Freberg Shows.
In
the musical categories Meredith Willson’s The Music Man won Best
Original Cast Recording and Andre
Previn—not Lerner and Lowe—won as
“performer” on the Best Sound Track
Album, Dramatic Picture Score or Original Cast for Gigi.
At
least two awards are in retrospect real head scratchers and possible snubs to
their categories’.
The
folk music boom of the late ‘50’s
was in full force but it must have come as quite a shock to Nashville, where amazingly few industry
people were eligible for membership in the Academy, when the Kingston Trio won Best Country and Western Performance for Tom Dooley.
But
the biggest miscarriage was in the award for Best Rhythm and Blues Performance which went to The Champs, a pick-up band slapped
together by Gene Autry’s Challenge
Records consisting of the rockabilly
singer Dave Burges and the Danny Flores Trio. Tequila
was a Latin-tinged pop novelty
song. It did chart well on both the R&B and pop lists, but I had
nothing to do with R&B as generally understood. Black artists
were enraged by the selection.
There
were other awards in classical and technical categories’. And, oh yeah, a guy named Fran Sinatra got one—as art director for the cover of his
album, Only the Lonely.
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