{"id":484106,"date":"2026-05-14T10:20:14","date_gmt":"2026-05-14T10:20:14","guid":{"rendered":"https:\/\/www.europesays.com\/ie\/484106\/"},"modified":"2026-05-14T10:20:14","modified_gmt":"2026-05-14T10:20:14","slug":"national-recording-registry-inductees-2026-full-list","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ie\/484106\/","title":{"rendered":"National Recording Registry Inductees 2026: Full List"},"content":{"rendered":"<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<a data-id=\"https:\/\/www.billboard.com\/artist\/taylor-swift\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/taylor-swift\/\" rel=\"nofollow noopener\" target=\"_blank\">Taylor Swift<\/a>\u2019s career-transforming 1989, <a data-id=\"https:\/\/www.billboard.com\/artist\/beyonce\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/beyonce\/\" rel=\"nofollow noopener\" target=\"_blank\">Beyonc\u00e9<\/a>\u2019s iconic \u201cSingle Ladies (Put a Ring On It),\u201d <a data-id=\"https:\/\/www.billboard.com\/artist\/jose-feliciano\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/jose-feliciano\/\" rel=\"nofollow noopener\" target=\"_blank\">Jos\u00e9 Feliciano<\/a>\u2019s perennial \u201cFeliz Navidad,\u201d <a data-id=\"https:\/\/www.billboard.com\/artist\/chaka-khan\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/chaka-khan\/\" rel=\"nofollow noopener\" target=\"_blank\">Chaka Khan<\/a>\u2019s defining recording of Prince\u2019s \u201cI Feel for You\u201d and the Broadway cast album to Chicago are among 25 selections newly added to the National Recording Registry. The Library of Congress, which oversees the Registry, announced this year\u2019s additions early Thursday (May 14).<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe Librarian of Congress, with advice from the National Recording Preservation Board, selects 25 titles for the Registry each year that are \u201cculturally, historically, or aesthetically significant\u201d and are at least 10 years old. This year\u2019s selections bring the number of titles on the honor roll to 700.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThis year\u2019s selections include three debut albums: <a data-id=\"https:\/\/www.billboard.com\/artist\/go-gos\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/go-gos\/\" rel=\"nofollow noopener\" target=\"_blank\">Go-Go\u2019s<\/a>\u2019 Beauty and the Beat, <a data-id=\"https:\/\/www.billboard.com\/artist\/stevie-ray-vaughan\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/stevie-ray-vaughan\/\" rel=\"nofollow noopener\" target=\"_blank\">Stevie Ray Vaughan<\/a> and Double Trouble\u2019s Texas Flood and <a data-id=\"https:\/\/www.billboard.com\/artist\/weezer\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/weezer\/\" rel=\"nofollow noopener\" target=\"_blank\">Weezer<\/a>\u2019s Weezer (often called The Blue Album). Ric Ocacek, mastermind of The Cars, produced Weezer. The Cars\u2019 own eponymous debut album (produced by Roy Thomas Baker) was inducted into the Registry two years ago.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<a href=\"https:\/\/www.billboard.com\/artist\/ray-charles\/\" data-type=\"link\" data-id=\"https:\/\/www.billboard.com\/artist\/ray-charles\/\" rel=\"nofollow noopener\" target=\"_blank\">Ray Charles<\/a> becomes one of the few artists with two inductions in the Registry. His groundbreaking 1962 album Modern Sounds in Country and Western Music was saluted this year. His 1959 hit \u201cWhat I\u2019d Say (Part I &amp; II)\u201d was one of the inaugural selections in 2002. (On Modern Sounds, a pop and R&amp;B legend proved he was also adept at country music. On 1989, a top country star made a bold midcareer pivot to pop.)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBeyonc\u00e9\u2019s \u201cSingle Ladies\u201d was cited this year, eight years after Jay-Z\u2019s album The Blueprint was inducted. The Carters are one of the few married couples with recordings in the Registry.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThis year\u2019s selections include three singles that reached No. 1 on the Billboard Hot 100: <a data-id=\"https:\/\/www.billboard.com\/artist\/the-byrds\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/the-byrds\/\" rel=\"nofollow noopener\" target=\"_blank\">The Byrds<\/a>\u2019 \u201cTurn! Turn! Turn! (To Everything There Is a Season),\u201d <a data-id=\"https:\/\/www.billboard.com\/artist\/gladys-knight-&amp;-the-pips\/chart-history\/tlp\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/gladys-knight-&amp;-the-pips\/chart-history\/tlp\/\" rel=\"nofollow noopener\" target=\"_blank\">Gladys Knight &amp; the Pips<\/a>\u2019 \u201cMidnight Train to Georgia\u201d and \u201cSingle Ladies (Put a Ring on It).\u201d They also include three albums that reached No. 1 on the Billboard 200: Modern Sounds in Country and Western Music, Beauty and the Beat and 1989.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe roster includes a Grammy-winning album of the year (1989) and another landmark album that was nominated for that award (Modern Sounds in Country and Western Music); a Grammy-winning song of the year (\u201cSingle Ladies\u201d) and releases by three acts who were Grammy-nominated for best new artist (The Byrds, Go-Go\u2019s and Swift).<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<a href=\"https:\/\/www.billboard.com\/artist\/rosanne-cash\/\" data-type=\"link\" data-id=\"https:\/\/www.billboard.com\/artist\/rosanne-cash\/\" rel=\"nofollow noopener\" target=\"_blank\">Rosanne Cash<\/a>\u2019s The Wheel was honored 23 years after voters chose her father Johnny Cash\u2019s 1968 album Johnny Cash at Folsom Prison. The Registry says this is the first time a father and daughter have both been selected.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tProducers Tony Brown and Don Costa are each represented with two of this year\u2019s selections. Brown produced <a data-id=\"https:\/\/www.billboard.com\/artist\/vince-gill\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/vince-gill\/\" rel=\"nofollow noopener\" target=\"_blank\">Vince Gill<\/a>\u2019s \u201cGo Rest High on that Mountain\u201d and co-produced <a href=\"https:\/\/www.billboard.com\/artist\/reba-mcentire\/chart-history\/tlp\/\" data-type=\"link\" data-id=\"https:\/\/www.billboard.com\/artist\/reba-mcentire\/chart-history\/tlp\/\" rel=\"nofollow noopener\" target=\"_blank\">Reba McEntire<\/a>\u2019s Rumor Has It with McEntire. Costa produced <a href=\"https:\/\/www.billboard.com\/artist\/paul-anka\/chart-history\/tlp\/\" data-type=\"link\" data-id=\"https:\/\/www.billboard.com\/artist\/paul-anka\/chart-history\/tlp\/\" rel=\"nofollow noopener\" target=\"_blank\">Paul Anka<\/a>\u2019s \u201cPut Your Head on My Shoulder\u201d and arranged and conducted Kaye Ballard\u2019s \u201cIn Other Words,\u201d the first recording of the future standard \u201cFly Me to the Moon.\u201d (Yes, that is the same Kaye Ballard who was a sitcom star and game and talk show regular in the 1960s and \u201970s.)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tFun Fact: Anka\u2019s \u201cPut Your Head on My Shoulder\u201d peaked at No. 2 on the Hot 100 for three weeks in 1959. It was kept out of the top spot by another smash that was inducted into the National Recording Registry in 2015, Bobby Darin\u2019s all-timer \u201cMack the Knife.\u201d Anka, 84, received a BMI Icon Award on Tuesday (May 12), less than two days before this announcement, proving that it\u2019s a good idea to stick around for awhile.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<a href=\"https:\/\/www.billboard.com\/artist\/spike-jones\/\" data-type=\"link\" data-id=\"https:\/\/www.billboard.com\/artist\/spike-jones\/\" rel=\"nofollow noopener\" target=\"_blank\">Spike Jones<\/a> and His City Slickers\u2019 \u201cCocktails for Two,\u201d a madcap 1944 rendition of the Duke Ellington classic from 1934, becomes one of the few comedy\/novelty singles to make the Registry. Others include Allan Sherman\u2019s 1963 hit \u201cHello Mudduh, Hello Fadduh! (A Letter From Camp).\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBobby Prince\u2019s soundtrack for the video game Doom was selected, marking the third time video game music has been honored. Koji Kondon\u2019s theme from Super Mario Brothers and Daniel Rosenfield\u2019s music for Minecraft were the first two video game soundtracks inducted, in 2023 and 2025, respectively.\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cYour Love,\u201d the house music classic released in 1986 by <a data-id=\"https:\/\/www.billboard.com\/artist\/jamie-principle\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/jamie-principle\/\" rel=\"nofollow noopener\" target=\"_blank\">Jamie Principle<\/a> and again the following year in a remix with <a data-id=\"https:\/\/www.billboard.com\/artist\/frankie-knuckles\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/artist\/frankie-knuckles\/\" rel=\"nofollow noopener\" target=\"_blank\">Frankie Knuckles<\/a>, was inducted. The song ranked No. 5 on Billboard\u2019s <a data-id=\"https:\/\/www.billboard.com\/lists\/best-dance-songs-all-time\/\" data-type=\"link\" href=\"https:\/\/www.billboard.com\/lists\/best-dance-songs-all-time\/\" rel=\"nofollow noopener\" target=\"_blank\">2025 staff list<\/a> of The 100 Best Dance Songs of All Time.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tFight fans will be glad to know that \u201cThe Fight of the Century: Ali vs. Frazier,\u201d a broadcast of the boxers\u2019 March 8, 1971 showdown at Madison Square Garden, was honored. A broadcast about a headline-making bout from a generation earlier, the Joe Louis\/Max Schmeling fight on June 22, 1938 at Yankee Stadium, was previously inducted.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cMusic and recorded sound are essential, wonderful parts of our daily lives and our national heritage,\u201d acting Librarian of Congress Robert R. Newlen said in a statement. \u201cThe National Recording Registry works to preserve our national playlist for generations to come.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cThe sweep and diversity of the National Recording Registry class of 2026 beautifully captures the scope of the American experience as we celebrate our nation\u2019s 250th anniversary,\u201d Robbin Ahrold, chair of the National Recording Preservation Board, said in a statement. \u201cFrom icons of R&amp;B to a holiday favorite en Espa\u00f1ol, from a legendary sports broadcast to this generation\u2019s superstars, it is a thrilling reflection of America at its best.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tThe public made more than 3,000 nominations this year. Weezer was among the most nominated selections. The public can submit nominations throughout the year on the <a href=\"https:\/\/www.loc.gov\/programs\/national-recording-preservation-board\/recording-registry\/nominate\/\" data-type=\"link\" data-id=\"https:\/\/www.loc.gov\/programs\/national-recording-preservation-board\/recording-registry\/nominate\/\" rel=\"nofollow noopener\" target=\"_blank\">Library\u2019s website<\/a>. Nominations for next year will be accepted until Oct. 1.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tHere are the 2026 selections for the National Recording Registry. They are listed in chronological order of their release. The paragraph with the subhead LOC says: was provided by the Library of Congress. We share those with you, unedited, to give you insight into the Library\u2019s rationale for each selection.<\/p>\n<p><a href=\"https:\/\/ubpass.co\/billboard\" target=\"_blank\" rel=\"noopener noreferrer nofollow\"><br \/><img decoding=\"async\" src=\"https:\/\/www.europesays.com\/ie\/wp-content\/uploads\/2026\/04\/1776122234_110_2HpFicp.png\" alt=\"Billboard VIP Pass\" style=\"max-width: 100%;height: auto\"\/><br \/><\/a><\/p>\n<ul class=\"pmc-fallback-list-items lrv-a-unstyle-list lrv-u-margin-t-2\">\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Spike Jones and His City Slickers, \u201cCocktails for Two\u201d (1944)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>Victor<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer: <\/strong>Spike Jones<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Best Selling Retail Records peak: <\/strong>No. 4<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammys won: <\/strong>Pre-dates Grammys<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201c\u2018Cocktails for Two\u2019 was a well-established romantic standard by 1944, making it more than fair game for Spike Jones and His City Slickers to send it up with their full arsenal of cowbells, washboards, shouts, hiccups and raspberries delivered at a breakneck tempo to the languid crooning of vocalist Carl Grayson. By the time the band released the single to the public the last week of 1944, \u2018Cocktails for Two\u2019 had been in their repertoire for nearly a year and was a staple of the band\u2019s performance sets, including national radio broadcasts. The release was held up by the American Federation of Musicians\u2019 strike against U.S. record labels begun in 1942. By the time the band\u2019s record label, RCA Victor, settled in November 1944, public demand for \u2018Cocktails for Two\u2019 guaranteed that it would be one of the numbers Jones and company would record at their first post-strike recording session and release post-haste. It became one of 1945\u2019s biggest hits and a signature song for Jones and company.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>P\u00e9rez Prado and His Orchestra, \u201cMambo No. 5\u201d (1950)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>RCA Victor<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer: <\/strong>unknown<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Chart peak: <\/strong>didn\u2019t chart<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammys won: <\/strong>Pre-dates Grammys<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cThough now over 75 years old, P\u00e9rez Prado\u2019s bouncy, lively, infectious Latin hit sounds as fresh today as it did the day it was written. The work was created in 1949 by the Cuban-born composer, pianist and bandleader, and the worldwide success of his 1950 recording earned him the title \u2018The King of the Mambo.\u2019 Prado would remain a creative and performing force throughout the U.S. and Latin America well into the 1980s before passing away in 1989. Too good to remain unheard or undiscovered, Prado\u2019s \u2018Mambo\u2019 found a second life when, in 1999, Lou Bega sampled the song\u2019s main structure (and retained its title) for his phenomenally successful international hit, \u2018Mambo No. 5 (A Little Bit of\u2026).\u2019\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Ruth Brown \u201cTeardrops From My Eyes\u201d (1950)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>Atlantic<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producers: <\/strong>Ahmet Ertegun &amp; Herb Abramson<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Best Selling Retail Rhythm &amp; Blues Records peak: <\/strong>No. 1 (11 weeks)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammys won: <\/strong>Pre-dates Grammys<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cThe daughter of a choir director, Ruth Brown got her first taste of fame when she won Amateur Night at the famous Apollo Theater in New York when she was a teenager. In 1949, she was signed to Atlantic Records by Ahmet Ertegun and not long after, began to record a series of affecting torch songs and ballads. This 1950 release, however, was a major departure for her. Up-tempo, swinging and with a strong backbeat, Brown\u2019s song and delivery has been heralded as a feminist turning point in American music.Brown has also since been acknowledged as a vital link in the artistic progression from Ma Rainey and Bessie Smith to the likes of Etta James and Big Mama Thornton. The success of \u2018Teardrops from My Eyes\u2019 established her as Atlantic\u2019s most consistent hitmaker for the next several years.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Kaye Ballard, \u201cIn Other Words (Fly Me to the Moon)\u201d (1954)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>Decca<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Arranger\/conductor: <\/strong>Don Costa<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Chart peak: <\/strong>didn\u2019t chart<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammys won: <\/strong>Pre-dates Grammys<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cIn early 1954, 29-year-old Kaye Ballard was a seasoned performer well known to audiences at New York\u2019s Blue Angel cabaret, but she was hardly a household name.Described by columnist Dorothy Kilgallen as \u201ca gracefully gawky comedienne,\u201d her resum\u00e9 included a stint with Spike Jones and His City Slickers as a singer, dancer, flautist and tuba player. In 1954, she was cast in the off-Broadway musical The Golden Apple, a madcap take on the legend of Ulysses and Helen of Troy, set in the circa 1900 apple country of Washington state. Ballard played Helen as a small-town vamp, and her featured song was the sultry \u2018Lazy Afternoon.\u2019 Apple was a hit and proved to be Ballard\u2019s popular breakthrough. On April 2, 1954, only three weeks after the show\u2019s premiere, she recorded \u2018Lazy Afternoon\u2019 as a single for the Decca label. For the flipside, she chose \u2018In Other Words,\u2019 written by Blue Angel pianist and emcee Bart Howard. Over the years, the song has been recorded by the likes of Frank Sinatra, Mabel Mercer, Peggy Lee, Johnny Mathis and Bobby Womack, and has been retitled \u201cFly Me to the Moon,\u201d the opening line of the song. Throughout the rest of her long career, Ballard rarely sang anything so openly romantic, but her performance of this classic song still stands apart for the depth, warmth and wonder that she brought to it.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Paul Anka, \u201cPut Your Head on My Shoulder\u201d (1959)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>ABC-Paramount<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer: <\/strong>Don Costa<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Hot 100 peak: <\/strong>No. 2<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammy nominations: <\/strong>None<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cThe first generation of smooth and crooning male vocalists, including Frank Sinatra, Dean Martin and Tony Bennett, found one of their earliest and worthiest successors in the personage of Paul Anka. Anka was only 17 years old when he offered to the world this soon-to-be musical standard based on one of the loveliest of laments. Though the song, originally produced by Don Costa, has an undeniable doo-wop feel, it has since been embraced by pop and easy-listening audiences, leaving the song\u2019s underlying romanticism always intact. After Anka\u2019s version, The Lettermen, Leif Garrett and even Doja Cat created covers or sampled its charming melody. Meanwhile Anka added \u2018Put Your Head on My Shoulder\u2019 as another jewel in his already-impressive crown of serenade music that included \u2018Lonely Boy\u2019 and \u2018Diana.\u2019\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Oliver Nelson, The Blues and the Abstract Truth (1961)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label:<\/strong> Impulse!<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer:<\/strong> Creed Taylor<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Billboard 200 peak:<\/strong> didn\u2019t chart<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammy nominations: <\/strong>None<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cThough only 29 years old at the time, saxophonist Oliver Nelson (1932\u20131975) was well established as a jazz composer, arranger, soloist and bandleader when he recorded this groundbreaking set in a single day in February 1961. His group included pianist Bill Evans, trumpeter Freddie Hubbard, drummer Roy Haynes, bassist Paul Chambers, alto saxophonist and flautist Eric Dolphy and baritone saxophonist George Barrow. In the liner notes, Nelson stated that all six of the album\u2019s compositions were influenced by the chords and structure of Gershwin\u2019s \u2018I Got Rhythm,\u2019 which had been a point of reference for bebop players for many years, as well as for blues players. The heightened interest in traditional blues and folk music in that era informs many of the album\u2019s numbers, such as \u2018Stolen Moments,\u2019 \u2018Hoe Down\u2019 and \u2018Teenie\u2019s Blues,\u2019 but the arrangements, ensemble work and soloing represent the best of jazz at the time and remain impactful today.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Ray Charles, Modern Sounds in Country and Western Music (1962)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>ABC-Paramount<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer: <\/strong>Sid Feller<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Billboard 200 peak: <\/strong>No. 1 (14 weeks)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammy nomination: <\/strong>Album of the year<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cIn the 1950s, Ray Charles was the leading artist in what had recently been dubbed the rhythm and blues genre. Though only in his 20s at this time, he was already a well-travelled musician with a broad range of interests and tastes, and he seamlessly incorporated jazz, pop, swing, blues and gospel into a string of hits on Atlantic Records.These included \u2018I Got a Woman,\u2019 \u2018Hallelujah I Love Her So,\u2019 \u2018Lonely Avenue,\u2019 \u2018What\u2019d I Say\u2019 and many others. Charles listened to country and western music since his childhood in Florida, tuning in to the Grand Ole Opry every weekend and even playing in a local country band called the Florida Playboys. After switching labels to ABC\/Paramount in 1959, he continued to record hit singles but also used his albums to expand stylistically. When he told producer Sid Feller that he wanted to do a country album, Feller assembled a library of 250 classic songs from which Charles drew a dozen to record. They ranged from the 19th century \u2018Careless Love\u2019 to Don Gibson\u2019s \u2018I Can\u2019t Stop Loving You,\u2019 which had been a hit only four years earlier but which would prove to be the biggest hit of Charles\u2019 career, and one of the four hit singles released from this album. Though Modern Sounds is often described as a crossover success, the album defies easy categorization into one genre and remains an artistic achievement whose broad appeal endures.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>The Byrds, \u201cTurn! Turn! Turn! (To Everything There Is a Season)\u201d (1965)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>Columbia<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer: <\/strong>Terry Melcher<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Hot 100 peak:<\/strong> No. 1 (3 weeks)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammy nomination: <\/strong>Best new artist<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cRather than release another Bob Dylan cover following the success of their singles \u2018Mr. Tambourine Man\u2019 and \u2018All I Really Want to Do,\u2019 the Byrds recorded a version of \u2018Turn! Turn! Turn! (To Everything There Is a Season)\u2019 for Columbia Records in 1965. Written by folk artist and social activist Pete Seeger in 1959, the song\u2019s lyrics were drawn from Biblical verses from the Book of Ecclesiastes, observing the oscillating seasons of life: a time to be born and to die, to weep and to laugh, of war and of peace. The Byrds\u2019 arrangement spiritedly melded folk with rock\u2019n\u2019roll through the jangling 12-string guitar riffs of Roger McGuinn, the harmonizing vocals of Gene Clark and David Crosby, and the lively rhythms of bassist Chris Hillman and drummer Michael Clarke. Striking a chord with audiences amidst the escalation of the Vietnam War and countercultural shifts transpiring in the 1960s, the Byrds\u2019 \u2018Turn! Turn! Turn!\u2019 became a timely hit that climbed the charts with a timeless message of change.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>The Winstons, \u201cAmen, Brother\u201d (1969)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label:<\/strong> Metromedia<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer: <\/strong>Don Carroll<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Hot 100 peak:<\/strong> No. 7 (as the B-side of \u201cColor Him Father\u201d)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammy nominations: <\/strong>None, but \u201cColor Him Father\u201d was nominated for best R&amp;B vocal performance by a duo or group<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cThe Winstons were an extremely talented but relatively obscure six-member band out ofWashington, D.C. They played a mix of funk and soul with a little infusion of gospel. Their 1969 song \u2018Color Him Father\u2019 was a strong crossover hit. But it was this song, released on the other side of that single, that has given them immortality thanks to its now iconic six-second drum break, performed by band member Gregory Coleman, which has become what may be the most sampled musical riff in history. A drum loop of dynamic intensity and rhythm, the \u2018Amen Break,\u2019 as it has come to be called, has gone on to be sampled in works by N.W.A, Salt-N-Pepa, Aphex Twin and Oasis, among other artists. It\u2019s also a popular \u201cgo-to\u201d for TV commercials and all other manner of media.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Jos\u00e9 Feliciano, \u201cFeliz Navidad\u201d (1970)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label:<\/strong> RCA<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer:<\/strong> Rick Jarrard<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Hot 100 peak:<\/strong> No. 6<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammy nominations: <\/strong>none<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cOne of the few true holiday standards that does not have its origins in Tin Pan Alley or older European traditions, Jos\u00e9 Feliciano\u2019s \u2018Feliz Navidad\u2019 has even bridged any perceived limitations of its primary language to be embraced by music lovers and Christmas enthusiasts worldwide. The Puerto Rican-born musician Jos\u00e9 Feliciano burst onto the scene in 1962 and soon gained attention for his vibrant guitar playing and impassioned vocals. In 1970, ready to release a holiday album, Feliciano composed \u2018Feliz Navidad\u2019 to kick off his collection of yuletide favorites. Said to be having anostalgic moment and thinking of his island homeland at the time, Feliciano then crafted this beloved bilingual standard. Today, it stands not only as Feliciano\u2019s most famous song out of his already impressive body of work, but also as an undisputed holiday classic.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201cAll my life I\u2019ve just wanted to share my music, making others happy, and so I feel blessed that for over 60 years, I\u2019ve been able to do exactly that, around the world,\u201d Feliciano told the Library of Congress. \u201cBut then unexpectedly it was \u2018Feliz Navidad,\u2019 my little carol, that came along to capture their hearts, year after year! The honor of being added into the Library of Congress National Recording Registry is beyond anything I could\u2019ve dreamt of, and so, from the bottom of my heart, I want to thank you and everyone who listens to my music. I sincerely love you all.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>\u201cThe Fight of the Century: Ali vs. Frazier\u201d (March 8, 1971)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says:<\/strong> \u201cOn March 8, 1971, for the first time in the history of the sport, two undefeated boxing champions would face each other in a heavyweight title match. In 1967, Muhammad Ali had been stripped of his title for refusing to be drafted but began his comeback when the courts ruled in his favor in 1970. By then, Joe Frazier had emerged as champion after defeating a series of contenders. Their match could be seen only in person or on closed-circuit television in theaters and stadiums. Though boxing matches were still being broadcast on the radio at this time, the fight\u2019s promoters declared that there would be no free live coverage of the event. When the Mutual Broadcasting System announced their plan to air summaries of each round\u2019s action, promoters took them to court but lost their case on the afternoon of the fight. <\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tAnnouncers Van Patrick and Charles King were able to broadcast from a hotel near Madison Square Garden, giving short summaries based on newspaper wire service reports after each round and discussing the styles and life stories of the two fighters. The audio of the match still makes for good listening decades later. Patrick and King were highly experienced journalists who had seen Ali and Frazier fight in person, along with many other greats dating back to the 1930s, and their comments and those of others in the post-fight coverage are a vital part of the historical record. Although Ali lost the fight, the announcers expressed a newfound respect for his endurance and determination against Frazier\u2019s swarming barrage of punches.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Gladys Knight and the Pips, \u201cMidnight Train to Georgia\u201d (1973)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label:<\/strong> Buddah<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer:<\/strong> Tony Camillo; coproducer: Gladys Knight and the Pips<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Hot 100 peak:<\/strong> No. 1 (two weeks)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammys won: <\/strong>Best R&amp;B vocal performance by a duo, group or chorus<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says:<\/strong> \u201cGladys Knight, often called the \u2018Empress of Soul,\u2019 along with her amazing, renowned backup singing Pips, achieved their first number one with this now-classic song: a skillful blend of soul, rhythm and blues, gospel and country-style storytelling. The song, written by Jim Weatherly, has been described as having a slow and deliberate groove, a track upon which the song\u2019s story rides. The song is a journey, as it moves through a variety of issues of great emotional complexity \u2013 economic uncertainty, race, upward mobility and the power of personal choice \u2013 while never losing its soul and still supplying ample space for the incomparable vocals of the Empress. Since its release and success with a large, crossover audience, the song has become a fixture of both film and television.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Original Cast Album, Chicago (1975)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label:<\/strong> Arista<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producers: <\/strong>Phil Ramone<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Billboard 200 peak:<\/strong> No. 73<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tG<strong>rammy nomination:<\/strong> Best cast show album<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cBolstered by its dazzling 1996 revival on the Great White Way, Chicago is now the longest-running musical currently on Broadway. But it began in 1975 when the legendary musical duo of John Kander and Fred Ebb set the criminally-good real-life story of two Roaring\u201920s Windy City female hoodlums to music. Stage legends Gwen Verdon and Chita Rivera starred as the show\u2019s two celebrity criminals. Remarkably, everything about this show, from Bob Fosse\u2019s directorial verve to the full-on decadence of such songs as \u2018All That Jazz\u2019 and \u2018Cell Block Tango\u2019 was somehow captured on its original Broadway cast album.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Charlie Daniels Band, \u201cThe Devil Went Down to Georgia\u201d (1979)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>Epic<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producers: <\/strong>John Boylan<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Hot 100 peak: <\/strong>No. 3<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammys won: <\/strong>best country vocal performance by a duo or group<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cIn 1979, \u2018The Devil Went Down to Georgia\u2019 became a major crossover hit, earningCharlie Daniels both a Grammy and a Country Music Association Single of the Year award. It brought a country story-song structure that played on the traditional folk ballad theme of a young man pitting his wits against the devil himself while also incorporating elements of both string band and Southern rock instrumentation and arrangement. Daniels, originally from Wilmington, North Carolina, played a variety of styles in his early days but had the most success working in country and rock genres, cutting his teeth as a Nashville session player and playing on Bob Dylan\u2019s Nashville Skyline album. Daniels formed his eponymous band in the early 1970s and began charting a path influenced by counter-establishment \u2018outlaw\u2019 country acts such as Waylon Jennings and Southern rock bands such as Lynyrd Skynyrd. \u2018Devil\u2019 was a major country and pop crossover hit in 1979. The cultural moment was captured with Daniels and his band\u2019s appearance in the film Urban Cowboy, where they performed \u2018Devil,\u2019 which further expanded their reach to mainstream audiences.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Go-Go\u2019s, Beauty and the Beat (1981)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>I.R.S.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producers: <\/strong>Richard Gottehrer, Rob Freeman<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Billboard 200 peak: <\/strong>No. 1 (six weeks)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammy nomination:<\/strong> best new artist<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says:<\/strong> \u201cFormed in Los Angeles in the late 1970s and signed by I.R.S. Records in 1981, The Go-Go\u2019s have the historic distinction of being the most enduring group to emerge from the West Coast new wave scene of the era and one of the cornerstones of that genre. Their debut album Beauty and the Beat, bolstered by two mega-successful singles \u2013 both bright, effervescent and guitar-driven \u2018Our Lips are Sealed\u2019 and \u2018We Got the Beat\u2019 \u2013 sold over 2 million copies, and their album held its place at No. 1 on the charts for six weeks. The Go-Go\u2019s remain one of the most successful all-female rock groups of all time, and their success as an all-woman band, composing their own material and playing all their instruments, laid the groundwork for future women-led bands like the Bangles, Sleater-Kinney, Haim, Paramore and those associated with the Riot Grrrl movement.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tBand members from The Go-Go\u2019s told the Library of Congress it was an honor to have their work preserved. \u201cI feel extremely honored to be part of the American artists that are a part of the Library of Congress,\u201d Belinda Carlisle said. \u201cIt\u2019ll be great 100 years from now when someone is doing their research and they see The Go-Go\u2019s in there. I would love that 100 years from now looking back and seeing how the personality of the band that was so important and the music was so important at that time.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tJane Wiedlin recalled how the band blazed new trails for women in music. \u201cI don\u2019t know that there is a better feeling than knowing that women are raising their daughters and playing them The Go-Go\u2019s,\u201d she said. \u201cAs far as The Go-Go\u2019s legacy, the biggest accomplishment is that we broke the glass ceiling.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Stevie Ray Vaughan and Double Trouble, Texas Flood (1983)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>Epic<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producers: <\/strong>Stevie Ray Vaughan and Double Trouble, Richard Mullen<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Billboard 200 peak: <\/strong>No. 38<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammy nomination: <\/strong>best traditional blues recording<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cThe bulk of Texas Flood was recorded during a three-day session in which singer\/guitarist Stevie Ray Vaughan, drummer Chris Layton and bassist Tommy Shannon faced each other and played as if they were live. The strategy leveraged skills the group had honed playing nightly in Austin\u2019s burgeoning blues scene where Vaughan had become known as a hotshot guitarist with the feel of blues great Albert King and the uncanny dexterity of Jimi Hendrix. The album\u2019s slower tunes, like \u2018Texas Flood\u2019 and\u2018Lenny,\u2019 showcase the guitarist\u2019s inimitable, beefy tone which relied in part on the use of very heavy strings and on precise amp and guitar settings known only to Vaughan. Other songs pay tribute to Hendrix (\u2018Testify\u2019), Buddy Guy (\u2018Mary Had a Little Lamb\u2019), and Howlin\u2019 Wolf (\u2018Tell Me\u2019). The power, precise articulation, and ensemble playing of the album\u2019s speediest tune, \u2018Rude Mood,\u2019 must be heard to be believed.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Chaka Khan, \u201cI Feel for You\u201d (1984)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>Warner Bros.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer: <\/strong>Arif Mardin<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Hot 100 peak: <\/strong>No. 3<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammys won: <\/strong>best R&amp;B vocal performance, female; best rhythm &amp; blues song (for Prince)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cThe great Chaka Khan \u2014\u00a0already a luminary for her work with the funk band Rufus and as a solo artist\u2013truly stood out with this 1984 release which, to many, fully captured the cultural moment when rhythm and blues, funk, pop and early hip-hop completely converged. Written by the multi-talented Prince\u2013who recorded the song himself in 1979 \u2013 Khan and her cohorts reimagined it and the result was a massive crossover hit. \u2018I Feel for You\u2019 stands solidly with such other early hip-hop classics as \u2018Rapper\u2019sDelight\u2019 and \u2018La Di Da Di\u2019 in its role as an envoy for bringing a hip-hop vocabulary tothe mainstream. And though Grandmaster Melle Mel handles the rap duties, the focusof the song remains, in true icon fashion, on Khan, a vocalist that Aretha Franklin once labeled \u2018one of a kind.\u2019 The endurance of \u2018I Feel for You\u2019 is further enhanced by the clever repetition\/reverb of Khan\u2019s own name used as an opening salvo, now too a permanent fixture of the popular culture.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t\u201c\u2018I Feel for You\u2019 was a moment where everything converged, Prince\u2019s genius, Stevie\u2019s harmonica, Grandmaster Melle Mel\u2019s rap, and whatever God put in me that day,\u201d Khan told the Library of Congress. \u201cFor the Library of Congress to say this recording belongs in the permanent collection of American sound heritage, that means it wasn\u2019t just a hit, it was history. And I am so very grateful to have been part of it.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Jamie Principle, \u201cYour Love\u201d (1986) \/ Jamie Principle\/Frankie Knuckles, \u201cYour Love\u201d (1987)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Labels: <\/strong>Persona, Trax Records<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Composer\/Lyricist: <\/strong>Jamie Principle<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Hot 100 peak: <\/strong>Didn\u2019t chart<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammy nominations: <\/strong>none<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says:<\/strong> \u201cAn influential recording in the worlds of electronica and modern club culture, the inescapable dance track \u2018Your Love\u2019 began its journey to the dance floor in 1982 from the creative energies of Chicago songwriter, composer and producer Jamie Principle. After being passed around on reel-to-reel tapes and audio cassettes, \u2018Your Love\u2019 was published on the Persona label in 1986 with a mix by Principle and DJ Louie Gomez. Reworked by Frankie Knuckles in 1987, this explosive and widely recognized version incorporates additional musical effects and vocal contributions of Adrienne Jett, while still honoring the essence of the original remix. The song\u2019s enduring legacy underscores its importance as a cultural artifact and a groundbreaking work in the history of house music and electronica.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Reba McEntire, Rumor Has It (1990)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>MCA<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producers: <\/strong>Tony Brown, Reba McEntire<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Top Country Albums peak: <\/strong>No. 2<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammys nomination: <\/strong>best country vocal performance, female for the track \u201cYou Lie\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says:<\/strong> \u201cThirteen years into her remarkable, Country Music Hall of Fame career, Reba McEntire released this album, an offering that critics frequently cite as both an artistic and commercial peak, a work where her interpretive storytelling, vocal control and thematic boldness fully converged. The album marked McEntire\u2019s first collaboration with country music producing legend Tony Brown. Aided by their mutual gift for outstanding song selection, they crafted a recording that yielded four successful singles, which included the title track and the songs \u2018You Lie,\u2019 \u2018Fallin\u2019 Out of Love\u2019 and \u2018Fancy.\u2019 \u2018Fancy\u2019 was a reworking of the classic Bobbie Gentry song whose updated success was emboldened by the powerful and cinematic music video McEntire released with the song. Today, the song is associated with McEntire nearly as much as it is with its composer. The album would achieve multi-platinum status and serve as a rebirth for McEntire as it so successfully blended both her heart-felt country roots and theatrical abilities.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Rosanne Cash, The Wheel (1993)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>Columbia<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer<\/strong>: Rosanne Cash, John Leventhal<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Top Country Albums peak: <\/strong>No. 37<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammy nominations: <\/strong>None<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says:<\/strong> \u201cRosanne Cash was first known as a country artist in the \u201970s and \u201980s, then as an introspective modern folk performer who wrestled with demons on her bleak but beautiful 1990 album Interiors. On The Wheel, her 1993 follow-up, she found and formed a livable truce between the two identities. Inspired by water, fire, wind and the moon, Cash crafted a recording that she herself has called \u201csatisfying and truthful.\u201d From the hypnotic joy of the album\u2019s title track, through songs always alive with Cash\u2019s characteristically literary lyrics, \u2018The Wheel\u2019 embraces love, memory and redemption. As she opines on the album\u2019s song \u2018Seventh Avenue\u2019: \u2018All of the stories from all of our lives, are not lost from memory on these streets tonight.\u2019\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Bobby Prince (composer), Doom soundtrack (1993)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says:<\/strong> \u201cOriginally released in 1993, the video game Doom brought a heavy metal energy to MS-DOS systems across the globe, while at the same time pioneering the ever-popular first person shooter genre. Key to Doom\u2019s popularity was the adrenaline-fueled soundtrack created by freelance video game music composer Bobby Prince. Prince, a lifelong musician and practicing lawyer, was fascinated by the MIDI technology that rose in prominence in the mid-1980s as a means for instrument control and composition, an interest that led to his earliest work composing video games. For Doom, Prince took inspiration from a pile of CDs loaned by the game\u2019s chief designer, John Romero, including seminal works by Alice in Chains, Pantera and Metallica. Despite the limitations of the 1993-era sound card drivers, Prince composed the perfect riff- shredding accompaniment for the game\u2019s demon-slaying journey to hell and back. Taking advantage of his knowledge of MIDI, Prince even worked to ensure that the sound effects he created could cut through the music by assigning them to different MIDI frequencies. The Doom soundtrack would go on to inspire countless remixes and lay the foundation for future generations of game composers.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Vince Gill, \u201cGo Rest High on That Mountain\u201d (1994)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label: <\/strong>MCA Nashville<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer<\/strong>: Tony Brown<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Hot Country Songs peak: <\/strong>No. 14<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammys won: <\/strong>Best country song, best male country vocal performance<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cIt is truly rare that an artist releases one of their signature songs almost 20 years into their career. But, in terms of country music stalwart Vince Gill, this occurred in 1994 with the release of his sixth studio album, When Love Finds You, and its sixth released single, \u2018Go Rest High on That Mountain.\u2019 This Gill composition, which features backing vocals by Ricky Skaggs and Patty Loveless, was recognized at the time as one of the year\u2019s most performed songs, and it has endured. Affected by the passing of hisNashville peer Keith Whitley and his own brother, Bob, Gill\u2019s eulogistic ballad, with its tender chords and powerful lyrics, has proved comforting and cathartic for nearly all who hear it. Now a frequent addition to funeral services and memorials all over America and the rest of the world, the song\u2019s adoption in this enduring manner later inspired Gill to compose an additional verse for the song in 2019, which he ultimately recorded in 2025.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\tIn an interview at the Library of Congress, Vince Gill reflected on the song\u2019s selection. \u201cI\u2019ve been writing songs for over 50 years, and if you asked me straight up what\u2019s the one song you\u2019d want to be remembered for, I would pick this one, hands down. Wouldn\u2019t even be close,\u201d Gill said. \u201cIn my era of success, it was probably the least charting record I\u2019ve ever had, but what this song has gone on to do for other people is what makes it special to me. It was written, me, grieving the loss my big brother. Truth is, I had never planned on recording it. A fellow I worked with, Tony Brown, heard the song and said \u2018you have to record it.\u2019 I said \u2018It\u2019s a little too personal.\u2019 And he said, \u2018No, the world should hear this song.\u2019\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Weezer, Weezer (The Blue Album) (1994)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label:<\/strong> DGC<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producer:<\/strong> Ric Ocasek<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Billboard 200 peak:<\/strong> No. 16<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammy nominations: <\/strong>None<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says:<\/strong> \u201cWeezer\u2019s self-titled debut, known as The Blue Album, was released in 1994 at the height of grunge. Produced by Ric Ocasek of The Cars, the album broke through the angst-filled sounds of alternative rock and presented a new nerdy geek-rock charm. Featuring such iconic hits as \u2018Buddy Holly,\u2019 \u2018Say It Ain\u2019t So\u2019 and \u2018Undone \u2013 The Sweater Song,\u2019 the album is an enduring, essential classic of the alternative rock age. Weezer continues to have critical and commercial success and a dedicated multi-generational fan base. As of 2026, Weezer (The Blue Album) remains their best-selling album, having been certified triple-platinum.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Beyonc\u00e9, \u201cSingle Ladies (Put a Ring on It)\u201d (2008)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label:<\/strong> Columbia<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producers:<\/strong> Beyonc\u00e9 Knowles, Christopher \u201cTricky\u201d Stewart, Terius \u201cThe-Dream\u201d Nash<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Hot 100 peak:<\/strong> No. 1 (four weeks)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammys won: <\/strong>Song of the year, best R&amp;B song, best female R&amp;B vocal performance<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says: <\/strong>\u201cOnly a true icon already known by three names \u2013 Beyonc\u00e9 a.k.a. Queen Bey a.k.a. Sasha Fierce \u2013 can create a song that spawned a million plays, a whole new catchphrase and its own dance craze all at the same time. A standout single from Beyonc\u00e9\u2019s already hit-packed album, I Am\u2026Sasha Fierce (which also contains the songs \u2018Halo\u2019 and \u2018If I Were a Boy\u2019), \u2018Single Ladies,\u2019 along with its now epochal music video, became the cultural moment of 2008 and most of \u201909 as well. Beyonc\u00e9\u2019s blockbuster found itself embraced by all generations and fans of almost every musical style.\u201d<\/p>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<p>\t<strong>Taylor Swift, 1989 (2014)<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Label:<\/strong> Big Machine<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Producers:<\/strong> Max Martin, Taylor Swift, Shellback, Jack Antonoff, Ryan Tedder, Noel Zancanella, Ali Payami, Nathan Chapman, Imogen Heap, Mattman &amp; Robin<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Billboard 200 peak:<\/strong> No. 1 (11 weeks)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>Grammys won:<\/strong> Album of the year, best pop vocal album<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n\t<strong>LOC says:<\/strong> \u201cIn 2014, Taylor Swift was already one of the most important, influential artists in popular music throughout the world when she released 1989, her fifth studio album. This work took its title from the year she was born, signifying to her a time of rebirth, not only for herself in the musical mainstream, but also when she felt she had reached her own musical maturity. Always a prolific songwriter, Swift began writing the songs for this album while on tour with her previous release, Red. As she does so well, Swift used the songs in 1989 to examine matters of the heart. Seven singles, including the perennial favorite \u2018Shake It Off,\u2019 were released from this phenomenally successful album.\u201d<\/p>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"Taylor Swift\u2019s career-transforming 1989, Beyonc\u00e9\u2019s iconic \u201cSingle Ladies (Put a Ring On It),\u201d Jos\u00e9 Feliciano\u2019s perennial \u201cFeliz Navidad,\u201d&hellip;\n","protected":false},"author":2,"featured_media":484107,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[264],"tags":[4648,18,117,19,17,168462,337,211758],"class_list":{"0":"post-484106","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-awards","9":"tag-eire","10":"tag-entertainment","11":"tag-ie","12":"tag-ireland","13":"tag-library-of-congress","14":"tag-music","15":"tag-national-recording-registry"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@ie\/116572430642033202","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/484106","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/comments?post=484106"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/484106\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media\/484107"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media?parent=484106"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/categories?post=484106"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/tags?post=484106"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}