As a veteran in the music industry and a seasoned host of the Grammy Awards, I can confidently say that reminiscing about my Grammy experiences is like diving into a treasure chest filled with golden memories. Each special we produce brings back the excitement and anticipation I felt during those live shows, but without the pressure of a three-and-a-half-hour live event.
We’re about to enter Grammy season proper, but just before that, from Christmas through New Year’s, we can consider it Grammy Remembrance season. This is because two special retrospective shows are airing on CBS during this time. First, on Friday evening, there’s “Grammy Legends: The Tales Behind the Hits,” focusing on the winners in the Song of the Year category. Then, on Sunday, comes “Grammy Legends: Unforgettable Moments,” a show featuring some of the unique or extraordinary duet collaborations from the Grammy Awards over the years, as well as standout moments.
Both specials are the creations of producer Ken Ehrlich, who brings extensive encyclopedic and institutional knowledge to these “compilation shows”. From 1980 through 2020 (except for one instance), he was responsible for every Grammys broadcast. Not only does he carefully select the appropriate clips and narratives, but he also interviews numerous artists who appear in the two specials, such as Billie Eilish and Finneas, Joni Mitchell, Dua Lipa, Sting, Elton John, John Mayer, Annie Lennox, St. Vincent, Bonnie Raitt, LL Cool J, Luke Combs, Kenny Loggins, and Brandi Carlile.
Over the past week, Ken Ehrlich has been responsible for three special programs airing on CBS, with the latest being twin Grammy shows on the weekend. This follows a Christmas Eve special featuring Andrea Bocelli, marking the first time in 25 years that Ehrlich has managed such a large volume of content simultaneously. In his own words, this is an unprecedented amount of star power for him to handle in a short span of time.
Ehrlich had a chat with EbMaster about “Grammy Greats: The Stories Behind the Songs,” airing this Friday at 9 p.m. ET/PT, and the “Memorable Moments” show, debuting on Sunday in the same time slot. (Gayle King is co-hosting both specials; country artist Mickey Guyton assists with the first one, while Jimmy Jam is the co-host for the second.)
Although CBS won’t officially label it “Ken Ehrlich Week,” considering you have three specials airing on the network within a week, one might casually refer to it as such, unofficially.
Avoiding it seems advisable, given how unfavorable it appears! However, I should mention that there’s a precedent for such a feat. Back in Thanksgiving 1999, we managed to pull off three major specials over one weekend – Ricky Martin, Shania Twain, and Céline Dion. We had worked with all of them before, but the Ricky Martin special was his debut, which I recall vividly because we kicked off the show at Liberty State Park, facing the Twin Towers that were still standing then. So, in essence, we produced three one-hour shows within a single weekend.
I appreciated the swift execution of the Andrea Bocelli Christmas Eve special, though I understand it was put together quickly. However, the time allocated for the preparation of the two Grammy commemorative specials must have been extensive, as it allowed me to engage with numerous stars during their interviews.
Over the summer, we performed at the Grammy shows. Following our appearance on Elton John’s Gershwin Prize special for PBS in April or May, we commenced taping these Grammy compilation episodes in July. Although they weren’t particularly challenging, they were time-consuming as I likely conducted 15 to 16 interviews for the two shows, with most of them being in-person. Sting, John Mayer, Billie Eilish and Finneas, Annie Lennox, Kenny Loggins, Michael McDonald, St. Vincent, Mark Ronson were all present during these interviews. A few others like Dua Lipa, Lady A, Keith Urban were interviewed virtually. These events kept us busy throughout the summer, and we completed and aired the shows in early September. They turned out to be enjoyable experiences.
The Bocelli show came into being approximately five weeks ago, and it wasn’t an impulse decision but more like a spontaneous idea. I was conversing with Branden Chapman, my main contact at the Academy, and I asked, “What do you think about Bocelli?” We arranged a call with the network, and they agreed to it instantly. Then, I needed to persuade Bocelli, someone I’ve collaborated with before and admire, to perform in a show that we had to put together in just three and a half weeks. Fortunately, Bocelli had two sold-out concerts scheduled, one in Vegas and the other here in L.A., so we took advantage of both shows. As a result, we couldn’t capture all the camera angles and additional elements we would typically want due to building the one-hour special on top of what his concert was. We also incorporated several Christmas songs into the show that weren’t part of his regular repertoire for those two concerts.
Initially, there were discussions about holding one of the Grammy shows near the nominations, while another was scheduled closer to or after the actual Grammys. However, someone suggested combining them both (during the weekend between Christmas and New Year’s). So I just went along with their decision.
Both Grammy events feature many moments from the live Grammy broadcasts you’ve been part of throughout the years. However, I understand that the special dedicated to Song of the Year holds a particular significance for you. What made having the Song of the Year category the focus for this special, rather than Record of the Year, New Artist, or any other awards you could have celebrated instead?
To be completely honest, music has always been my passion, not just a favorite category, but a deep-rooted preference. Ever since I was introduced to it, my love for music has revolved around the songs themselves. Lucky for me, my early musical encounters happened before the singer-songwriter era, with legends like Elvis and doo-wop tunes setting the stage. As I grew older, my love for music flourished during college in the ’60s, and continued as I started a family in the ’70s.
Given my background and the deeply personal nature of the stories behind these songs, as well as my close relationships with both the songwriters and performers, it seems only fitting. Moreover, the selection of songs for this show was a highly personal one, as I had the privilege to handpick many of them. To my delight, more people than expected agreed to participate in interviews.
I have a deep passion for exploring music, especially through conversations with musicians. I’ve had numerous engaging discussions about tunes, and this year, I even spent time chatting with Elton and Bernie (Taupin) due to the Gershwin production. It was an extraordinary experience that sent shivers down my spine, learning about their perspectives on these songs, particularly Bernie’s insights into the lyrics. It’s fascinating discoveries like these that you can’t find in books. Instead, it’s the direct dialogue with them that truly enriches my understanding of the music.
I really appreciate the Luther Vandross/Richard Marx segment, it was filled with genuine emotion and love. I still often recite the final words from that part, “He was more than just a great artist. He was my friend,” which always brings tears to my eyes. Talking with Billie and Finneas about “What Was I Made For?” was also special, as there’s a clear connection throughout. The segment started with “What a Fool Believes,” which was my first Grammy performance back in 1980. Later, Mayer discussed “Daughters,” while Alicia Keys shared “Fallin’.” I can hardly imagine anyone tuning into the show who doesn’t recognize every song I mentioned. These tunes have become an integral part of our collective cultural heritage.
In fact, Bonnie Raitt’s song “Just Like That,” which was awarded in 2023, might be unfamiliar to many; it wasn’t showcased during the broadcast that year.
Occasionally, people might be puzzled about the distinction between Record of the Year and Song of the Year at the Grammys. The main difference lies in the fact that Song of the Year emphasizes the songwriting aspect rather than the production. This means that songs with exceptional lyrics and melody can sometimes be nominated, even if they weren’t major hits. For instance, Bonnie’s song, which was a surprise winner, falls into this category. A poignant ballad about an organ transplant might not win Record of the Year due to its less commercial appeal, but it managed to triumph in Song category somehow.
Constructing that part was deeply satisfying for me, as I wove together a piece from the moving tale of that song, which resonated on multiple levels emotionally. It’s remarkable how the culmination unfolded: Dr. (Jill) Biden presenting her with an award, followed by Bonnie’s account in the story – interestingly, three months later, President Joe Biden enacted a transplant law. This sequence only serves to underscore for me the profound impact of music; it’s not merely a collection of words and melodies. To clarify, there’s nothing inherently flawed about more fleeting pop genres, but when music transcends its form…
In 1975, I worked on a “Sound Stage” alongside Bonnie Raitt. Ever since then, I’ve harbored deep admiration and affection for her. Although I didn’t perform in the show, I was genuinely pleased with how they honored her during the Kennedy Center Honors ceremony that recently aired.
In my perspective, during the show, there’s Brandi Carlile reflecting on the illustrious past winners of the Song of the Year award, despite the fact that she herself hasn’t taken home the trophy yet.
Brandi Carlile boasts several tracks that I consider equal or superior to any song that has been awarded. For instance, “The Story” holds a special place among my favorite tunes ever, and “The Joke” is equally impressive. I invited her to perform because I was eager to gain insights into her take on songs. It wasn’t solely about her songwriting skills, but also her ability to thoughtfully and passionately discuss music in an intelligent yet emotional manner.
I adore her immensely. Over each generation, I’ve only chosen a select few as my favorites, and she undeniably fits that category. I can’t find anyone else quite like her. It would be inaccurate to claim I discovered her; Elton John and I stumbled upon her around the same time with “The Story.” We were discussing new talents, and that was all he ever cared about. Thus, Brandi Carlile came into our consciousness almost simultaneously, and we both expressed our admiration for her. It’s as if we had said it at the same moment, and we both exclaimed, “We love this woman!” Later, Elton shared how the label had mishandled her career by not promoting her work, underestimating her potential, and ultimately dropping her. She’s spoken about this journey from “The Story” to “The Joke” and beyond to “Right on Time.
The song “Dance With My Father” might not be recognized by everyone. It was written by Richard Marx upon request from Luther Vandross, who owned the title and wanted to honor his father. Coincidentally, Marx was dealing with personal grief issues himself. Tragically, just after the mixing of the song, Vandross suffered a stroke. Eventually, Celine Dion performed it on a show, following her own loss of her father.
I’ve known Richard Marx over the years — never closely, but I thought he was a pretty good writer. It was a compelling way that he told that story. We went to Night Bird Studios, in the basement of whatever that hotel is, and I interviewed him there in a dark room with a piano. And I think it probably was the vibe of that room — that studio combined with the history I have with Luther and just how emotionally involved Richard got in telling the story. It doesn’t always translate on tape, or whatever we use now digitally, but that particular half-hour that I spent with him while he talked about that story and the irony of losing his father and then writing that song and Luther telling his story about his father… I mean, it was just like, God, again, does life imitate art or does art imitate life? And having Celine sing it in a way that was meaningful for her too is kind of the cherry on top of the whole story. Luther had the stroke and couldn’t perform, and I’m pretty sure it was me that said, “Let me see if I can get Celine.” And her father had passed away, so she agreed to do it.
At times during our recorded conversations, they tended to refer to themselves as ‘you’, but I would constantly remind them, “Please avoid using ‘you’ and instead use ‘producers’.” I did this to prevent our conversation from appearing overly self-promotional.
Instead of discussing the Song of the Year event, let’s switch gears and chat about the Grammy Moments special. Was there any particular moment that stood out as especially memorable or significant for you?
We discussed a tribute titled ‘In Memoriam’. Now, I realize it may sound unusual to claim credit for such a solemn topic, but let me clarify: our team pioneered the concept of incorporating music into ‘In Memoriam’ segments. This innovation can be traced back to our Clash tribute following Joe Strummer’s passing in 2003. Prior to that, there simply wasn’t enough time or perceived audience interest for such a segment. Frankly, I had always been hesitant about doing an ‘In Memoriam’ segment, especially during the early days of the show when it was only two hours long and later extended to three and then even to three-and-a-half hours. Many have criticized its length, and there were times when I shared those concerns myself. However, I always felt that dedicating time to a memorial segment would mean sacrificing valuable time for other important aspects of the show.
Back in 2003, when I initially decided to participate in The Clash, it was primarily because I could adapt it musically, and it presented a fantastic opportunity to unite Bruce Springsteen, Elvis Costello, Dave Grohl, and Little Steven on one stage. It was an incredible spectacle that I genuinely enjoyed, and that’s why I consented to continue the collaboration, saying, “Let’s keep this going.” There were performances that many people might have forgotten, such as when we did Warren Zevon’s “Keep Me in Your Heart” with a group of singer-songwriters. Another time, I paid tribute to Ray Charles with Bonnie and Billy Preston. Yet another year, Bonnie and Alicia performed Etta James together. It was always vibrant, and I relished organizing this segment for the new special.
It’s exciting to see both Dua Lipa and St. Vincent discussing their passionate blend of “Masseduction” and “One Kiss”, a performance that took place on the show prior to Dua gaining immense popularity.
As a fan of Annie Clark, I’ve long been intrigued by the possibility of collaborating with St. Vincent on my show. However, I hadn’t found a compelling reason to make it happen. Then, around a week before the event, Dua Lipa caught my attention. I thought, why not bring these two talented individuals together? The idea seemed promising and exciting. Surprisingly, everyone involved was in the dark about the project, which worked to our advantage as there was no time for second thoughts. Rehearsals didn’t begin until Grammy week had already started. Reflecting on the result, I can’t help but describe it as a unique and intriguing exploration of female intimacy – if “homoerotic” isn’t quite accurate, perhaps “sapphic” might be a more fitting term. In my youth, when I secretly read such literature, that was the term used. In 2019, I acknowledge that some may question whether the world was ready for this kind of representation; however, I believe it was long overdue. I’m willing to take on any criticism regarding the show not always being at the forefront of progress, but I made an effort, and there have been instances when I’ve tried to push boundaries.
In the initial years of the Grammys, hip-hop didn’t hold a significant position, but a special segment on the Moments show highlights its growing influence and expanding role in the awards.
In the past, I wouldn’t say I was opposed to hip-hop and rap, but the Grammys often overlooked deserving artists for a long time. So, I found myself confined to working with Digable Planets. However, I eventually warmed up to it. When Harvey (Mason Jr.) joined us, things became significantly easier, and we went on to create some amazing work. Jesse Collins also played a significant role in this, as he had innovative ideas. That year, when we put together the performance featuring T.I., MIA, Jay-Z, and Kanye West in 2009, it was a blast!… And that show last year with the impressive 15-minute segment was particularly well executed. It was a mix of various elements, but overall, it was excellent.
Including Prince and Beyoncé sharing the stage together in one of their iconic Grammy performances only seemed fitting.
It’s great that we tackled a piece about Prince, as his Grammy history may have been limited but it certainly made an impact. While I had him on the show before “Baby I’m a Star” with Beyoncé, there wasn’t much before then. Every year I would call him and he would always ask for $3 million, to which I never had the funds to provide. However, when it came to his segment with Beyoncé, he was the one who reached out to me, expressing a desire to work with her and sharing an intriguing idea. This led me to approach Matthew Knowles, eventually winding up at a studio where Beyoncé was doing a photoshoot, trying to convince her mother, Tina, that she should participate in this collaboration. She had been nominated for “Dangerously in Love” that year and questioned the necessity of performing with Prince instead of getting a solo slot, but ultimately, she ended up getting both. To me, Prince was always a bit of a mystery – he was incredibly enigmatic and had a knack for being sly. I aimed to capture some of his unique personality in that segment.
Do you feel like you still care about music as much as you ever did?
I may not claim to be particularly significant, but I find myself equally engaged in conversations with young adults like 23 or 19-year-olds as I do with older individuals. For me, the universal language is music. Recently, a 21-year-old relative of mine attended a recording session for a Bocelli show, and after we finished, I invited him out to lunch. To my surprise, we had one of the best conversations I’ve had in recent memory. This young man is in a band and enjoys performing around town. Given our differences, one might assume we wouldn’t have much in common, but surprisingly, we do. At 21, I was much like him, and even at 80, I continue to share that spirit. While I may not delve into politics with a 21-year-old as easily as some topics — though I suspect I could — what truly captivates me are individuals who show genuine interest.
You are still in touch with the spirit of the age when you fell in love with music.
Since my youth, African American artists have held a strong appeal for me. This fascination has been there since the start, tracing back to doo-wop groups and extending to Chuck Berry, Little Richard, and the Motown era – music that significantly shaped my upbringing. You might remember me sharing this anecdote before… As a child, I worked for my dad who ran a textile plant in Cleveland, Ohio. Our workforce was predominantly African American, and I spent my summers in the shipping department with my friends Cliff and Richard, not to be confused with Cliff Richard. Cliff had a toothpick, while Richard sported a gold tooth, and they were my supervisors at the shipping department. It was through them that I first encountered blues music, which played a significant role in shaping my musical preferences. While I also listened to watered-down versions of songs by Pat Boones and others during my childhood, it was Black music that truly resonated with me.
In 2007, you published a personal account of your Grammy experiences in the form of a book titled “At the Grammys!: Behind the Scenes at Music’s Biggest Night”. Does reliving these moments through your recent specials stir up a similar feeling for you?
Admit it, I suppose I did, but there’s a part of me that doesn’t want to own up to it because sometimes I find myself in a group discussing ancient times, and I feel a tinge of pity for them. We managed four performances this year, among them Elton John and three Grammy-themed shows – not bad for someone my age, you might say.
Are there four main types of awards given out at the Grammys, and you’re wondering if your work could potentially be recognized in any of the remaining three categories besides Song of the Year?
It seems there’s a shared belief, particularly at the Academy and the network, for the upcoming years as the Grammys switch networks, that if viewers tune in for these shows, we might produce a few more. Frankly, I wouldn’t object to that at all. I find them enjoyable to work on and they’re far less challenging than a three-and-a-half-hour live show.
What crossed my mind, without checking further, was the observation that there’s a considerable overlap between the nominees for Record and Album of the Year. To be honest, I would need to conduct some research to determine exactly how many common names might appear in each category.
Initially, when considering potential shows, I took a glance at music from various countries and R&B genres. I noticed several exceptional performances from the past that may not have won the top awards, but were still exceptional. These performances might not be as easily accessible as a Grammy Awards show or other music programs, but they could make intriguing broadcasts.
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2024-12-28 00:18