All about the Grammys
PUSSSYKATT
With a party like Clive Davis had here Tuesday night, who needed the Grammys?
How about Stevie Wonder, Alicia Keys, Destiny's Child, Patti LaBelle, Justin
Timberlake and others jamming on Wonder's "Superstition," "Do I Do" and "I
Wish," and on Keys' "Fallin'" for wholesome party fun?
And Busta Rhymes, getting our door prize for most bodyguards?
Or Pamela Anderson, winning musical chairs her way by sitting on boyfriend Kid
Rock's lap the whole night?
And human piñata Courtney Love — still in grunge and keeping her 7-year-old,
Frances Bean, out until nearly midnight — talking during all the performances
to Universal Records exec Zack Horowitz, whom she's suing to get out of her
contract?
Davis' annual party at the Beverly Hills Hotel is to the Grammys what Graydon
Carter's Vanity Fair party is to the Oscars — everybody was there, from every
label, from Britney Spears to Tony Bennett, from Angie Stone to Carlos Santana.
For Davis, nearly 70, it was a vindication.
"Everybody put the old man out to pasture," said Dick Clark, referring to
Davis' ouster from Arista Records. "In one year, he's become successful all
over again."
That's an understatement. Davis' year-old J Records garnered six Grammy
nominations for Keys alone; she sold 8 million albums worldwide. Known for
respecting the music and the artists, Davis has enticed Rod Stewart (Warner
Music Group) and Luther Vandross (Epic) to jump from their labels to J.
"He's probably the last true music man left," Clark told us.
* * *
Grammy fashion hits and misses
NY POST/By LIBBY CALLAWAY
-------------------------------------------
Alicia Keys was the big winner at last night's Grammy Awards - but her
red-carpet look was far from victorious.
So what if that filmy green rhinestone-embroidered top and headdress were
created by a world-class fashion designer, Christian Dior's John Galliano?
People tune in to shows like this to see women in fairy-princess dresses, not
upscale grunge.
Only bands as cool as U2 should be allowed to wear jeans to big award
ceremonies. (And only Levi's 501s, please.)
Award winners should look amazing - like Nelly Furtado, who was divine in a
white beaded gown by Giorgio Armani.
A lot of misguided souls last night should have hit her up for pointers.
For starters, the Dixie Chicks. One was dressed for a homecoming dance circa
1984, another was headed to a New York cocktail party and the remaining Chick
was so badly dressed it's almost painful to recall.
No one should wear a floor-length caftan with pink and purple vertical stripes.
Shocking. Simply shocking.
Or how about "Marmalade" ladies Pink and Christina Aguilera?
Pink needed to lose the New Wave eye shadow, and Aguilera could have brought
her Marilyn-via-Madonna look down a notch or three.
Another Grammy-going faux blonde fared better. No Doubt's fashion goddess Gwen
Stefani looked seriously foxy in her leopard print halter dress (very Yves
Saint Laurent).
The boys in her band win my award for best-dressed males, in their red, white
and black suits. The Backstreet Boys, on the other hand, looked dressed by
their manager's wife.
Other wardrobe winners included Celine Dion in a sexy peachy-pink Dior dress,
and Mary J. Blige in a Dolce & Gabbana pinstriped suit.
And then there's Britney Spears.
She took a turn for the conservative last night in a tame red chiffon gown and
a big, bad (as in "not good") burst of brassy curls.
At one of last year's award shows, she jiggled around in a loincloth with a boa
constrictor. Last night, she could have used the snake.
*For photos from the 2002 Grammy Awards
http://www.pagesix.com/celebphotos/celebphotos.htm
* * *
By JIM FARBER
NY Daily News Music Critic
From sight gags like Lil' Kim to living monuments like Ralph Stanley, here's a
sampling of their first impressions after the thrill of victory.
* * *
The sudden trendiness of traditional American country music took up the heavy
chatter backstage.
Most of the stars involved in the projects — including the "O Brother, Where
Art Thou?" soundtrack — believe their Grammys, led by Album of the Year,
vindicate a musical style too long ignored, especially by the stations that
claim to play country.
"It shows radio doesn't have the stranglehold it once had, to say the least,"
said T-Bone Burnett, who won as Best Producer, Non-Classical.
Yet Burnett said he wasn't surprised the album was a huge hit.
"Everyone thought I was insane [to think that]. But I had produced albums for
the Counting Crows and the Wallflowers and they sold, like, 5 million copies.
And the only difference with this was that those albums had one great singer.
This one had 15 great singers."
Burnett said the first release from his new label, DMZ, will recycle one artist
from "O Brother," the 75-year-old bluegrass legend Ralph Stanley.
Stanley, who won Best Male Country Vocal Performance, said he wasn't freaked
out to sing a song about dying ("Oh Death") at his advanced age.
"We all have to live with that," he said. "I just put everything I have into
it."
Luke Lewis, whose company Lost Highway released "O Brother," pooh-poohed the
notion that this album defied the Nashville establishment. "I am the Nashville
establishment," said the man who, years ago, signed Shania Twain.
But Stanley had the best deadpan on what the Grammy wins may signify for
traditional country: "I guess it means this music may stick around a while."
* * *
Missy Elliott, who won the Best Rap Solo prize for "Get Ur Freak On" and
another award for her part in "Lady Marmalade," said the biggest struggle of
her career had nothing to do with music.
It was "making sure I got my taxes paid," she said.
The full-figured singer also said she has to have all her clothes custom-made
because "designers make these little baby clothes. I can't fit into those
things."
On a musical note, she said she'll collaborate on a new album with the rapper
Eve, noting that it hardly ever happens that two hip-hop women work together on
a complete album.
"The men do it. But for two women, it's rare because," she said with a laugh,
"you know how women can be."
* * *
Eve credited her trouncing of all the men in her Rap/Sung Collaboration
category to a very pop force: "girl power." She also revealed that "Let Me Blow
Ya Mind" was the toughest project she has ever worked on — because of its
producer. "Dr. Dre is hard to work with. He's great but he's very critical."
There was a lot of talk backstage about the Recording Artists Coalition's
movement to change the power balance between recording artists and record
companies. No rap act has signed on as yet. "Unfortunately, the hip-hop
community hasn't come together as the rock community has," Eve said.
But she made her own stance clear. "Contracts are horrible. Artists do all the
work and the record companies get all the money."
* * *
You couldn't say John Flansburgh and John Linnell, alias They Might Be Giants,
were expecting their Grammy for "Boss of Me" from "Malcolm in the Middle." When
he first saw a script of the show, Flansburgh says he thought, "This is going
to tank — but we'll get paid, so..."
Flansburgh revealed that the duo has a song on the upcoming "Austin Powers"
soundtrack and, more bizarrely, has composed a new theme for "America's Most
Wanted."
* * *
Hezekiah Walker, who won for Best Gospel Choir Album, said he planned to
celebrate his prize in a way appropriate to his faith. "We're going to do a lot
of Christian partying," he said.
That would put him at the opposite end of the belief spectrum from Adam Jones,
guitarist for Tool. Upon winning Best Metal Album, he thanked "my parents. And
Satan."
Lil' Kim, who won as part of the "Lady Marmalade" pile-on, wasn't coy about her
celebration plans, either. "Well, I have to go to my record-company party. Then
I'm going to do what I want — get really drunk."
* * *
Linkin Park, who took the Best Hard Rock prize, wanted to correct a
misperception that they had last year's biggest-selling album. "It was
biggest-smelling album," joked member Brad Tolson. "It was a typo." When asked
how their music should be categorized, the alterna-Latin rock band Ozomatli
(who won in that slot) shunned the term. What do they prefer?
"Pop."
* * *
Artists hardly ever bad mouth each other backstage at the Grammys. But Al
Schmitt, who won the Best Engineer award for his work with Diana Krall, managed
to shoehorn in a put-down.
While praising Krall as "easy to work with," he contrasted her with Anita
Baker, whom he called "very difficult." He elaborated with another comparison.
"She [Barbra Streisand] can be tough. But at least you know what she wants and
there's a light at the end of the tunnel. With Anita Baker, that's not true."
* * *
By GEORGE RUSH and JOANNA MOLLOY
NY Daily News Gossip Columnists
Grammy attendees were on the lookout for George Michael, who is set to relaunch
his career after a bitter split with Sony Music. The former Wham! man has cut a
dance single, "Freeek!", in which he proves that the F-word isn't just for
gangsta rappers. The track comes with a risky video that finds Michael decked
out in a spaceman costume and engaging in some sci-fi sex play. He's also seen
sporting lipstick and a rose behind his ear. Word is the singer secured close
to $1 million from Universal for the video. The music reel was due to debut on
British TV last night, but we hear MTV execs have qualms about airing it here.
* * *
Melissa Etheridge and her young girlfriend, Tammy Lynn Michaels, showed up in
coordinated ensembles of lace and suede. But Etheridge told us, as they held
hands: "We didn't plan it. Tammy picked out her outfit weeks ago." The two
paired up for a group photo with that other fun couple — Pamela Anderson, in
a plunging gauzy gown, and Kid Rock, dressed elegantly in T-shirt and jeans
featuring a pint of Jack Daniels in the back pocket.
* * *
Nelly Furtado got a surprise when someone grabbed her hand as she posed for a
swarm of photographers. It turned to be Grammy rival Alicia Keys, who gave her
a big hug. Asked if they voted for each other, Keys told us, "I think we did."
* * *
Dr. John took losing in stride when Delbert McClinton walked off with the
Contemporary Blues Grammy. "If I won, it was cool. If I didn't, it was cool,"
said the New Orleans R&B legend, who already has five trophies. He added, "What
would be really cool would be if they take a chunk of that $18 million they
made at [Monday night's] Music Cares dinner and gave it to the Musicians
Assistance Program so we can help more people get into rehab. Nobody knows
junkies or alcoholics like I do," said the entertainer, who quit heroin in
1989.
* * *
Hugh Hefner was hitting the Grammy parties with half his blondterage of younger
girlfriends. But the 75-year-old Playboy founder admits he can only take the
nominated music in small doses. "The girls listen to it," he told us. "We go
out two or three times a week, and we dance to hip hop or house. But the music
I play at the mansion is from the first half of the last century. I like Bix
Beiderbecke and Al Bowlly, who was a British contemporary of Bing Crosby." It's
Viagra for the ears.
* * *
By ALEV AKTAR
NY Daily News Fashion and Beauty Editor
Thank heaven for double-sided tape.
At last night's Grammy Awards, many of music's biggest stars wore necklines so
dangerously low and wide that only adhesive saved their modesty.
Christina Aguilera continued the trend started two years ago by Jennifer Lopez.
The Staten Island songbird came close to baring her bust in a black vintage
Madame Gres gown with a scooped-out bodice. She was obviously shooting for a
Hollywood glamour look with red lipstick, penciled eyebrows and platinum blond
curls. But it came off more Mae West than Marilyn Monroe.
Sheryl Crow also took the plunge. She was loosely laced into a daring Henry
Duarte jumpsuit that ended in hot pants, showing off her muscular legs. "He
knows the shape of my body, which is nice, because I'm odd," said the singer.
Doesn't she realize that most women envy her figure?
Patti LaBelle had on more ice than an NBA star (giant choker, bracelet,
earrings and ring), but all eyes were trained on her heaving bosom, which was
barely restrained by her textured yellow gown.
Pink also saved on fabric. Clad in a scanty halter top and black bottom and
sporting a faux Mohawk, she was clearly dressed to shock. But with so much skin
on display elsewhere, that effect wore off quickly.
It was almost more startling to see singers in ladylike dresses or tailored
pantsuits.
Alicia Keys was shrouded in a glittering head scarf and mint-green goddess
gown. This drew all the attention to her gorgeous eyes and crystal-covered
lids. "It might, like, really hurt, if [the rhinestones] fell," Keys said.
For her performance, she changed into a red and black flamenco dress topped
with a black leather bustier.
The beautiful Blu Cantrell looked like she was going to the Academy Awards in a
long, ruffled chiffon gown by Diane von Furstenberg. Nelly Furtado was equally
elegant in a white strapless sheath and a sleek ponytail.
Britney Spears sprayed on a bright red dress. With her big blond hair and
Chiclets smile, she looked like an '80s supermodel.
Mary J. Blige, meanwhile, was businesslike in a strict Dolce & Gabbana striped
suit, sexed up with a floral bustier. "I knew this was it because it looked
comfortable and I like pinstripes," said the singer. Later, she belted out a
tune in a gold pantsuit. Not exactly the streetwise gear we've come to expect.
Like the fashion industry, the music world is full of surprises.
* * *
By DAVID HINCKLEY
NY Daily News Critic at Large
After the Grammy people twist and turn like halfpipe snowboarders to give us a
dazzling TV show, you wonder how they must feel when the most interesting part
of the night turns out to be the plain old awards.
People getting statuettes and saying thanks? Oh, please. That's so
20th-century!
But last night, the main reason not to switch over to NBC for "West Wing" and
"Law and Order" was to find out who would get the little gold Victrolas.
Part of the problem was that while the Grammys were unusually current on the
music, they fell behind on show material.
We've seen so many New York tributes by now that neither Alan Jackson's "Where
Were You" nor the Billy Joel/Tony Bennett duet on "New York State of Mind"
became the hoped-for emotional touchstone.
Jon Stewart's opening joke, about getting stripped by security as he passed
through a metal detector walking onto the stage, had an uncomfortably low
time-elapsed- to-humor ratio, and he never quite found his groove.
It didn't help that he was placed in front of a gold backdrop so distracting
that the whole audience should have been wearing Bono sunglasses.
Maybe next year they'll be in the gift pack.
But Stewart as host wasn't the only off-note. While the jokes written for the
accepters and presenters are always lame and always badly delivered, some years
that doesn't matter. Other years it produces awkward chunks of silence.
This was an awkward year, which meant that Stewart's most important job was to
keep things moving, which he did reasonably well.
Had Alicia Keys spent another five seconds thanking people, Stewart probably
would have thrown himself across the stage and tackled her. Purely in
entertainment terms, it would have helped. CBS star Ray Romano's tumble did
not.
For all the Grammys' insistence that their live performers forsake all
competing shows, that's at best a marginal victory in this video age. Bono, for
instance, has now officially replaced Rudy Giuliani as the face you're most
likely to see on TV anytime, night or day.
Some of last night's performances were sturdy, including Keys, a bemused Bob
Dylan, India.Arie and the "O Brother" crew. Others, like the "Lady Marmalade"
vamp, simply roared right over the falls.
And any year when they're still singing at 11:28, well, sorry: no little gold
Victrola for this one.
* * *
A complete list of 44th Annual Grammy Award winners, announced Wednesday night:
Record of the Year: "Walk On," U2.
Rap Album: "Stankonia," OutKast.
Song of the Year: "Fallin'," Alicia Keys (Alicia Keys).
Album of the Year: "O Brother, Where Art Thou?" soundtrack, Various Artists.
Rock Performance By A Duo Or Group With Vocal: "Elevation," U2.
New Artist: Alicia Keys.
Country Collaboration with Vocals: "I Am a Man of Constant Sorrow," Dan
Tyminski, Harley Allen and Pat Enright (The Soggy Bottom Boys), from the "O
Brother, Where Art Thou?" soundtrack.
Female Pop Vocal Performance: "I'm Like a Bird," Nelly Furtado.
R&B Album: "Songs in A Minor," Alicia Keys.
Rock Song: "Drops of Jupiter," Charlie Colin, Rob Hotchkiss, Pat Monahan, Jimmy
Stafford and Scott Underwood (Train).
Pop Collaboration with Vocals: "Lady Marmalade," Christina Aguilera, Lil' Kim,
Mya and Pink.
Pop Performance by a Duo or Group with Vocal: "Stuck in a Moment You Can't Get
Out Of," U2.
Rock Album: "All That You Can't Leave Behind," U2.
Male Pop Vocal Performance: "Don't Let Me Be Lonely Tonight," James Taylor.
Pop Instrumental Performance: "Reptile," Eric Clapton.
Dance Recording: "All For You," Janet Jackson.
Pop Instrumental Album: "No Substitutions — Live in Osaka," Larry Carlton and
Steve Lukather.
Pop Vocal Album: "Lovers Rock," Sade.
Traditional Pop Vocal Album: "Songs I Heard," Harry Connick Jr.
Female Rock Vocal Performance: "Get Right With God," Lucinda Williams.
Male Rock Vocal Performance: "Dig In," Lenny Kravitz.
Hard Rock Vocal: "Crawling," Linkin Park.
Metal Performance: "Schism," Tool.
Rock Instrumental Performance: "Dirty Mind," Jeff Beck.
Alternative Music Album: "Parachutes," Coldplay.
Female R&B Vocal Performance: "Fallin'," Alicia Keys.
Male R&B Vocal Performance: "U Remind Me," Usher.
R&B Performance by a Duo or Group With Vocal: "Survivor," Destiny's Child.
R&B Song: "Fallin'," Alicia Keys (Alicia Keys).
Traditional R&B Album: "At Last," Gladys Knight.
Rap Solo Performance: "Get Ur Freak On," Missy "Misdemeanor" Elliott.
Rap Performance by a Duo or Group: "Ms. Jackson," OutKast.
Rap/Sung Collaboration: "Let Me Blow Ya Mind," Eve Featuring Gwen Stefani.
Female Country Vocal Performance: "Shine," Dolly Parton.
Male Country Vocal Performance: "O Death," Ralph Stanley, from the "O Brother,
Where Art Thou?" soundtrack.
Country Performance by a Duo or Group With Vocal: "The Lucky One," Alison
Krauss and Union Station.
Country Instrumental Performance: "Foggy Mountain Breakdown," Earl Scruggs,
Glen Duncan, Randy Scruggs, Steve Martin, Vince Gill, Marty Stuart, Gary
Scruggs, Albert Lee, Paul Shaffer, Jerry Douglas and Leon Russell.
Country Song: "The Lucky One," Robert Lee Castleman (Alison Krauss and Union
Station).
Country Album: "Timeless — Hank Williams Tribute," Various Artists.
Bluegrass Album: "New Favorite," Alison Krauss and Union Station.
Contemporary Jazz Album: "M2," Marcus Miller.
Jazz Vocal Album: "The Calling," Dianne Reeves.
Jazz Instrumental Solo: "Chan's Song," Michael Brecker.
Jazz Instrumental Album: "This Is What I Do," Sonny Rollins.
Large Jazz Ensemble Album: "Homage To Count Basie," Bob Mintzer Big Band.
Latin Jazz Album: "Nocturne," Charlie Haden.
Rock Gospel Album: "Solo," DC Talk.
Pop/Contemporary Gospel Album: "CeCe Winans," CeCe Winans.
Southern, Country or Bluegrass Album: "Bill & Gloria Gaither Present A Billy
Graham Music Homecoming," Bill and Gloria Gaither and The Homecoming Friends.
Traditional Soul Gospel Album: "Spirit of the Century," The Blind Boys of
Alabama.
Contemporary Soul Gospel Album: "The Experience," Yolanda Adams.
Gospel Choir or Chorus Album: "Love Is Live!," LFT Church Choir, Hezekiah
Walker, choir director.
Latin Pop Album: "La Musica De Baldemar Huerta," Freddy Fender.
Latin Rock/Alternative Album: "Embrace the Chaos," Ozomatli.
Traditional Tropical Latin Album: "Dejame Entrar," Carlos Vives.
Salsa Album: "Encore," Robert Blades.
Merengue Album: "Yo Por Ti," Olga Tanon.
Mexican/Mexican-American Album: "En Vivo ... El Hombre y Su Musica," Ramon
Ayala y Sus Bravos del Norte.
Tejano Album: "Nadie Como Tu," Solido.
Traditional Blues Album: "Do You Get the Blues?," Jimmie Vaughan.
Contemporary Blues Album: "Nothing Personal," Delbert McClinton.
Traditional Folk Album: "Down From the Mountain," Various Artists.
Contemporary Folk Album: "Love and Theft," Bob Dylan.
Native American Music Album: "Bless the People — Harmonized Peyote Songs,"
Verdell Primeaux and Johnny Mike.
Reggae Album: "Halfway Tree," Damian Marley.
World Music Album: "Full Circle/Carnegie Hall 2000," Ravi Shankar.
Polka Album: "Gone Polka," Jimmy Sturr.
Musical Album for Children: "Elmo and the Orchestra," Sesame Street Characters.
Spoken Word Album for Children: "Mama Don't Allow," Tom Chapin.
Spoken Word Album: "Q: The Autobiography of Quincy Jones," Quincy Jones.
Spoken Comedy Album: "Napalm and Silly Putty," George Carlin.
Musical Show Album: "The Producers," Original Broadway Cast with Nathan Lane
and Matthew Broderick, lyricist and composer Mel Brooks.
Compilation Soundtrack Album For a Motion Picture, Television or other Visual
Media: "O Brother, Where Art Thou?," Various Artists.
Score Soundtrack Album for a Motion Picture, Television or other Visual Media:
"Crouching Tiger, Hidden Dragon," composer Tan Dun.
Song Written for a Motion Picture, Television or Other Visual Media: "Boss of
Me," (They Might Be Giants from "Malcolm in the Middle"), songwriters They
Might Be Giants.
Instrumental Composition: "Cast Away (End Credits)," Alan Silvestri (Alan
Silvestri).
Instrumental Arrangement: "Claude Debussy 'Doctor Gradus Ad Parnassum' from
Children's Corner," Bela Fleck and Edgar Meyer (Bela Fleck with Joshua Bell and
Gary Hoffmann).
Instrumental Arrangement Accompanying Vocalist(s): "Drops of Jupiter," Paul
Buckmaster (Train).
Recording Package: "Amnesiac (Special Limited Edition)" (Radiohead).
Boxed Recording Package: "Brain in a Box — The Science Fiction Collection,"
(Various Artists).
Album Notes: (tie) "Richard Pryor ... And It's Deep Too! The Complete Warner
Bros. Recordings (1968-1992)," (Richard Pryor); "Arhoolie Records 40th
Anniversary Collection: 1960-2000 The Journey Of Chris Strachwitz," (Various
Artists).
Historical Album: "Lady Day: The Complete Billie Holiday on Columbia
1933-1944," (Billie Holiday).
Engineered Album, Non-Classical: "The Look of Love," (Diana Krall).
Producer of the Year, Non-Classical: T Bone Burnett.
Remixed of the Year, Non-Classical: Deep Dish, "Thank You (Deep Dish Vocal
Remix)" (Dido).
Engineered Album, Classical: "Bernstein (Arr. Brohn &Corigliano): West Side
Story Suite (Lonely Town; Make Our Garden Grow, Etc.)" (Joshua Bell).
Producer Of The Year, Classical: Manfred Eicher.
Classical Album: "Berlioz: Les Troyens," James Mallinson, producer.
Orchestral Performance: "Boulez Conducts Varese (Ameriques; Arcana; Deserts;
Ionisation)," Pierre Boulez (Chicago Sym. Orch.)
Opera Recording: "Berlioz: Les Troyens," Sir Colin Davis; Michelle De Young,
Ben Heppner, Petra Lang, Peter Mattei, Stephen Milling, Sara Mingardo, Kenneth
Tarver; James Mallinson, producer (Various Artists; London Sym. Orch.)
Choral Performance Award: "Bach: St. Matthew Passion," Nikolaus Harnoncourt
(Arnold Schoenberg Chamber Orch. and Wiener Sangerknaben; Concentus Musicus
Wien).
Instrumental Soloist(s) Performance: "Strauss Wind Concertos (Horn Concerto;
Oboe Concerto, etc.)," Dale Clevenger, horn; Larry Combs, clarinet; Alex Klein,
oboe; David McGill, bassoon; Daniel Barenboim, piano/conductor (Chicago Sym.
Orch.).
Instrumental Soloist Performance (without Orchestra): "Britten Cello Suites
(1-3)," Truls Mork, cello.
Chamber Music Performance: "Haydn: The Complete String Quartets," The Angeles
String Quartet.
Small Ensemble Performance (with or without Conductor): "After Mozart
(Raskatov, Silvestrov, Schnittke, Etc.)," Kremerata Baltica; Gidon Kremer,
violin.
Classical Vocal Performance: "Dreams & Fables — Gluck Italian Arias (Tremo
Fra' Dubbi Miei; Di Questa Cetra in Seno, etc.)," Cecilia Bartoli, mezzo
soprano.
Classical Contemporary Composition: "Rouse: Concert De Gaudi for Guitar and
Orch.," Christopher Rouse, composer.
Classical Crossover Album: "Perpetual Motion (Scarlatti, Bach, Debussy, Chopin,
etc.)" Bela Fleck, banjo (Joshua Bell, violin; Evelyn Glennie, marimba; Gary
Hoffman, cello; Edgar Meyer, bass and piano; Chris Thile, mandolin; John
Williams, guitar).
Short Form Music Video: "Weapon of Choice," Fatboy Slim featuring Bootsy
Collins.
Long Form Music Video: "Recording the Producers — A Musical Romp With Mel
Brooks," Mel Brooks (with Various Artists including Nathan Lane and Matthew
Broderick).
New Age Album: "A Day Without Rain," Enya.
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