GRAMMY Rewind: 49th Annual GRAMMY Awards | GRAMMY.com

The 2025 GRAMMYs, officially known as the 67th GRAMMY Awards, will air live on CBS and Paramount+ on Sunday, Feb. 2. Watch highlights from the 2025 GRAMMYs on live.GRAMMY.com.

The 2025 GRAMMYs telecast will be reimagined to raise funds to support wildfire relief efforts and aid music professionals impacted by the wildfires in Los Angeles. Donate to the Recording Academy's and MusiCares' Los Angeles Fire Relief Effort To Support Music Professionals.

Editor’s Note: This interview was conducted before the onset of the wildfires in Los Angeles.

is still "selling energy" — putting forth what a younger generation might call blues rock "vibes" with his pals as if it were still 1970.

This ethos dates back to his time at the legendary Memphis label Stax Records, where Cropper served as a songwriter, producer, engineer and A&R. Crucially, Cropper was the guitarist in Stax's house band, Booker T. & The MGs — they of "Green Onions" fame — and backed artists including Otis Redding, Wilson Pickett, Sam & Dave, and Carla Thomas. Among his many bonafides, Cropper co-wrote Redding's "(Sittin’ On) The Dock Of The Bay."

In his post-Stax years, the two-time GRAMMY winner and nine-time nominee produced and played on sessions with Jeff Beck, Jose Feliciano, John Prine, John Cougar, and Tower Of Power. He later joined Levon Helm’s RCO All-Stars group and was among the original members in Dan Aykroyd and John Belushi's Blues Brothers band. Cropper resumed his solo career in the '80s, releasing several albums, while continuing to collaborate with leading lights like Paul Simon, Ringo Starr, Elton John and Steppenwolf.

Steve Cropper has stayed true to himself for over seven decades, thanks in no small part to advice from Stax founder Jim Stewart. "He said, 'Just play yourself and if they don't like it, they'll tell you,'" Cropper tells GRAMMY.com. "So I've been playing myself all my life and it's worked out. That's pretty cool."

At the 2025 GRAMMYs, Cropper is nominated in the Best Contemporary Blues Album Category for the aptly named Friendlytown, recorded with a mix of long-time collaborators and a few newer faces, together billed as Steve Cropper & the Midnight Hour. Friendlytown's 13 tracks are familiar, digestible and straight-ahead rockin' — the kind of tunes you'd be thrilled to hear in a local dive. Featuring ZZ Top's Billy Gibbons, Queen guitarist Brian May, singer Roger C Reale, and guitarist Tim Montana, Cropper co-wrote and co-produced all of Friendlytown with bassist Jon Tiven.

"Steve's guitar playing on the song 'Hurry Up Sundown' is probably some of his best solo work and rhythm work," Tiven says. "It's amazing that at this point in his career, he could still be creating some of the greatest music of his life. I think that's a wonderful testament to the strength of his talent."

Meet Me At The Friendlytown Trader Joe's

There was very little methodical music-making behind Friendlytown, which partially grew out of sessions Cropper put together for his 2021 album Fire It Up. "This record was just about a bunch of guys getting together and having some fun. It's just like, Let's have a blast and try to make the party come to the record, rather than the record come to the party," Tiven notes.

Cropper and Tiven had been working on songs for years with the hopes of finding friendly musicians to give them life. While some found homes, the duo sat on instrumentals for years — until Tiven ran into Billy Gibbons at Trader Joe's. When Tiven told the sharp-dressed man he was making a record with Steve Cropper, "He just lit up like a firecracker and said he'd like to bring us a song. I said, 'Well, it's only going on the record unless you play on it.' And he said, 'Well, that could be arranged.'"

Gibbons ended up on 11 tracks; Friendlytown marks the first time he and Cropper worked together in many years. The ZZ Top vocalist's influence is audible on the album, particularly the title track and Eliminator-esque "Lay It On Down."

In Session At Stax

While casual may be the name of Cropper's game these days, "it definitely wasn't 35, 40 years ago," he says. Back then (and largely before, as Cropper left the label in 1970), making music was "was very serious, and I don't even think the guys had a good time." With a laugh, Cropper recalls his best friend, the Stax bassist/MG Duck Dunn, pining for a world in which "Jim Stewart would've only smiled every now and then."  

While Cropper calls Stewart "the greatest guy I've ever met," the label head was known to be critical. "He knew if you fought for something, like a song, that it was a good song. And if you didn't fight for it, it wasn't worth nothing," Cropper says, chuckling. "He was right. I think about that all the time, but I don't use it. A songwriter could tell me how good a song they wrote is, but if I don't like it, I don't like it. I'm sorry!. I'm sure I've thrown away some good ones before." 

Read more: 1968: A Year Of Change For The World, Memphis & Stax Records

A young Cropper put up a couple of fights, and for good reason. He recalls stumping for Wilson Pickett's "Ninety-nine and a half": [Jim Stewart said] "You boys was out there woodsheddin’. That song ain't going to make it." Cropper pressed it, and Stewart relented. The track made the cut for Pickett's 1966 album The Exciting Wilson Pickett.

Another big Stax hit stayed on the shelf for nine months while Cropper and co. battled it out with Stax brass. "Finally Al Bell went to Jim and said, 'You got to put this record out. It's called ‘Knock on Wood.' And Jim says, 'Okay, but you got to use your own money,'" Cropper says. "He hated that record until it was a hit."

Reflecting on the hardest song he's ever played, Cropper quickly points to Sam and Dave's "Soul Man." But the 1967 smash isn't difficult for the reasons you might think: the guitarist had to balance a Zippo lighter on his leg during sessions and performances, which he used to mimic the song's opening horn line. "I always had to dance [when recording] with Sam and Dave, because they could hit a groove. A lot of guitar players don't know that I played with a Zippo lighter and I'd slide it," he recalls.

Cropper reportedly hated the sound and feel of new guitar strings — something, he says, is no longer the case in old age — and in a lip-smacking good tidbit of studio lore, explained how he managed his unique sound. "I carry a thing of ChapStick all the time and I would go up and down the strings; [that would] take about three months out of the string so it would sound like the rest of them."

Sittin' On A Legacy

After decades in the business, it seems as if Cropper – though ever a professional – doesn't take himself or the creative process too seriously. He jokingly shares a reccolation from a studio session during his Stax years: Once the session was finished, Cropper told the group "Damn, this sounds like a hit." "And Al Jackson said, 'Steve, they're all hits until they're released.' He's probably right."

One of Stax's reliable hitmakers was a close friend of Cropper's: Otis Redding. The two shared a deep musical bond and some shared history. Both musicians grew up on farms ("By the time I was 14, I was ready to leave the home. By the time I was 16, I was gone in my mind," Cropper notes) yet the guitarist describes Redding as "most streetwise person that I ever met. I think he just had it. It came natural to him."

Redding played guitar with one finger and you "never argued with Otis" — especially because he was never available for sessions for more than a day or two. Most Otis Redding albums, as a result, were compilations from different sessions.

"I remember we cut 'I Can't Turn You Loose' in 10 minutes," Cropper says. "[When we recorded] Otis Blue, we had everybody come back at 1 [a.m.] -- after they did their gig and they went home and had their shower – so we could cut it."

Cropper knew that  "(Sittin' On) The Dock Of The Bay" — arguably Redding's biggest hit, and Cropper's first GRAMMY win —  was a hit. "You know why I knew it was a hit? Because we had Otis the longest I'd had him; for two weeks."

The gentle lull of "Sittin'" was a radical departure from Redding's Southern soul bombast, and perhaps a sign of what was to come if the singer hadn't died tragically in a plane crash. "That one song, we searched for a long time. We call it crossover music; so it could go either way:, R&B, pop, whatever. That was the first one we ever had," Cropper says.

There's Always A Catch

Steve Cropper is still going strong at 83 years old. He reports that he enjoyed HBO's recent Stax Records docuseries, and has an unfinished instrumentals album in the can. He hasn't time for regrets, only dreams, but the name of the one person Cropper wishes he had worked with fires off like lightning: Tina Tuner.

Cropper saw the late legend three times. "I really did admire Tina. She was the closest person to Otis, I think, in the business. It's the yeller, screamer, but everybody loves their music. She was so good, it didn't matter how it was she's yelling and screaming," he says.

Tina Turner's loudest albums still have melody and something "people will walk away humming" — the very thing Cropper loved about  Stax records. "We were selling groove and all, rather than the music," Cropper says of his work with the MGs. "We don't care about the music. We just cared about melody and what's in the simplicity of the song."

Since the first GRAMMYs in 1959, The Recording Academy has awarded 67 songs with the golden gramophone for Song Of The Year.

One of the most coveted awards alongside Record Of The Year, Album Of The Year and Best New Artist, Song Of The Year honors "artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position." 

In recent decades, the award has gone to smash hits like Beyoncé's "Single Ladies (Put a Ring On It" and Ed Sheeran's "Thinking Out Loud," served as validation for headline-making singles like The Chicks' "Not Ready to Make Nice" and Childish Gambino's "This Is America," and helped coronate new stars in the industry including Alicia Keys ("Fallin"), Lorde ("Royals") and Sam Smith ("Stay With Me"). 

"I am always interested, and have always been interested, in the Song Of The Year Category," says Brandi Carlile, herself a four-time nominee in the Category for songs like 2019's "The Joke" and 2022's "Right on Time." "I think it pushes the culture forward sometimes; I think, sometimes, it follows the culture when it's appropriate. And I also think sometimes it might give a truly great song a second wind or a breath of fresh air if everybody didn't get it the first time." 

On Dec. 27, CBS aired "GRAMMY Greats: The Stories Behind The Songs," the very first primetime TV special ever dedicated to the Category's many winners — from Bruce Johnston and Michael McDonald and Kenny Loggins to Lady A, Adele and the late Luther Vandross — and the unforgettable songs that helped them take home GRAMMY gold.

Below, dive into five of the most interesting moments from the holiday special, including confessions and revelations from Billie Eilish, Sting, Bonnie Raitt, Mark Ronson, John Mayer, and more.

Billie & FINNEAS Detail Their Sibling Magic

As co-host Mickey Guyton pointed out early in the special, the 2020s are only halfway over, but one pair of sibling songwriters have already earned Song Of The Year not once, but twice during the decade. That's right: Billie Eilish and her brother Finneas O'Connell took home the award first in 2020 with the then-teenage pop phenom's breakout single "bad guy," then again four years later thanks to "What Was I Made For?," Eilish's delicate, heart-rending contribution to the Barbie soundtrack.  

During the segment, the brother and sister opened up about the songwriting process behind their growing catalog of generation-defining hits.

"At this point it's become extremely 50/50," Eilish said, with O'Connell jumping in to add, "If we had to distill it down, the most common thing is I'm sitting at an instrument and Billie is singing a melody, and we're coming up with the lyrics at the exact same time. We're coming up with the lyrics like you're hitting a tennis ball back and forth."

And while Eilish still counts the 2020 GRAMMYs — where she swept all four major categories, as well as Best Pop Vocal Album — as "the most insane night of my life to this day," her elder brother pointed to the timeless quality of "What Was I Made For?" as one of the reasons the song is so special to them both. "To me, it was such a traditional piece of music we'd written," he said. "It was just a song that you might've heard 50 years ago. And that was exciting to me, to see that it had just as much value — that it was a form of art that had never lost any currency at all."

Mark Ronson Remembers Amy Winehouse

Amy Winehouse proved to be a once-in-a-lifetime talent when she burst into the global zeitgeist with her 2006 sophomore album, Back to Black. The record spawned hit singles like "Rehab," "Back to Black" and "Love Is a Losing Game," and went on to win the newly minted superstar five GRAMMYs in 2008, including Song Of The Year and Record Of The Year for "Rehab" and Best New Artist. 

As producer Mark Ronson revealed during the special, the jazzy, tossed-off hook at the center of the GRAMMY-winning smash ("They tried to make me go to rehab, I said no, no, no") came directly from a then-healthy and sober Winehouse as they wandered around the Soho neighborhood of New York City. "Just the way that she said it, it had, like, this cadence to it, and it was a hook," he said. "It was just literally her walking down Spring Street and the hook came out of her mouth."

Sadly, Winehouse's personal struggles with addiction, as well as issues securing a visa, made it impossible for her to attend the GRAMMYs in Los Angeles. Instead, The Recording Academy organized a live satellite feed from London, allowing the embattled singer to perform a triumphant medley of "You Know I'm No Good" and "Rehab" and accept the most awards of the evening with a humble, wide-eyed acceptance speech for Record Of The Year with her mom by her side ("This is for London, 'cause Camden Town ain't burnin' down!").

The modern legend would tragically succumb to her battle with alcoholism just three years later, passing away from alcohol poisoning in July 2011 at the age of 27. And while Winehouse never completed a follow-up to Back to Black, her triumphant night at the GRAMMYs will always stand as a crowning moment in her legacy.

"It was one of the most emotional moments that I ever remember," said Republic Records CEO Monte Lipman during the special. "And so much of it was just watching Amy Winehouse deliver. And what I consider, arguably, her best performance. Because [of] all the trials and tribulations and adversity that she had to overcome, what she was dealing with, her own demons, her own addictions. And to bring so much joy and so much happiness in that moment, and I know she was so proud…"

Read More: How Amy Winehouse's 'Back To Black' Changed Pop Music Forever

Bonnie Raitt Reflects On Her Surprising Win

Nearly 35 years after her first win for Album Of The Year, Bonnie Raitt was something of an underdog going into the 2023 GRAMMYs. The veteran singer/songwriter had been awarded a Lifetime Achievement Award the year before, but faced stiff competition, as her 2022 single "Just Like That" was up for Song Of The Year against chart-topping hits by the likes of Taylor Swift, Harry Styles, Adele and more.

So the famous redhead insists her look of slack-jawed surprise was completely genuine when First Lady Jill Biden read her name as the Category's winner. "I actually covered my face walking up there because I didn't want them to read my lips. 'Cause I had to just frankly say, 'Can you f—ing believe it?'" Raitt quipped with a laugh.

"I wanted to write something that wasn't just about pain and suffering, but about the possibility that we all have to be redeemed," she explained about the uplifting ballad, which unfurls the tragic story of a woman who accidentally causes the death of her son in a moment of distracted driving, only for his heart to save the life of a stranger via organ donation.

In a roundabout way, Raitt's first-ever Song Of The Year win may have even inadvertently influenced President Biden sweeping policy changes to the United Network for Organ Sharing (UNOS), which occurred shortly after she received the award from his wife on the GRAMMYs stage. 

"Maybe she went home and they played the song for her husband," Raitt speculates. "All I know is a couple of months later, he announced the overhaul of the system of organ donation in this country. So I don't know if it was directly related, or just coincidental, or in the zeitgeist…"

Sting Reveals James Bond's Connection To His Biggest Hit

Remarkably, Sting remains one of the few artists in music history to miss his Song Of The Year moment on the GRAMMYs stage. When "Every Breath You Take" was announced as the winner at the 1984 ceremony, the rock legend and his band, the Police, were on tour in Australia — in fact, the moment Sting got the news, they were all partying poolside with none other than Willie Nelson in Perth. 

Given its enduring popularity, Sting is the first to recognize the dual-edged meaning fans take from "Every Breath You Take." "The song is my most successful song, it's also the most ambiguous song I've ever written. Some people think it's a romantic love song, other people think it's about a stalker," he acknowledged during the special. "And I never contradict either party, I think it enriches the song."

Come to find out, part of the song's element of mystery was partly inspired by the character of James Bond, as Sting was living at author Ian Fleming's Jamaican estate when he wrote it. "There is something of James Bond in that," the rocker continued. "You know, he is our guy. He saves the day, but he also kills people. So that kind of two-faced idea is something that intrigues me — and intrigues me to this day."

Hilariously, Sting also sheepishly confessed to sneaking a peek inside the envelope revealing the winner for Record Of The Year in 1994, just moments before he took the stage to perform "If I Ever Lose My Faith In You." The song was nominated for the major award, which ultimately went to Whitney Houston for her career-defining version of "I Will Always Love You."

"I didn't want that distraction," he said, of worrying during the performance about whether he was going to win. "So it was a great relief to me, and Whitney deserved to win, absolutely. But it allowed me to do my job properly."

John Mayer Revisits Breaking His GRAMMY For Alicia Keys

John Mayer won his first — and so far only — GRAMMY for Song Of The Year in 2005 for his fan-favorite track "Daughters." But even during the ceremony, he wasn't confident his "really circular composition" was most deserving of the prize. 

"When Alicia Keys played 'If I Ain't Got You,' I remember watching it from my seat and going, 'That should win," the seven-time GRAMMY winner said. "It was a tremendous song, performed tremendously, and I went, 'That would be okay.' Maybe somewhere between 'I can accept that' and 'That should probably win.'" 

Ultimately, though, Mayer took home the GRAMMY, and sweetly dedicated the win to his grandmother during his acceptance speech.

Fourteen years later, Keys playfully acknowledged her loss to Mayer while hosting the 2019 ceremony ("I ain't got that GRAMMY," she ad-libbed with a grin) before revealing that the Continuum singer actually broke his GRAMMY in two pieces and presented the top half to his pal, writing her name and song title on it. To complete the bit, Mayer joined Keys on stage during the 2019 telecast to reunite the two parts of their shared GRAMMY, joking, "This has got to be the coolest joint custody agreement in showbiz history!"

Looking back on his decision to share his big GRAMMY win with Keys, Mayer had no regrets. "When someone writes a really great song, songwriters win," he said with a smile. "There's an afterlife for a hit song — and it either gets thought of as sort of a time capsule for a moment or it carries on. Both Alicia's song and my song, thankfully, stood the test of time, and so I gave the top half of the GRAMMY to the right person."

Editor's Note: This article was updated with a new photo and YouTube videos on Dec. 16, 2024.

When it comes to holiday music, you can never go wrong with the tried-and-true classics.

Who doesn't love Nat "King" Cole's "The Christmas Song," Elvis Presley's "Blue Christmas," Mariah Carey's "All I Want For Christmas Is You," Charles M. Schulz's GRAMMY-nominated A Charlie Brown Christmas soundtrack, or any new version of a festive favorite?

Even so, it's always good to get out of one's comfort zone. With that in mind, unwrap these 12 outside-the-box Christmas songs, spanning rock to rap and featuring everything from refreshing spins on the familiar to unexpected holiday thrills.

Read More: New Christmas Songs For 2024: Listen To 50 Tracks From Pentatonix, Ed Sheeran, LISA & More

John Prine - "Christmas In Prison"

This firsthand account of spending the most joyous holiday locked up and separated from the one you love offers a different kind of longing than the average lonesome Christmas tune. In signature John Prine style, "Christmas In Prison" contains plenty of romantic wit ("I dream of her always, even when I don't dream) and comedic hyperbole ("Her heart is as big as this whole goddamn jail"), with plenty of pining and hope to spare.

"Christmas In Prison" appeared on Prine's third album, 1973's Sweet Revenge, and again as a live version on his 1994 album, A John Prine Christmas, which makes for perfect further off-beat holiday exploration.

Eric Johnson - "The First Nowell"

Gayla Peevey - "I Want a Hippopotamus for Christmas (Hippo the Hero)"

Who doesn't want a large semiaquatic mammal for the holidays? For then-10-year-old child star Gayla Peevey, not only did she score with the catchy tune, she also got her wish.

The 1953 novelty hit, written by John Rox, rocketed up the pop charts and led to a fundraising campaign to buy Peevey an actual hippo for Christmas. Children donated their dimes to the cause, and the Oklahoma City native got her hippo, named Mathilda, which she donated to the Oklahoma City Zoo.

The song itself features plodding brass instrumentals and unforgettable lyrics such as, "Mom says a hippo would eat me up but then/ Teacher says a hippo is a vegetarian." It seems Peevey still has a fond legacy with the hippo activist community — she was on hand in 2017 when the Oklahoma City Zoo acquired a pygmy hippopotamus.

The Vandals - "Oi To The World!"

In a contemplative mood this Christmas? Try getting into the holiday spirit by way of meditating on the true meaning of the season with this brash, uptempo Southern California crust punk tune.

Now the best-known song from the Vandals' 1996 Christmas album of the same name, "Oi To The World!" remained a relatively obscure track by the Huntington Beach punkers until it was covered by a rising pop/ska crossover band from nearby Anaheim, Calif., in 1997. (Perhaps you have heard of them — they were called No Doubt.) Ever since, the song has been a mainstay of the Vandals' live sets, and they have also played the album Oi To The World! in its entirety every year since its release at their annual Winter Formal show in Anaheim, now in its 29th year.

Outkast - "Player's Ball (Christmas Mix)"

Tom Waits - "Christmas Card From A Hooker In Minneapolis"

You'd be hard-pressed to find a more heartbreaking Christmas story than this Tom Waits' masterpiece from 1978's Blue Valentine. "Charlie, I'm pregnant and living on 9th Street," begins the Christmas card narrative in which a woman writes to an old flame, reporting how much better things are going since she quit drugs and alcohol and found a trombone-playing husband.

Waits' signature early career piano-plinking and tall-tale-storytelling weaves through a dream world of hair grease and used car lots, even sneaking in a Little Anthony And The Imperials reference. In the end, our narrator comes clean with the sobering lyric, "I don't have a husband, he don't play the trombone" before pleading, "I need to borrow money to pay this lawyer and Charlie hey, I'll be eligible for parole come Valentine's Day." For the uninitiated, this is the off-beat genius of GRAMMY winner Waits at his finest.

WINGER - "Silent Night"

Though they took some lumps in their '80s hair-metal heyday, few would dare deny Winger's talent and musicianship. Surely on display here, frontman Kip Winger (a GRAMMY-nominated classical musician) and his bandmates begin with a traditional unplugged reading of the Franz Xaver Gruber-penned holiday chestnut, complete with four-part harmony.

But then it gets really interesting: the boys get "funky" with an inside-out musical pivot that fuses percussive rhythmic accents, pentatonic-based acoustic riffing, Winger's gravely vocals, and some choice bluesy soloing (and high-pitched vocal responses) courtesy of lead guitarist Reb Beach.

The Hives & Cyndi Lauper - "In A Christmas Duel"

With lyrics that include "I know I should have thought twice before I kissed her" in the opening, you know you're in for a sleigh ride like none other. It's therefore no surprise that Cyndi Lauper and Swedish rock band the Hives' unconventional Christmas duel describes many marital hiccups that might make some blush.

Yet, the raucous duet somehow comes out on a high note, concluding, "We should both just be glad/And spend this Christmas together." The 2008 track was the brainchild of the Hives, who always wanted to do a song with Lauper. "This is a Christmas song whose eggnog has been spiked with acid, and whose definition of holiday cheer comes with a complimentary kick below the belt," wrote Huffington Post in 2013. "It's also an absolute riot."

LCD Soundsystem - "Christmas Will Break Your Heart"

Snoop Doggy Dogg, Dat Nigga Daz, Tray Deee, Bad Azz and Nate Dogg - "Santa Claus Goes Straight To The Ghetto"

Twisted Sister - "Silver Bells"

P-Lo feat. Larry June, Kamaiyah, Saweetie, LaRussell, G-Eazy, thủy & Ymtk) - "Players Holiday '25"

In anticipation of the 2025 NBA All-Star Game in San Francisco, P-Lo breathes new life into T.W.D.Y.'s classic "Players Holiday." Featuring Saweetie, Larry June, Kamaiyah, LaRussell, G-Eazy, thuy, and YMTK, the track celebrates Bay Area culture with its infectious energy and hometown pride. With its dynamic lineup and energetic vibe, "Players Holiday '25" is a love letter to the region's sound and legacy that bridges hip-hop and basketball culture.

This article features contributions from Nate Hertweck, Tim McPhate, Renée Fabian, Brian Haack, Philip Merrill, Nina Frazer and Taylor Weatherby.

Thanksgiving marks the start of the holiday season, which is often a time of reflection. There's much music befitting this time of year, much of which isn't holiday specific. 

Songs tackling this theme — whether about gratitude for love, for platonic relationships, or for life's gifts — have a long history in pop music. Through these songs, we’re reminded of our own journeys and the common ground we share with others, building a collective sense of empathy and understanding. As a result, their messages become timeless; their themes fit for any time of year.

And while there are plenty of Thanksgiving-specific works out there — here's looking at you "Stretchy Pants" and "Do The Mashed Potatoes" — the following playlist leans into the myriad and everyday ways we give thanks. Before you "turkey trot" over to your holiday table, here are some songs that capture the spirit of love, gratitude, and self-reflection.

Alanis Morissette — "Thank U" (1998)

Alanis Morissette reflects and expresses gratitude for the challenging moments that have shaped her. The song's lyrics imbue listeners with a sense of peace among life’s hardships: "How 'bout unabashedly bawling your eyes out?/How 'bout not equating death with stopping?" 

Morissette's lyrical vulnerability was likely due in part to the challenges during her teen years, including an eating disorder. As a musician, she continued to write frankly about heartbreak and identity — themes which resonate with generations of fans. She continues to be grateful for the healing power of music, the support of her fans, and the journey of self-discovery that has allowed her to grow personally and artistically.

Rita Ora — "Grateful" (2014)

This ballad from the 2014 film Beyond the Lights highlights the importance of being thankful for the obstacles that lead to personal growth. Ora’s soaring vocals are filled with sincerity and heart. Written by Diane Warren, the song reminds us that the struggles we face can ultimately shape us into stronger, more compassionate individuals. “I'm grateful for the storm/Made me appreciate the sun/ I'm grateful for the wrong ones/Made me appreciate the right ones." One particularly potent line notes, "I'm thankful for all my scars/'Cause they only make my heart."

Natalie Merchant — "Kind and Generous" (1998)

A timeless, smooth tribute to someone who has been kind and giving, this song radiates gratitude with a chorus that invites everyone to say "thank you." Merchant never revealed if the song is about any one individual, and as a result it is broadly relatable. As a matter of fact, some refer to it as the "Thank You" song, even though its title is "Kind and Generous." 

Dido — "Thank You" (2000)

This tender, honest classic conveys gratitude for someone who has a grounding presence in Dido’s life. With gentle vocals and a mellow beat, the song is a reminder of the restorative power of human connection. "The morning rain clouds up my window/ And I can't see at all/And even if I could, it'd all be gray," Dido sings in the song's opening verse. "But your picture on my wall/It reminds me that it's not so bad."

"Thank You" was sampled in part for Eminem’s “Stan,” demonstrating the song's impact across diverse genres. Eminem's titular character is an obsessive fan who takes Eminem’s lyrics literally, causing Stan to go into a harmful depression. While the relationship to Dido’s original song is different, Eminem’s figurative Stan spends a good chunk of time reflecting on how important the rapper is to him. By the end of the song, Eminem realizes how, in relationships, gratitude can be vital.

Chance the Rapper — "Blessings" (2016)

Chance’s gospel-tinged anthem from the album Coloring Book is an ode to the blessings in his life. The song emphasizes gratitude and the importance of recognizing the good in life, even amidst hardship. 

The lyrics reference God and faith while celebrating Chance’s spirituality and showing appreciation for the strength it provides. 

ABBA — “Thank You For the Music” (1978)

Swedish pop group ABBA give thanks for the gift of song, reflecting on the way  music nourishes our existence as artists and fans. Written by Benny Andersson and Björn Ulvaeus, it's a personal anthem and a universal hymn to song: "Thank you for the music, the songs I'm singing/Thanks for all the joy they're bringing/Who can live without it, I ask in all honesty/What would life be?" the band wonders. 

OneRepublic — "Good Life" (2010)

In "Good Life," OneRepublic revel in living in the moment and loving the beauty of life, even when things don't go according to plan. The lyrics describe the ups and downs of touring, while reflecting on the importance of appreciating the simple things. 

The refrain "Oh, this has gotta be the good life" acknowledges life's blessings, while "I feel like there might be something that I’ll miss" reminds us to appreciate what we have now before it’s gone.

Mahalia — "Grateful" (2019)

On this soulful, mellow track, British R&B singer Mahalia reflects on her journey and expresses gratitude for love and the experiences that come with it. Through lyrics like "If I never had to cry, I would never learn to fight" and "I needed to fall so I could get stronger," Mahalia acknowledges that her challenges were essential to her development and strength. Mahalia also expresses deep appreciation for the support systems that guided her, as she recalls praying for better days and trusting that someone would help light the way.\

Kelly Clarkson — "Thankful" (2003)

The title track of her debut album, this heartfelt expression of gratitude sings the praises of someone who has been a rock in Kelly Clarkson's life. The track is uplifting and feel-good — an appropriate vibe for such appreciation. Lyrics “That I'm thankful/For the blessing/And the lessons that I've learned with you/By my side” encapsulate Clarkson's heartfelt gratitude for the love, support, and personal growth she has experienced through a meaningful relationship.

Earth, Wind & Fire — "Gratitude" (1975)

This classic funky tune expresses deep appreciation and positive vibes with the perfect blend of groove and heartwarming thanks. The band members have often shown gratitude for their ability to bring people together, regardless of background, through their songs such as "Shining Star" and "That's the Way of the World." 

These lyrics convey gratitude by recognizing the gifts of love, peace, freedom, and divine intervention with a gospel-influenced refrain. "Open up your heart, let your body find/Freedom in your stride, love and peace of mind, yeah/One more time and we got to say/That the Good Lord gonna make a way/Gonna make a way, gonna make a way."

William DeVaughn — “Be Thankful For What You Got” (1974)

R&B singer William DeVaughn's classic encourages reflection on life's simple blessings, focusing on inner fulfillment over external wealth. By promoting a humble mindset — "Though you may not drive a great big Cadillac/Gangsta whitewalls/TV antennas in the back/You may not have a car at all/But remember brothers and sisters/You can still stand tall/Just be thankful for what you've got" — the song teaches that true happiness comes from within. A song that has been covered many times over, "Be Thankful" is not only a catchy reminder to do just that, but a working-class anthem that champions self-worth.

Ariana Grande — “thank u, next” (2019)

Ariana Grande has had a lifetime of relationships to learn from, and expresses gratitude for past relationships and the lessons they taught her on this bop. Rather than focusing on bitterness or regret, “thank u, next” is part kiss-off and part positive embrace: "Look what I got/Look at what you taught me/And for that, I say/Thank you, next." Grande is spending more time with her friends and even met someone new; but nothing good comes without acknowledging how every relationship contributed to her resilience, self-awareness, and maturity.

Boyz II Men — "Thank You" (1994)

This R&B track from their GRAMMY-winning album II,  acknowledges the people who lift us up when things are gloomy. This feel-good song not only showcases Boyz II Men's vocal talent but also spreads positivity, encouraging us all to recognize and cherish the people who make a difference in our lives.

The lyrics are both earnest and direct: "All through my life/I knew that you'd be my world/Knowing everywhere I go/Things you taught me, they would show/So many times and changes/You've seen me through/I sure 'nough wouldn't have survived without you."

Sam & Dave — "I Thank You" (1968)

A classic in soul music, this track is a high-energy appreciation song, thanking a lover for bringing joy and happiness. Its infectious groove and repetitive verses ("You didn't have to love me," "You didn't have to squeeze me," "You didn't have to hold me like you did," the duo belts) has kept it timeless across generations.

Celine Dion — "Thankful" (2013)

Carrie Underwood pays tribute to the grounding force of small-town life, reminding listeners to be grateful for the roots that keep them steady through life’s trials. The lyrics "Thank God for hometowns/And all the love that makes you go round/Thank God for the country lines that welcome you back in" define a sense of belonging and acknowledge the tight-knit support of a  community. The song in its entirety is an expression of thankfulness for the grounding that home provides, symbolizing the comforting feeling of returning to a familiar, safe place.

Bing Crosby — "Count Your Blessings Instead of Sheep" (1952)

A holiday classic that has transcended its seasonal label, this song gently reminds us to practice gratitude and center our attention on the blessings in our lives, no matter how small. Lyrics "When I'm worried, and I can't sleep/ I count my blessings instead of sheep" encourage listeners to shift their focus away from daily troubles. Its message continues to resonate across generations, making it a go-to track for anyone seeking solace.

Whitney Houston — "My Love Is Your Love" (1998)

The title track from Whitney Houston's fourth album, "My Love Is Your Love" showcases a message of unconditional love and gratitude for deep, lasting relationships. Houston’s vocals are filled with sincerity, highlighting the power of love beyond material wealth: "If I lose my fame and fortune, and I'm homeless on the street, and I'm sleeping in Grand Central Station/it's okay if you're sleeping with me." Whitney expresses that she can endure any hardship by devoting her love to the partner that stands with her no matter what the circumstance. 

Joni Mitchell — "Big Yellow Taxi" (1970)

Though a cautionary tale, this folk classic reminds us to appreciate what we have before it’s gone. Joni Mitchell’s poetic lyrics offer a bittersweet reflection on gratitude for the environment and life’s beauty. The lyric "They paved paradise and put up a parking lot" is a contrast, lamenting the loss of natural beauty and implying that humanity fails to appreciate the beauty in life until it's irreversibly altered. While talking in a broader sense about destroying nature, this song holds true even today as discussions take place regarding climate change.

Sly and the Family Stone — "Thankful N' Thoughtful" (1973)

From Sly and the Family Stone, this track leans more into reflection and being thankful for life’s experiences, both good and bad, with a funky backdrop. The funketeers have multiple songs about gratitude, including "Everyday People," "Life," and "Thank You (Falettinme Be Mice Elf Agin)." The uplifting messages in their songs show appreciation for life and unity while embodying the human experience.