The 2022 GRAMMYs proved successful for Bruno Mars and Anderson .Paak, who — together as Silk Sonic — won all four GRAMMYs for which they were nominated. After claiming Best R&B Performance (a tie with Jazmine Sullivan), Best R&B Song and Song Of The Year, they topped off their four-for-four night with Record Of The Year.

"We are really trying our hardest to remain humble at this point," .Paak joked as they accepted their last award. "But in the industry, we call that a clean sweep!"

What Mars' fans may not have realized, though, is that his sweep wasn't just limited to the 64th GRAMMY Awards. Bruno Mars has won 15 GRAMMYs overall — and 13 of those have come since 2016.

That's right: Mars' "clean sweep" is six years running.

Bruno's GRAMMY legacy extends beyond his wins, with 30 nominations spanning several categories as well as some of the show's most memorable performances. As he celebrates his latest wins, take a look at Bruno Mars' impressive GRAMMY resume.

Wins

Believe it or not, Mars had an even bigger GRAMMY night in 2018. He took home six golden gramophones that year with 24K Magic, which won Album Of The Year and Best R&B Album. The LP's title track won Record Of The Year, and the hit single "That's What I Like" scooped up Song Of The Year, Best R&B Performance and Best R&B Song.

He took home his first Album Of The Year trophy the year before that, but not for his own work. Mars's producer group, the Smeezingtons, produced (and co-wrote) Adele's "All I Ask," a track from 25, which won Album Of The Year in 2017.

Mars began his winning streak with 2016's smash collaboration with Mark Ronson, "Uptown Funk." The song won Best Pop Duo/Group Performance, but more notably, won Mars his first Record Of The Year award.

Before his streak began, Mars won Best Pop Vocal Album for Unorthodox Jukebox in 2014, and Best Male Pop Vocal Performance for "Just The Way You Are" in 2011 — his first-ever GRAMMYs.

Notable Nominations

Before he notched several Song Of The Year and Record Of The Year nominations and wins himself, Mars' contributions to other artists' projects earned nods in 2011. In fact, he was up for Record Of The Year twice that year, thanks to B.o.B's "Nothin' On You" and Cee Lo Green's "F*** You." (Mars featured on "Nothin' On You"; the Smeezingtons produced both tracks. "F*** You," co-written by the Smeezingtons, was up for Song Of The Year as well.)

"Nothin' On You" — which he also co-wrote with The Smeezingtons — nabbed Mars a Best Rap Song nomination. Two years later, he received another nod in the category for co-writing "Young Wild & Free," a collab with Wiz Khalifa and Snoop Dogg.

What's more, the Smeezingtons helped earn Mars nominations for Producer Of The Year, Non-Classical in 2011 and 2012. Along with "F*** You" and "Nothin' On You," their 2011 nod came from production on songs like Travie McCoy's "Billionaire" (featuring Mars) and Mars' Own "Just the Way You Are." Their 2012 nomination was the result of their production on Mars' Doo-Wops & Hooligans as well as songs by Far East Movement and Lil Wayne.

Tributes

Thanks to his classic style and powerful voice, Mars has also been part of two tributes to late legends. In 2017, he helped honor Prince alongside Morris Day and the Time. Dressed in a (very fitting) sparkly purple blazer, Mars delivered a rousing rendition of "Let's Go Crazy" that included a solo on one of Prince's iconic cloud guitars.

In 2021, Mars teamed up with .Paak for a tribute to Little Richard. As .Paak played drums, Mars delivered a rocking medley of "Long Tall Sally (The Thing)" and "Good Golly, Miss Molly."

Who knows how long Mars' winning streak will last, but regardless, he's already cemented himself as a GRAMMY legend. It's probably safe to say that as long as Bruno Mars continues to make music, the GRAMMYs will leave the door open.

Silk Sonic Light Up 2022 GRAMMYs Stage With Funked-Up Rendition Of "777" | 2022 GRAMMYs

Lyrics have a unique way of validating and soundtracking our real-world experiences. Perhaps this year, a celebratory drink called for Shaboozey's "A Bar Song (Tipsy)" on repeat. Or maybe you professed your love with a playlist containing Billie Eilish's "BIRDS OF A FEATHER," and Lady Gaga & Bruno Mars' "Die with a Smile."

It's those small but significant moments that showcase the power of songwriting — and what makes GRAMMY's Song Of The Year award so necessary. In the 2025 SOTY nominee list, you'll find the above hits, plus Taylor Swift's "Fortnight" (feat. Post Malone), Chappell Roan's "Good Luck, Babe," Kendrick Lamar's "Not Like Us," Sabrina Carpenter's "Please Please Please" and Beyoncé's "TEXAS HOLD ‘EM."

Ahead of the 2025 GRAMMYs, take a deeper look into all the tracks that made the nominee list for Song Of The Year. Be sure to check out the full 2025 GRAMMYs nominations list ahead of Music's Biggest Night on Sunday, Feb. 2, 2025.

Shaboozey — "A Bar Song (Tipsy)"

Songwriters: Sean Cook, Jerrel Jones, Joe Kent, Nevin Sastry, Chibueze Collins Obinna & Mark Williams

Before this year, Shaboozey was just another rising artist ready to make a name for himself. With the April release of "A Bar Song (Tipsy)," he blossomed into the most prolific country musician of 2024, coinciding with his 10th anniversary in the music industry.

By July, the J-Kwon interpolation simultaneously hit No. 1 on the Hot 100 and the Hot Country Songs charts, making him the first Black man to conquer a feat. On Oct. 29, it broke the record for the longest-running No. 1 hit, previously set by "Old Town Road (feat. Billy Ray Cyrus)" by Lil Nas X.

Billie Eilish — "BIRDS OF A FEATHER"

Songwriters: Billie Eilish O’Connell & Finneas O’Connell

Most know Billie Eilish for her "sad girl" anthems, scaling topics of body dysmorphia, cruel exes and the relentless dissection of her life under the public eye. But on "BIRDS OF A FEATHER," a single from 2024's HIT ME HARD AND SOFT, the 22-year-old songbird unveils a softer, sweeter side of herself over a twinkling synth. The track details an unwavering connection.

"I don't know what I'm cryin' for/ I don't think I could love you more," she muses in the song's pre-chorus. "Might not be long, but baby, I/ Don't wanna say goodbye."

As Finneas O'Connell, Eilish's brother and longtime collaborator, explained on their American Express "Story of My Song" segment, "There's a lot of songs about dying for somebody and loving them until they die, and I thought it was really fun to lean in."

Songwriters: Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt

Put two musical legends together, and you get a masterpiece. For Lady Gaga and Bruno Mars, that piece of artwork is "Die with a Smile," a grandiose ballad about not taking your relationships for granted. It's reminiscent of the sultry duets of the 1960s, such as Sonny & Cher's "I Got You Babe" or Frank & Nancy Sinatra's "Somethin' Stupid."

The unexpected collaboration unfolded while Gaga finished her upcoming album in Malibu. "After a long day, he asked me to come to his studio to hear something he was working on [...] We stayed up all night and finished writing and recording the song," Gaga said in a press release.

As Gaga mentions in her announcement post, the song is a treat for Little Monsters "while you wait for LG7." But if the rest of the project is anything like "Die with a Smile," it's already looking like a hit.

Taylor Swift — "Fortnight" Feat. Post Malone

Songwriters: Jack Antonoff, Austin Post & Taylor Swift

Taylor Swift has become increasingly transparent in her artistry through whimsical lyrical metaphors and cinematic music videos. "Fortnight," the opening track of The Tortured Poets Department, is no exception as Swift likens a crumbling relationship to the failure of the American dream. In its sepia-toned visual, she's an asylum escapee taking the "Forget Him" pill, washing away their million-paged saga.

"'Fortnight' is a song that exhibits a lot of the common themes that run throughout this album. One of which being fatalism — longing, pining away, lost dreams," Swift told Amazon Music. "And 'I love you, it's ruining my life,' these are very hyperbolic, dramatic things to say. But it's that kind of album."

Swift first announced Tortured Poets during her acceptance speech for Best Pop Vocal Album (Midnights) at the 2024 GRAMMYs. At the 67th GRAMMY Awards, Swift will again vie for a chance to win Song Of The Year — her eighth nomination in the Category.

Songwriters: Daniel Nigro, Kayleigh Rose Amstutz & Justin Tranter

Chappell Roan might have written "Good Luck, Babe!" in three minutes, but this breakthrough single has left the impact of a lifetime as the singer's debut on the Billboard Hot 100.

The cathartic indie rock track wishes a hopeless flame well after denying their queer identity: "When you wake up next to him in the middle of the night/ With your head in your hands, you're nothing more than this wife/ And when you think about me, all of those years ago/ You're standing face to face with, 'I told you so.'"

"I think throughout the year, I'm like, "What can I get away with?" Because right now it's pretty tame for what it is like to be a gay artist," Roan told GRAMMY.com in March. "But I just want to push it to see how far can I go — with the most controversial outfits or things to rile people up. I'm not really afraid to do that."

Songwriters: Kendrick Lamar

Kendrick Lamar and Drake have been throwing shots at each other for the past decade, but it wasn't until Drake's claims of being the best of the "Big Three" rappers (including him, Lamar and J. Cole) in 2023 that the battle climaxed. 

The next six months saw back-and-forth diss tracks, such as Lamar's "Euphoria" and "Meet the Grahams." In a sweeping moment in May, Lamar reigned superior with "Not Like Us," poking fun at Drake's OVO brand alongside accusations of pedophilia and disingenuous relationship with other artists.

Upon its release, "Not Like Us" debuted at No. 1 on the Billboard Hot 100 and might be Lamar's first gramophone in the Song Of The Year category. 

Sabrina Carpenter — "Please Please Please"

Songwriters: Amy Allen, Jack Antonoff & Sabrina Carpenter

If "Espresso" hadn't already catapulted Sabrina Carpenter as one of the biggest stars of 2024, "Please Please Please" solidifies her status as one of the music industry's key players.

In typical Sabrina fashion, this '70s-inspired tune features witty and playful lyricism, with the Short n' Sweet singer begging her new lover to stay faithful and true: "And please, please, please/ Don't bring me to tears when I just did my makeup so nice/ Heartbreak is one thing, my ego's another/ I beg you, don't embarrass me, motherf—."

The single, co-written with Jack Antonoff, also marks Sabrina's first No. 1 track on the Billboard Hot 100, sitting comfortably above "Espresso's" No. 2 placement.

Beyoncé — "TEXAS HOLD ‘EM"

Songwriters: Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq

After more than two decades as a solo artist, Beyoncé's latest era has been defined by risk-taking experimentation. The first installment of her trilogy project, RENAISSANCE, revived house. Her latest addition, COWBOY CARTER, invites listeners to throw on their Western boots in her first full-length venture into country music, led by "TEXAS HOLD 'EM."

Aside from its addictive twangy instrumentation and chant-worthy lyrics ("This ain't Texas, ain't no hold 'em"), the COWBOY CARTER lead confirms Beyoncé's artistic range while simultaneously encouraging much-needed conversations about the diversity of the country genre. An ambitious venture, indeed, but one that paid off, making Queen Bey the first Black woman to top Billboard's Hot Country Songs chart and earning her a spot on this year's Song Of The Year nominee list.

On New Music Fridays, we wear pink! Or black! That’s because, for the third week in a row, one of BLACKPINK’s members has launched a new solo era. This week, ROSÉ recruits Bruno Mars for "APT.," the infectious lead single to her forthcoming debut full-length, Rosie.

Elsewhere, Bishop Briggs unveils Tell My Therapist I’m Fine, American Authors deliver Call Your Mother and Dillon Francis marks the tenth anniversary of his debut album Money Sucks Friends Don’t with a star-studded remix album.

Plus, Tyler, The Creator heralded the arrival of his eighth album CHROMAKOPIA later this month, and hotly anticipated singles arriving this week include JADE’s "Fantasy," Bailey Zimmerman’s "Holding On," Tiwa Savage’s "Forgiveness," and Estelle’s "Fire."

Below, dive into nine new releases worth checking out from the worlds of K-pop, country, hip-hop, Latin and more.

"Game, start!" Taking its title from the popular Korean drinking game "Apartment," the giddy first taste of Rosie ingeniously meshes ROSÉ’s K-pop polish with everything from surf rock and bubblegum pop, to the kind of suave vintage soul favored by duet partner Mars. Together, the duo creates an earworm that feels both wholly original and instantly unforgettable. Try getting the peppy, chant-ready hook out of your head by the time Mars cheekily asks, "Geonbae, geonbae, girl, what’s up?"

Using an appropriately rosy backdrop, matching leather jackets and just a few instruments at their disposal, ROSÉ and Mars show off their new friendship — and electrifying musical chemistry —  on the track’s goofy music video, which racked up nearly seven million views within just a few hours of its release. While "APT." may be a left turn from what BLINKs and Number Ones expected, it’s clear ROSÉ is swinging for the fences and so far, everything’s coming up rosy.

Read more: Breaking Down Every Solo Act From BLACKPINK: From Jennie's "Solo" To Jisoo's 'Me'

Joy Oladokun flexes her talents for introspection and insight on her fifth album, OBSERVATIONS FROM A CROWDED ROOM. 

Songs like "AM I?," "NO COUNTRY" and "DUST/DIVINITY" are thoughtfully punctuated by a number of spoken word interludes. "Where is the safe space for me?" Oladokun muses before launching into apocalyptic daydreams on "STRONG ONES," while she questions the cost of near-constant vulnerability in service of the career of her dreams ahead of standout "I’D MISS THE BIRDS."

Read more: Joy Oladokun's 'Proof Of Life' Honors Her Own Experience — And Encourages Others To Do The Same

The title of SEVENTEEN’s 12th mini album comes with a hidden message. An anagram for "I FELT HELPLESS," the six-track project promises a new level of emotional vulnerability from the 13 idols and contains DJ Khaled-assisted single "LOVE, MONEY, FAME," plus highlights like "Eyes on you," "1 TO 13," and "Candy."

Released on Monday,Oct. 13, SPILL THE FEELS arrives just in time for the K-pop boy band’s latest world tour, which shows up stateside on Oct. 22 after opening earlier this week with back-to-back shows at South Korea’s Goyang Stadium. After kicking off the American leg in Rosemont, Illinois, the tour will make stops in Belmont Park, New York; San Antonio, Texas; Oakland, California and Los Angeles through Nov. 10.

Read more: 5 Songs To Get Into Seventeen

Project 2024 is more than just a new release for BRELAND, it’s an intensely personal musical examination of the singer’s roots. Following his 2022 debut album Cross Country, as well as his recent duet with Shania Twain on the Twisters soundtrack, the pioneering country artist decided to return to Selma, Alabama — home to generations of his family tree as well as defining moments that helped turn the tide of the Civil Rights movement. 

The result is a powerful and inherently political celebration of life told in BRELAND’s inimitable voice across six tracks — from the proud resilience of opener "Grandmaman’em" and flirty lead single "Icing" to the dancehall-tinged "Motion" and uplifting closer "Same Work" featuring The War & Treaty.

After rocketing to streaming numbers that shot past the billion mark with his 2019 hit "Be Alright," Dean Lewis is back with his third full-length album The Epilogue. As its title suggests, the new body of work purposely adds a postscript to the viral success the shaggy-haired Australian troubadour experienced in the late 2010s while also crafting a soundtrack to hint at his next move.

"An Epilogue typically sums up a book, answers any unanswered questions, and hints at what’s to come," Lewis said in a statement of the LP, which contains heart-wrenching fare like "Empire," "All I Ever Wanted," and "Trust Me Mate." "This is a new chapter. It feels like the ending of the last few years of my life and the beginning of the next. I really tried to define my own style. For me, the music wraps up the past and shines a light on what to expect going forward."

Jean Dawson continues to push the boundaries of experimental pop on Glimmer of God, his fourth full-length studio release. The follow-up to 2022’s Chaos Now (as well as EP Boohoo from earlier this year) takes sonic cues from influences like Prince, Stevie Wonder and Zapp & Roger — all artists he found himself inspired by while growing up between the U.S. and Mexico. 

Led by "Die For Me," a collab with tourmate Lil Yachty, and second single "Houston," Dawson’s album taps into his inner feminine on tracks like "Darlin’," "Black Sugar" and "Murciélago" and also features a guest turn from BONES on album cut "P4IN."

It’s sheer coincidence that Alana Springsteen shares a last name with a living musical legend (no, she’s not related to the Boss). But the rising country phenom has carved her own path through the music industry since she was a child, earning a publishing deal in the mid-2010s at just 14 years old.

The TWENTY SOMETHING singer’s latest singles come two-for-one after she decided on a whim to drop "cowboy" and "hold my beer" simultaneously at midnight on Friday. The former finds Springsteen looking back with regret after getting lassoed by a particularly disappointing cowboy ("He roped me in like no one could/ And in the end, he really broke me good"), while on the latter, the Virginia Beach, Virginia native dusts herself off, gets back on the proverbial horse, and commits to making some delightfully rowdy choices that would make her mama proud. 

Read more: Alana Springsteen Isn't Just Living Her Teenage Dream. She's Speaking To An Entire Generation.

Jordan Adetunji has "Options" on his new single with Lil Baby. Fresh off his viral hit "KEHLANI", the Belfast native remains unthreatened at the prospect that his lover would go off and choose another man, confidently declaring, "I got options/ Baby, you got options/ If you with me, not an option/ Baby, it’s the weekend/ Need it often/ Girl you know that I’m the one to solve your problems."

On the track’s accompanying music video, Adetunji boards a luxurious yacht teeming with bikini-clad video girls, only to later be joined by Lil Baby, who confesses, "Four, five times a day, I check your page/ I’m your lil stalker" at the top of his own, sexually charged verse.

Sevdaliza and Karol G join forces for their new collaboration "No Me Cansaré." The mid-tempo bilingual ballad opens with the Iranian Dutch singer intoning, "Don’t have fear, I won’t let go/ You protect my inner child" before sharing the spotlight with the Latin pop sensation on the breathy second verse. 

"No Me Cansaré" — which translates to "I Won’t Get Tired" in English — also comes with a sultry black-and-white music video depicting the two songstresses as winged angels watching placidly over younger versions of themselves.

Summer may be slowly edging toward fall, but the red-hot streak of this summer's musical output shows no signs of slowing down.

This New Music Friday (Aug. 16), Post Malone goes country with his sixth studio album F-1 Trillion, Meghan Trainor adds four songs (and rearranges the track list) to the deluxe edition of her latest LP Timeless, and global girl group KATSEYE unveil their debut mini-album SIS (SOFT IS STRONG). Plus, Muscadine Bloodline share their fourth full-length The Coastal Plain and Nikka Costa drops Dirty Disco, her first album in eight years.

When it comes to singles, there's just as many new songs to explore — from superstar collabs like ROSALÍA and LISA's empowered "NEW WOMAN" to the latest releases from Hozier and Peggy Gou. 

Below, dive into eight more new releases from pop and K-pop to rap, rock, country, dance, and more.

Lady Gaga and Bruno Mars gave the world just 12 hours notice that they were dropping "Die With a Smile" this week, sending Little Monsters and Hooligans alike into a tizzy as they braced themselves for the surprise duet.

Mars' sensual vocals lead off the moony, apocalyptic love song, which marks Mars' first release since his GRAMMY-winning work with Anderson .Paak as Silk Sonic. Strumming an electric guitar, the 15-time GRAMMY winner vows, "I, I just woke from a dream/ Where you and I had to say goodbye/ And I don't know what it all means/ But since I survived, I realized/ Wherever you go, that's where I'll follow." 

As for Mother Monster's oeuvre, "Die With a Smile" lands somewhere between Joanne and "Shallow" as her fans wait impatiently for LG7. Not to be outdone, Gaga takes over on the second verse, supported by Mars' swooning harmonies as the duo crescendo the intensity of their devotion to meet the literal end of the world.

On New Music Friday eve, BLACKPINK member LISA added to her blossoming collection of solo bangers with "NEW WOMAN," an empowering shapeshifter of a duet that sees her joining forces with ROSALÍA.

"Hit it when I serve/ B—, you better swerve/ Revving up my aura/ Focus on my mind/ Taking my time/ I'm a new woman, woman," the K-pop star proudly announces on the chorus of the song before Rosalía slams on the brakes to sing and rap her way through a sultry verse in her native Spanish that translates, in part, to "I was born pure, yes/ Not an era will be a flop in my future/ W—, I'm Rosalía, I only know how to serve."

The accompanying Dave Meyers-directed video is filled with high-fashion looks (thigh-high boots on fire, that massive, floor-sweeping pearl necklace…or is it made of ball bearings?), Y2K nostalgia (flip phones!) and a bevy of quirky, genuinely off-beat moments that will be sure to help drive the conversation as LISA continues to establish herself — and her nascent LLOUD partnership under RCA Records — as a global force in control of her musical destiny.

Fresh off "Death Wish Love" — his folksy contribution to the Twisters soundtrack — Benson Boone uses his newest single "Pretty Slowly" to celebrate his sudden rise as one of pop music's shiniest new stars.

The deceptively upbeat track's lyrics reflect on the dissolution of a relationship lost to all the recent, stratospheric changes in his life as he croons, "Oh, how come all the best things fall apart/ And it started pretty slowly/ When you asked about the old me/ Oh, is he gone? Oh, is he gone/ Oh, I don't know/ I think I left him somewhere I no longer go."

However, the song's accompanying music video acts as a both a victory lap in the wake of his debut album, Fireworks & Rollerblade, from earlier this summer and and energetic peek into the "Beautiful Things" breakout's high-octane live show — complete with thousands of ecstatic fans and his signature, onstage backflips.

YG — 'Just Re'd Up 3'

More than a decade after his 2013 mixtape Just Re'd Up 2, YG adds to the series with the long-awaited Just Re'd Up 3.

The Compton native has released six other albums and a litany of other mixtapes and collaborative projects in the interim, and his decade-plus in the spotlight allows him to recruit a wide array of contemporaries for the two-disc LP — from Saweetie ("SHE PRETTY") and Ty Dolla $ign ("IT'S GIVIN," "RESCUE ME") to Tee Grizzley and G Herbo ("MALIBU") and Lil Yachty and Babyface Ray ("STUPID").

"Die For Me," Jean Dawson's new collaboration with Lil Yachty, blends the experimental leanings of the L.A.-based polymath (and musical arranger on Beyoncé's COWBOY CARTER) with the bubblegum trap rapper's one-of-a-kind flow — and the result is magnetic.

Sonically, the swirling track feels like a logical follow-up to Bad Cameo, the "Poland" rapper's recent collaborative album with James Blake. After Dawson warbles the hook ("Don't show up at my funeral/ If you won't die for me"), Lil Yachty grabs the mic for a blunt-force eulogy that demands repeated listening.

Morgan Wade — 'Obsessed'

Morgan Wade preceded her fourth album, Obsessed, with delicate, heart-on-her-sleeve singles like "2AM in London" and "Time to Love, Time to Kill." Arriving almost a year to the day since her previous full-length Psychopath, the country upstart — and occasional Real Housewives of Beverly Hills guest star — is just as vulnerable on the rest of the album.

Showing off her aptitude for laying bare emotional storytelling and heart-crushing nostalgia, Wade cleverly exposes her fragilities and regrets across the album's 14 tracks — whether she's gender-flipping Shakespeare and competing with Romeo on the forbidden "Juliet," finding somber inspiration in fairy tales on the wistful "Hansel and Gretel," or duetting with Kesha on the repentant "Walked on Water."

Seven years since 2017's Coming Home, Falling In Reverse are back with their fifth studio album, Popular Monster. The LP's rollout has been spread across nearly half a decade, with the title track being released as the lead single way back in November 2019. Six additional singles have followed in the lead-up to the long-awaited project, including collaborations with Tech N9ne and Slaughter to Prevail vocalist Alex Terrible ("Ronald") and Jelly Roll ("All My Life"), as well as a reimagined cover of Papa Roach's "Last Resort."

And while Popular Monster's cover art is plastered with frontman Ronnie Radke's 2012 mugshot for alleged domestic assault, the release is hardly a solo project. In fact, it's the first Falling in Reverse album to feature Max Georgiev on guitar, Tyler Burgess on bass and Luke Holland on drums. (Derek Jones, the band's late rhythm guitarist, also contributed to the title track before his untimely death in 2020 from a subdural hematoma.)

Fridayy is practically begging to keep things simple on "Complicated," his yearning, pulsating new collaboration with DJ Snake. "Tell me what you want/ Girl, I want to know/ Please don't make it complicated/ We ain't gotta complicate it," he repeats over the DJ's hypnotic rhythms filled with Spanish guitar and distant jungle sounds.

Eventually, the three-time GRAMMY nominee's desperate pleas morph into an atmospheric echo as DJ Snake's handiwork takes center stage, plunging the track into a spellbinding synth breakdown that dances all the way to the finish.

The GRAMMY Awards and the Summer Olympics are unarguably the pinnacles of their respective fields. Indeed, most recording artists dream of making an acceptance speech for their magnum opus during the biggest night on the music industry calendar, while athletes competing in any of the Games’ 32 different disciplines are continually motivated by the lure of the podium.

But how often have the two intertwined since the first GRAMMY ceremony took place a year before Rome 1960?

Well, perhaps more than you think. Sure, the musical efforts from basketballers Shaquille O’Neal (gold at Atlanta 1996), Kobe Bryant (gold at Beijing 2008 and London 2012), and Damian Lillard (gold at Tokyo 2020) might not have registered with the Recording Academy. Likewise, those from track and field hero Carl Lewis (nine golds and one silver from four consecutive Games), light middleweight boxer Roy Jones Jr. (silver at Seoul 1988), and near-superhuman sprinter Usain Bolt (eight golds from Beijing, London, and Rio 2016).

But there are a handful of sportsmen (sadly, not yet sportswomen) who have competed for both gold medals and golden gramophones. There are also pop stars who have attempted to capture the blood, sweat, and tears of the quadrennial spectacle in musical form — whether as an official anthem, television theme, or simply a motivational tool — and been rewarded with GRAMMY recognition for their efforts.

With the Olympics’ return to Paris just around the corner (July 26-Aug.11), what better time to celebrate those occasions when the Games and the GRAMMYs align?

It seems fair to say that Gloria Estefan, the Cuban hitmaker who helped to bring Latin pop to the masses, and avant-garde eccentric Björk, wouldn't appear to have much in common. They have, however, both received GRAMMY nominations in the Best Female Pop Vocal Performance category for their respective Olympics themes.

Estefan was recognized at the 1997 ceremony for "Reach," the gospel-tinged power ballad that embodied the spirit of the previous year's Atlanta Games. Iceland's finest musical export picked up a nod for "Oceania," the swooping experimental number she co-produced with Warp label founder Mark Bell which helped to soundtrack the opening ceremony of Athens 2004. And both went home empty-handed, the former losing to Toni Braxton's "Un-Break My Heart" and the latter to Norah Jones' "Sunrise."

The incomparable Whitney Houston might not have added to her GRAMMY haul at the 1989 ceremony — Tracy Chapman's "Fast Car" prevented her from converting her sole nod, Best Female Pop Vocal Performance, into a win — but she still stole the show. Houston owned opened the 31st GRAMMY Awards with a performance of "One Moment in Time," the nominated track that had defined NBC's coverage of the Seoul Games.

Co-written by Albert Hammond, produced by Narada Michael Walden and featuring the London Symphony Orchestra, the UK chart-topping single certainly had a first-class pedigree. But it was Houston's lung-busting vocals that made the torch song such a sports montage favorite. The iconic diva once again stirred the emotions on the music industry's biggest night of the year with a rendition that's since become a staple of her many hits collections.

Read more: Songbook: A Guide To Whitney Houston's Iconic Discography, From Her '80s Pop Reign To Soundtrack Smashes

Shakira fought off some interesting company to win 2001's Best Latin Pop Album GRAMMY. Alongside records from Luis Miguel and Alejandro Sanz, the category also included Christina Aguilera's first Spanish-language affair, and a bilingual effort from champion boxer Oscar De La Hoya.

The American became a national sensation overnight when he won the men's lightweight boxing gold at the 1992 Barcelona Olympics. But despite new material from seasoned hitmaker Diane Warren and a cover of Bee Gees' classic "Run to Me," his 13-track self-titled debut didn't exactly set the charts alight. Despite the GRAMMY nod, De La Hoya hasn't entered the recording studio since.

But when it comes to GRAMMY-nominated boxers, then the man who famously floated like a butterfly and stung like a bee is undoubtedly the don. Shortly before he changed his name from Cassius Clay to Muhammad Ali, the light heavyweight gold medalist of the 1960 Rome Games was recognized for his amusing repartee in the Best Comedy Performance category. Hailed by some as a progenitor of the rap artform, I Am the Greatest lost out to a man slightly different in stature: portly parodist Allan Sherman.   

And the sporting icon also had to experience another rare defeat 13 years later when his reading of The Adventures Of Ali And His Gang Vs. Mr. Tooth Decay lost out to Hermione Gingold & Karl Böhm's Prokofiev: Peter and the Wolf/Saint-Saëns: Carnival of the Animals in 1977’s Best Recording for Children.

Legendary composer John Williams is one of the most-nominated artists in GRAMMY history having amassed 76 nods since his work on detective series "Checkmate" was recognized in Best Score Soundtrack for Visual Media in 1962. Two of his wins in this remarkable tally have been Games-related.

In 1985, Williams won Best Instrumental Composition for "Olympic Fanfare and Theme," which he wrote and arranged for the Los Angeles Games the year prior. In 1989, the conductor received a nod in the same category for "Olympic Spirit," another majestic instrumental produced for NBC’s coverage of Seoul '88.

Interestingly, Wiliams isn't a particularly avid sports fan, but as he told The New York Times, he can still relate to those going for gold. "The human spirit stretching to prove itself is also typical of what musicians attempt to achieve in a symphonic effort."

Magic Johnson’s Educational Guide Wins Best Spoken Word Album  

Basketball appears to produce more aspiring musicians than any sport. Marvin Bagley III, Lonzo Ball, and Brandon Clarke are just a few of the NBA names to have released albums in the last few years. But the only time a hooper has been recognized at the GRAMMYs is for an audiobook.   

The year before guiding Team USA to the men's basketball gold at Barcelona 1992, Magic Johnson had bravely revealed that he'd contracted HIV, defying the stigma that surrounded it at the time. The year after his Olympic triumph, the iconic shooting guard was honored for joining the fight against the disease. Johnson won the Best Spoken Word or Non-Musical Album GRAMMY for What You Can Do To Avoid AIDS, a compassionate guide designed to educate the youth of America whose proceeds went to the sportsman's eponymous foundation.   

Based on the real-life exploits of British runners Harold Abrahams and Eric Liddell at the 1924 Paris Olympics, period drama Chariots of Fire won Best Picture at the 1982 Oscars. But it’s the titular number from Vangelis' anachronistic synth-based score that remains its crowning glory.

First played as the aspiring Olympians train beachside in the slow-motion opening flashback, the instrumental not only topped the Billboard Hot 100, it also picked up a GRAMMY nod for Record of the Year. "Chariots of Fire" has since become synonymous with the more modern iteration of the Games, appearing in the BBC's coverage of Seoul '88, gracing the start of the men's 100m final at Atlanta '96, and perhaps most famously of all, being performed at London 2012's opening ceremony by none other than Rowan Atkinson's rubber-faced buffoon Mr. Bean.

Read more: 10 Essential Vangelis Albums: Remembering The Electronic Music Pioneer