It’s hard to believe, but the Beatles never brought home a Grammy for Record of the Year. That could change a month from now at the 67th Annual Grammy Awards, slated to be held in Los Angeles on Feb. 3, where their song “Now and Then” is up for that category along with Best Rock Performance. “Now and Then,” hyped as “the last Beatles song,” was released in November 2023. It took a home demo of John Lennon’s from the late-‘70s, paired it with some guitar work from George Harrison circa 1995, and was completed by Paul McCartney and Ringo Starr. It was initially considered for part of the “Anthology” project by the band in the mid-‘90s, which produced “new” Beatles material in the singles “Free as a Bird” and “Real Love.” The song is up against some stiff competition for Record of the Year, including hits from Beyoncé, Taylor Swift, Billie Eilish, and more contemporary hitmakers. In terms of the Best Rock Performance, it’s contending with Green Day, Pearl Jam, and the Black Keys among others. However, even if the Fab Four are awarded the gold gramophone, only two of them will be recognized: McCartney and Starr. And it’s not just because the other half of the band is deceased. According to a report in the music industry trade publication Billboard, because Lennon and Harrison have been dead for more than five years, they are no longer eligible to be considered as participants on new recordings, defined by the Recording Academy as music that has been recorded “within five years of the release date and not previously released.” So even though Lennon, who was assassinated in 1980, and Harrison, who died in 2001, are an inextricable part of the group, and the song nominated, neither they nor their estates receive official acknowledgment as contributors. And if “Now and Then” wins, it won’t be the only case of something like this happening. Back in 1992, when Natalie Cole landed Grammys for Record of the Year and Best Traditional Pop Performance, it was for a virtual duet with her late father, Nat King Cole, on an updated, tech-assisted version of his 1951 hit “Unforgettable.” Though Nat was featured prominently on the song, and with the primary draw to the composition being the uniqueness of his posthumous appearance, he wasn’t recognized, only Natalie and producer David Foster. It’s not even the first time something like this has affected The Beatles. When the aforementioned multi-media “Anthology” project was given Grammys in 1996 for “Free as a Bird” in the categories of Best Music Video, Short Form and Best Performance by a Duo or Group, Lennon was excluded. The Beatles were first nominated for Record of the Year in 1965 for “I Want to Hold Your Hand,” in 1968 for “Hey Jude” and in 1970 for “Let it Be.” Though they have been historically unlucky in that category, perhaps more surprising is that while nominated 25 times, the wildly influential outfit only won seven times, with just four of them coming while they were active. Vinyl of the week Keep an eye on this spot as each week we’ll be looking at new or soon-to-be-released vinyl from a variety of artists. It might be a re-pressing of a landmark recording, special edition, or new collection from a legendary act. This week, it’s the 20th anniversary of a posthumous release from a tortured and talented singer/songwriter. ELLIOTT SMITH – “FROM A BASEMENT ON THE HILL” At the time of his tragic and mysterious death — an apparent suicide caused by two stab wounds to the chest — Elliott Smith was working on his sixth album, preparing to polish the rough edges and mix it. Released one year after his passing, “From a Basement on the Hill” was released, though it hardly sounded like a posthumous collection from the singer/songwriter, as it’s full of life. Full of unsurprisingly striking and emotive performances, even downtrodden tracks like “A Fond Farewell” and “Twilight” have a powerful vitality to them, which is just part of the reason it was met with near-universal acclaim. Smith’s near-obsession with the Beatles comes through on “A Passing Feeling” and “Strung Out Again” without sacrificing his own, sometimes raw sound. To celebrate the 20th anniversary of “From a Basement on the Hill,” it’s been remastered by Adam Gonsalves at Telegraph Mastering, utilizing brand-new digital transfers from the original 1/4” tape mixes by Rob Schnapf and Joanna Bolme, overseen by official Elliott Smith archivist and producer Larry Crane. The release is available on CD and vinyl. The special reissue features a stunning deluxe mirror-board gatefold jacket and CD wallet. A “twilight blue” vinyl is available exclusively through indie retailers, while a blue and white splatter variant can be found at Experience Vinyl. It’s also available on standard black vinyl. Look for “From a Basement on the Hill” online and from all respectable retailers who carry vinyl. To contact music columnist Michael Christopher, send an email to [email protected]. Also, check out his website at thechroniclesofmc.com.