An open letter to Grammy voters:

Brian Merlos

This needs to stop. At this point, I’m willing to agree with the gripe, the cries of biases, the anger. There will come a time when you will need to explain yourself. Now is not that time. There will come a time when you have to acknowledge what is truly the best music being released. Now is not that time. There will come a time when you will collectively come to your senses. Unfortunately, now is not that time.

Let me explain (candidly): Your nominations, opinions, taste and eventual winners are abhorrent. I am not speaking solely to your oversight of Kanye West for Best Album of 2008 – that discussion will come later. I’m talking about the Chemical Brothers, Amy Winehouse, Robert Plant and Alison Krauss and Bruce Springsteen. This is about the disgusting predictability your awards have fallen into, the recent irrelevance of the Grammys and the embarrassing differences you show compared to the legitimate critical community.

If you’ll allow me to continue, I will address these issues more directly:

I suppose I’ll begin with your general nominee selection, namely the Foo Fighters. Seriously? Best Album of the Year? Really? Now, I’ll do my best not to vomit expletives all over the page but. goddamn, the Foo Fighters? How Echoes, Silence, Patience and Grace received a bid as the best album of the year will forever baffle and confuse. Not to say that you have to strictly follow the selections of underground webzines and bloggers, but please have some perspective. The Foo Fighters haven’t been relevant since 1999 when they released There Is Nothing Left to Lose. Even Dave Grohl would probably admit that. But for some reason the collective Academy felt the embarrassingly generic Foo Fighters released a better album than LCD Soundsystem, M.I.A., Liars, Radiohead (this album, regardless of its mediocre quality, should’ve gotten a bid) and Battles.

Speaking of Battles, let’s take a look at the Electronic/Dance Album of the Year: The Chemical Brothers’ We Are the Night. Admittedly, The Chemical Brothers had some legit singles back in the day, but their biggest claim to fame as of late is the use of their songs in beer commercials. And now they have an undeserved Grammy. You decided to omit Battles’ breakout Mirrored, False’s gorgeously minimalist 2007 and The Field’s From Here We Go Sublime in exchange for who? Ti

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