Production, Non Classical Field
- Best Engineered Album, Non Classical
- Beauty & Crime
- Tchad Blake, Cameron Craig, Emery Dobyns & Jimmy Hogarth, engineers (Suzanne Vega)
- Destination Moon
- Dave O'Donnell & Elliot Scheiner, engineers (Deborah Cox)
- Don't Mess With the Dragon
- Robert Carranza, Serban Ghenea, John Hanes & KC Porter, engineers (Ozomatli)
- Floratone
- Tucker Martine, engineer (Floratone)
- II
- Jason Lehning, engineer (Viktor Krauss)
- Producer of the Year, Non Classical
- Howard Benson
- Daughtry (Daughtry) (A)
- Devils & Angels (Mêlée) (A)
- Direction (The Starting Line) (A)
- Five Score and Seven Years Ago (Relient K) (A)
- Stay Inside (Sound the Alarm) (A)
- Joe Chiccarelli
- Mercy (Burden Brothers) (A)
- The Narcotic Story (Oxbow) (A)
- Nightmoves (Kurt Elling) (A)
- Wincing the Night Away (The Shins) (A)
- Mike Elizondo
- It Won't Be Soon Before Long (Maroon 5) (A)
- Under the Blacklight (Rilo Kiley) (A)
- Mark Ronson
- Back to Black (Amy Winehouse) (T)
- Littlest Things (Lily Allen) (T)
- Rehab (Amy Winehouse) (T)
- Version (Mark Ronson) (A)
- You Know I'm No Good (Amy Winehouse) (T)
- Timbaland
- Come Around (M.I.A. featuring Timbaland) (T)
- Give It to Me (Timbaland featuring Nelly Furtado & Justin Timberlake) (T)
- Make Me Better (Fabolous featuring Ne-Yo) (S)
- Timbaland Presents: Shock Value (Timbaland) (A)
- The Way I Are (Timbaland featuring Keri Hilson & D.O.E.) (S)
- Best Remixed Recording
- "Angelicus" (Andy Moor Full Length Mix)
- Andy Moor, remixer (Delerium featuring Isabel Bayrakdarian)
- "Bring the Noise" (Benny Benassi Sfaction Remix)
- Benny Benassi, remixer (Public Enemy)
- "Like a Child" (Carl Craig Remix)
- Carl Craig, remixer (Junior Boys)
- "Proper Education" (Club Mix - Radio Edit)
- Eric Prydz, remixer (Eric Prydz vs. Pink Floyd)
- "Sorry" (Dirty South Mix)
- Dirty South, remixer (Kaskade)
Read more about this topic: 50th Grammy Awards
Famous quotes containing the words classical and/or field:
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“And through the field the road runs by
To many-towered Camelot;”
—Alfred Tennyson (1809–1892)