Grammy Award For Best Male Country Vocal Performance

Grammy Award For Best Male Country Vocal Performance

The Grammy Award for Best Male Country Vocal Performance was awarded between 1965 and 2011. The award has had several minor name changes:

  • From 1965 to 1967 the award was known as Best Country & Western Vocal Performance - Male
  • In 1968 it was awarded as Best Country & Western Solo Vocal Performance, Male
  • From 1969 to 1994 it was awarded as Best Country Vocal Performance, Male
  • From 1995 to 2011 it was awarded as Best Male Country Vocal Performance

The award was discontinued after the 2011 awards season in a major overhaul of Grammy categories. From 2012, all solo performances (male, female and instrumental) in the country category will be shifted to the newly formed Best Country Solo Performance category.

Years reflect the year in which the Grammy Awards were presented, for works released in the previous year.

Read more about Grammy Award For Best Male Country Vocal Performance:  2010s, 2000s, 1990s, 1980s, 1970s, 1960s, Category Facts

Famous quotes containing the words award, male, country, vocal and/or performance:

    The award of a pure gold medal for poetry would flatter the recipient unduly: no poem ever attains such carat purity.
    Robert Graves (1895–1985)

    How beastly the bourgeois is
    especially the male of the species—
    —D.H. (David Herbert)

    Defoe says that there were a hundred thousand country fellows in his time ready to fight to the death against popery, without knowing whether popery was a man or a horse.
    William Hazlitt (1778–1830)

    The sound of tireless voices is the price we pay for the right to hear the music of our own opinions. But there is also, it seems to me, a moment at which democracy must prove its capacity to act. Every man has a right to be heard; but no man has the right to strangle democracy with a single set of vocal chords.
    Adlai Stevenson (1900–1965)

    The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.
    Viola Spolin (b. 1911)