By Kurt B. Reighley
For MSN Music

In 1989, Jethro Tull skipped the 31st annual Grammy Awards ceremony. Later that year, singer Ian Anderson told Chicago Tribune readers he was just following orders: "The record company told us, 'The word is that Metallica is going to win; it's not worth the trip.'"

In a surprise upset, Jethro Tull's "Crest of a Knave" LP won the first-ever Grammy for Best Hard Rock/Metal Performance. It was just as well they stayed home, because the announcement brought down a hail of boos from the balcony. Apparently, "the little people" thought Metallica -- or perhaps one of the other nominees (Iggy Pop, AC/DC, Jane's Addiction) -- rocked harder than a band fronted by a flautist clad in a jerkin.

Prestigious or not, the Grammy Awards are notoriously conservative -- and often, just plain clueless -- in regards to the cultural zeitgeist. In their early days, when rock was in its adolescence and Motown and Bob Dylan supplied the soundtrack for a revolution, the National Academy of Recording Arts and Sciences doled out Record of the Year trophies to Herb Alpert, Henry Mancini and Percy Faith. The year the Beatles issued their groundbreaking "Revolver" (1966), Frank Sinatra waltzed off with Record and Album of the Year honors.

As a consequence of being behind the times, Grammy Awards often go to long-running acts that have seen much better days. 1994 was the year of eligibility for Nirvana's "In Utero," Pearl Jam's "Vs." and Smashing Pumpkins' "Siamese Dream." But the Rock Album of the Year winner? "Voodoo Lounge" by the Rolling Stones. Apparently the members of NARAS felt sorry for the Stones, having neglected to award them a single prize before that.

Sometimes, it seems Academy members vote with a rubber stamp, regardless of merit. Did Christopher Cross deserve to win the 1980 Record of the Year award for his No. 1 "Sailing"? Possibly. But was his album of the same name a more significant cultural touchstone than Pink Floyd's "The Wall"? Grammy voters thought so. Ouch.

As of 1998, the Grammy folks were still coming to grips with the notion that rap was more than a fad. Missy Elliott, Busta Rhymes, the Notorious B.I.G. and LL Cool J all got shafted in favor of the Fresh Prince, Will Smith, for Best Rap Solo Performance ("The Men in Black") that year. Having finally instituted a Best Dance Recording category in 1999, NARAS is still clueless as to what constitutes merit in the club community; in 2000, the prize went to Cher, who had been eligible back when they called the same award Best Disco Record; the following year, one-hit wonders the Baha Men ("Who Let the Dogs Out") trounced underground pioneer Moby.

But for a surefire laugh, the must-watch category is always Best New Artist. In 1979, Elvis Costello got beat out by ... A Taste of Honey. (Remember "Boogie Oogie Oogie"?) In 2000, country maverick Shelby Lynne looked confused accepting this Grammy. Small wonder: She had released five previous albums before critics picked up on the prizewinning "I Am Shelby Lynne." By Grammy standards, that's downright prenatal.

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