GRAMMY PARSINGS Trying to figure out the thinking behind the Grammy nominations is hard enough, but it’s nothing compared to sussing out Grammy’s eligibility rules. While we imagine discerning voters were bummed that U2’s All That You Can’t Leave Behind came out too late to qualify, we weren’t alone in wondering how Radiohead’s Kid A and Paul Simon’s You’re the One got Album of the Year nods: Both were released Oct. 3 — three days after the Sept. 30 cut-off. ”It sounds like they’re bending the rules to get them in,” griped one industry wag. Mike Greene, head of the National Academy of Recording Arts and Sciences, says the rules are misunderstood: ”It’s not when a record is in stores — it’s the date of the first shipment from manufacturer to distributor for the purpose of sale” that determines eligibility. Sounds confusing. ”There are many people in our industry who are confused,” quips Greene.
GEE FORCE With the Beatles topping the charts again, is it any surprise some erstwhile rivals are resurfacing too — and borrowing a bit of Fab mojo? On the title track of the Bee Gees’ first studio album in nearly four years, This Is Where I Came In (due in April on Polydor), Maurice Gibb uses an acoustic guitar given to him by John Lennon. ”For my 21st birthday, I got a movie camera from Ringo, and a guitar and amp from John,” says Gibb. ”I also had the black Rickenbacker John played at Shea Stadium, but that was stolen.” Gibb warns fans not to expect a Saturday Night Fever-pitched album. ”We did a lot of this the way we used to, playing acoustically and recording the vocals at the same time. We sort of cut it live.” Gibb reports the band is planning a brief tour. ”We’re going to call it the Fully Nude Tour,” he says. Sounds like jive talkin’ to us.