‘Grammy’s Greatest’ Goes Middle-of-the-Road Route

“H ere’s the explosive! . . . the one and only! . . . Tina Turner!”

From the introduction and the cheers that follow, you might assume that you’re hearing a live recording from a landmark pop showcase--say the legendary Apollo, where James Brown recorded one of the most exciting live albums ever.

Turner surely sings “What’s Love Got to Do With It” with the vitality and bite that you’d associate with a raucous concert.

What a surprise, then, to learn that the number was actually recorded during a Grammy Awards telecast--one of 11 numbers in Vol. 1 of “Grammy’s Greatest Moments,” part of a four-volume series released by Atlantic Records.

Along with the Turner vocal from the 1985 show, where “What’s Love . . . “ was named record of the year, Vol. 1 also includes such celebrated Grammy moments as Marvin Gaye’s live rendition of “Sexual Healing” (1983) and the Barbra Streisand-Neil Diamond duet on “You Don’t Bring Me Flowers.” Other selections include Sting’s performance of “Russians” (1986), Bonnie Raitt’s “Thing Called Love” (1990) and Natalie Cole’s “Unforgettable” (1992).

The albums were packaged in association with the National Academy of Recording Arts & Sciences, which sponsors the Grammy competition. Net proceeds will go to MusiCares, a charitable organization that helps people in the music industry through various financial and service programs.

While the sound quality is excellent, the mainstream tone of the Grammy shows diminishes the historical significance of the series. Just as the Grammy voters have tended over the years to overlook many of the most vital and original forces in pop, the show itself has leaned toward mainstream best-sellers.

The only hard-rock entries among the 47 performances showcased in the series are Aerosmith’s 1991 rendition of “Come Together” and Billy Idol’s 1991 version of “Cradle of Love.”

An added problem is that the most appealing performances are on Vol. 1. Nothing reflects the subsequent drop in quality better than the introduction to a track on Vol. 2.

“Now, one of the five nominated performances for record of the year,” a voice says with all the exaggerated drama of a TV spectacular. “It’s . . . Huey Lewis & the News. “

Among the selections found on Vols. 2, 3 and 4: Michael Bolton and Kenny G’s “How Am I Supposed to Live Without You” (1990), Eric Clapton’s “Tears in Heaven” (1993), Olivia Newton-John’s “Hopelessly Devoted to You” (1979), Amy Grant’s “Baby Baby” (1992) and Patti LuPone’s “Don’t Cry for Me Argentina” (1981).