Sound familiar?

Well, there they go again.

Grammy voters in the Latin music categories once more favored names familiar to non-Latin listeners, shying away from nominees whose monikers or music sound too foreign.

The trend, as old as the Latin categories themselves, led to a travesty in the competition for best Latin pop album, where Marc Anthony’s undistinguished “Amar Sin Mentiras” won over two of the most adventurous albums of the year, “SinVerguenza” by Bacilos and “El Rock de Mi Pueblo” by Carlos Vives.

The result wasn’t so outrageous in the Latin rock category, where L.A.’s likeable Ozomatli won for its hyperkinetic “Street Signs.” Still, the politically active Ozo overthrew Juanes, arguably Latin music’s biggest star, and Mexico’s Julieta Venegas, the darling of discerning alt-Latino fans.

In the salsa and tropical categories, crossover and creativity happily overlapped in respectable wins by Cuban bassist Israel “Cachao” Lopez and the Spanish Harlem Orchestra featuring Ruben Blades.

This name game reminds us why the world needs a separate Latin Grammy Awards, where voters really know the field. For the main Grammys, we can only hope that some year Anthony and J.Lo get nominated for competing albums and split the ill-informed vote, letting America discover a worthy unknown.