Today, the Rock and Roll Hall of Fame is proud to announce the 2015 Hall of Fame Inductees. The Rock Hall's 2015 class includes the Paul Butterfield Blues Band, Green Day, Joan Jett & the Blackhearts, Lou Reed, Stevie Ray Vaughan & Double Trouble and Bill Withers, all in the performer category.
This year's class also recognizes the "5" Royales with the early influences award, and former Beatle and solo artist Ringo Starr enters the Hall of Fame – the last of the Fab Four to be inducted as a soloist, following John Lennon in 1994, Paul McCartney in 1999 and George Harrison in 2004.
“As we mark 30 years of Rock and Roll Hall of Fame Inductions, we’re proud to honor these artists,” said Rock and Roll Hall of Fame Foundation President Joel Peresman. "These Inductees epitomize rock and roll’s impact over the past 50 years and continuing through today."
Leading up to the April 18, 2015 ceremony, the Rock and Roll Hall of Fame will host a series of special events, including the grand opening of the major new 2015 Inductee exhibit, which will serve as an introduction to the Rock and Roll Hall of Fame visitor ...
Hall of Fame Inductee Ian McLagan was among the most prominent unifying threads that linked the Small Faces – a band of mod rockers who embraced soul and psychedelia in the 60s – to the Faces, a rollicking band of roots rockers who took the 70s by storm. A wickedly talented musician, McLagan's percussive playing, nuanced accompaniment and versatility behind the keys made him integral to shaping the Small Faces/Faces sound across two decades, and his influence continued long after the Faces disbanded in 1975.
On April 12, 2012, while in Cleveland for the Rock and Roll Hall of Fame Induction Ceremony, Ian McLagan was joined on stage by former Small Faces/Faces bandmates including guitarist Ronnie Wood and drummer Kenny Jones, while Simply Red singer Mick Hucknall stepped up on lead vocals, filling in for the late Steve Marriott and an ill Rod Stewart. The group ripped through three classics from the Small Faces/Faces oeuvre: "All or Nothing," "Ooh La La" and "Stay With Me."
On October 26, 2013, a once-in-a-lifetime collection of musicians gathered in Cleveland, Ohio, for the Rock Hall's Music Masters tribute to the Rolling Stones. That evening's concert at the Playhouse Square State Theater was anchored by a group of top flight musicians who have performed with the Rolling Stones over their 50-year career and contributed to shaping the band’s extraordinary sound.
Grammy Award-winning drummer Steve Jordan led the house band as musical director, assembling a group of critically-acclaimed musicians, including 2012 Rock and Roll Hall of Fame Inductee Ian McLagan.
McLagan had played on the Rolling Stones' Some Girls album and toured with the group in 1978, 1981 and 1982.
Among the incredible performers sharing the stage with McLagan that night was the incomparable Bobby Keys, the legendary sax player for Elvis Presley, Joe Cocker, B.B. King and others, including the Rolling Stones. Keys had been recording and touring with the Rolling Stones since 1970, appearing on Let It Bleed, Sticky Fingers, Exile On Main Street, Goats Head Soup, Emotional Rescue and several live albums.
WATCH: In the clip below, Bobby Keys delivers a fiery solo during a jam on the Rolling Stones' Sticky Fingers cut ...
The Band, more than any other group, put rock and roll back in touch with its roots. With their ageless songs and solid grasp of musical idioms, the Band reached across the decades, making connections for a generation that was, as an era of violent cultural schisms wound down, in desperate search of them. They projected a sense of community in the turbulent late 60s and early 70s – a time when the fabric of community in the United States was fraying. Guitarist Robbie Robertson drew from history in his evocative, cinematic story–songs, and the vocal triumvirate of bassist Rick Danko, drummer Levon Helm and keyboardist Richard Manuel joined in rustic harmony and traded lines in rich, conversational exchanges. Multi-instrumentalist Garth Hudson provided musical coloration in period styles that evoked everything from rural carnivals of the early 20th century to rock and roll revues of the 50s.
In an era of divisive politics, the Band produced music that crossed generational and historical borders. They did so with an ensemble brilliance borne of many years spent playing on the road.
Everything great about the Band can be found on "The Weight," the central piece of their 1968 debut, Music From Big ...
Last night, 2009 Rock and Roll Hall of Fame Inductees Metallica kicked off a week-long residency on The Late Late Show With Craig Ferguson with "Hit the Lights" – a fitting opening volley as it was also the opening track of the group's furious 1983 debut album Kill 'Em All.
For more than three decades, Metallica has been the standard by which metal's vitality and virtuosity are measured. Led by vocalist and guitarist James Hetfield, drummer Lars Ulrich, bassist Cliff Burton and lead guitarist Kirk Hammett, the group's debut established the thrash metal sound in America.
Ride the Lightning, Master of Puppets and …And Justice For All
The Metallica albums that immediately followed Kill 'Em All – Ride the Lightning (1984) and Master of Puppets (1986) – showed increasing levels of ambition, intensity and technicality. On the strength of those recordings, the band enjoyed a surge in popularity, but tragedy struck during a headlining tour of Europe. Traveling on an icy road in Sweden, Metallica's tour bus lost control, crashing and instantly killing bassist Burton in September 1986. Fans of Cliff Burton will recognize the 1978 Rickenbacker 4001 bass guitar that is part of the Rock Hall's heavy ...
To preview 2012 Rock and Roll Hall of Fame Inductee Glyn Johns' interview at the Rock Hall Library and Archives on Saturday, November 15 at 4 pm, we have an excerpt from Johns' new book, SOUND MAN: A Life Recording Hits with the Rolling Stones, the Who, Led Zeppelin, the Eagles, the Faces... (On sale November 13, 2014, Blue Rider Press).
The previous year, 1970, the Stones had started recording at Mick Jagger’s house out in the country, near Newbury. By this time, the Stones Truck was fully operational and we used the huge entrance hall of the Victorian pile that was Stargroves to record several tracks that were eventually used on Sticky Fingers. I had mentioned to Pete Townshend in conversation that these sessions had gone really well, so he suggested that we go there to start recording Who’s Next.
We began on the first day with “Won’t Get Fooled Again.” Not a bad way to start. With Pete’s permission, I edited the synthesizer track from his original demo, as it was a little too long, and played it in to the band in the studio. They performed live to it with ...
Rock and Roll Hall of Fame Inductees Tom Dowd, Berry Gordy Jr., Les Paul, Sam Phillips and Phil Spector represent a 1950s and 1960s "recordist canon," pioneers of maverick recording methodologies responsible for shaping the sound of classic rock and roll. Their work not only forms the underpinning of rock music’s sonic characteristics, but also represents an oft-imitated body of audible stylistic, genre and aesthetic recording principles. Some of their radical, experimental and at times rebellious production techniques – Paul’s "Sound on Sound," Spector’s "Wall of Sound"and Phillips’ "Slap Echo" for example, have informed a continuum of established rock production standards.
However, the 1990s also marked a significant turning point in pop and rock sound recording. At a time when computer-based digital audio workstations (an electronic tool for recording, editing and producing audio files) were fast becoming the norm, many sound recordists of the era either rejected this new direction outright or blended technological and processual precursors into unconventional and individualized working practice. Such reinventions of technological and processual modes of production mirror those of the 1950s and 1960s ‘"recordist canon."
Here are 5 songs that helped define the sounds of the 1990s, and the producers who ...
The biggest hit of Simon and Garfunkel's career turned into their swan song. The much-loved and critically acclaimed duo personified poetic, collegiate folk rock. Throughout the 1960s, however, Paul Simon's songs increasingly discarded formal language for more colloquial lyrics. Similarly, his music expanded from the folkie roots implicit in his guitar finger picking. "Bridge Over Troubled Water" reflected these trends, besides being a typically well-manicured production. Similar qualities characterized Simon's subsequent solo career.
"'Bridge Over Troubled Water' is something of a mystery to me," notes Simon in the Rock Hall's latest exhibit, Paul Simon: Words & Music. "Because nothing prompted me to write it. I was listening to a lot of gospel quartets, particularly the Swan Silvertones and the Everly Brothers album Songs Our Daddy Taught Us. I was stunned and I thought, 'that’s a lot better than I usually write.'"
With a dramatic piano introduction and majestic melody, "Bridge Over Troubled Water" is a moving, spiritual song that like the Beatles' "Let It Be" evokes gospel themes without the overt trappings of that genre. Some theorize that its massive success piqued Simon, who not only wrote the tune but also was intimately involved in its ...