2015 Rock and Roll Hall of Fame Inductee Ringo Starr is one of the greatest and most creative drummers in rock and roll history. Throughout the Beatles’ career he sang on many lighthearted and funny songs (“Yellow Submarine,” “Octopus’s Garden”), providing sly humor and clever turns of phrase that helped cultivate the group’s image and persona. Starr was the first Beatle to have significant solo hits in the 1970s. “Back Off Boogaloo,” “It Don’t Come Easy,” “Photograph,” “Oh My My” and “The No No Song” dominated the U.S. and U.K. charts. Here are my picks for essential Ringo Starr listening.
“It Don’t Come Easy”
George Harrison produced Ringo Starr’s first solo single, joined by Klaus Voorman on bass, Stephen Stills on piano and members of Badfinger on guitar and backing vocals. The buoyant melody flows freely on this infections track.
“Back Off Boogaloo”
This track clearly shows the influence of glam rock on Ringo Starr and features stinging slide guitar work from producer George Harrison.
Ringo Starr co-wrote his first Number One solo hit with George Harrison. “Photograph” has a “Wall of Sound” feel with lush, layered instruments, orchestrations and vocal tracks ...
2015 Rock and Roll Hall of Fame Inductee The Paul Butterfield Blues Band took the world by storm at the 1965 Newport Folk Festival, expertly combining American rock and roll and the blues with Butterfield’s inspired harmonica and Mike Bloomfield’s explosive lead guitar. Their self-titled album released in 1965 and its follow-up, East-West in 1966, kicked open a door that brought a defining new edge to rock and roll. Here are my picks for essential Paul Butterfield Blues Band listening.
“Born in Chicago”
This is the opening song on their first album and immediately establishes the group as a part of long history of electric Chicago blues (in the tracks of Muddy Waters and Howlin’ Wolf). The song was written by friend and collaborator Nick Gravenites who would go on to pen many classic psychedelic blues tunes in the years to come.
“Our Love is Drifting”
A slow blues burner written by the band’s two guitarists Bloomfield and Bishop. While the solos are enough to knock your socks off don’t ignore the great melodic call and response between the vocal and the guitar in the verses.
While “Work Song” was originally written and recorded ...
As part of the Rock Hall's Celebration Day, the Museum will screen the Bill Withers documentary, Still Bill, at 5pm ET. In this post, the film's co-director (along with Damani Baker) Alex Vlack, shares how he found Bill Withers, his hero, and transformed the experience into a movie.
Everyone who's ever turned on the radio, walked into a restaurant, been in a bar, lived in this country for more than a few days knows Bill Withers' biggest songs. But most people don't know his name, and most people don't know most of his music.
I didn't really discover it until college, when my friend Jon Fine turned me on to Still Bill, Withers' second record. We listened to it on cassette over and over and over. I'd grown up on blues and jazz and rock, and thought I was pretty well-versed – when you're 18 years old, you can think of yourself as a lot of things! – so how could an album like this have slipped past me? It was, simply, the best album I'd ever heard. Fine and I started a band, and one of the first things we did was ...
In 1970, Lou Reed quit the Velvet Underground at the end of a nine-week performance residency at the famous rock club Max’s Kansas City (in New York City), leaving the VU album Loaded recorded but unmixed; and leaving the VU to continue on with none of its original members.
Two years later, Reed released his self-titled, first solo album on RCA records. The album was mostly made up of songs he had written for – and in some cases even performed live with – the Velvet Underground. While the release generated a lot of buzz, it turned out to be a critical and commercial flop. There are some strong songs, but even listening to it today it feels… well, lost. It doesn’t have the bite of the early VU songs like “Heroin,” nor the pop sensibilities of songs like “Sweet Jane.” So with the album as disappointment to everyone including Reed, what to do next?
Reed, for his part, was enamored with ...
“Baby Don’t Do It”
From the first rolling piano chords through the soaring vocals and swinging horn arrangement, this first “5” Royales appearance on the charts signals that they are here to rock and take no prisoners.
“Help Me Somebody”
Starting out as a gospel-tinged slow drag, the “5” Royales throw a double-time curve into the bridge of this song, their second big hit.
“Monkey Hips and Rice”
This song dares you keep your seat, tugging you up to dance to its infectious beat and the compelling interplay between vocal and saxophone.
“When I Get Like This”
The matchless lead vocal on this song is simply stunning, transforming heartbreak and loss into a sonic masterpiece.
This song embodies all of the soul and swagger of the “5” Royales in one catchy, finger-snapping hit, punctuated by Lowman Pauling’s masterful guitar work.
A decidedly exuberant romp that starts out in overdrive and never lets up for a moment – messin’ up was never more fun.
“Dedicated to the One I Love”
Rock and Roll Hall of Fame inductees the Mamas and the Papas’ and the Shirelles’ versions of this song are put to shame by the “5 ...
Etta James was a pioneer. Through a career that spanned more than six decades, James' raw, unharnessed voice crossed genres, with Fifties hits such as "The Wallflower" and "Good Rockin' Daddy" cementing her role in the genesis of rock and roll alongside Chuck Berry, Ray Charles and Little Richard, and her soulful pop and blues explorations of the Sixties ranking with the works of Dinah Washington and Billie Holiday. She continued to make her mark through 2011, with a string of award-winning, critically acclaimed releases that showcased her unique style.
James was born Jamesette Hawkins in Los Angeles in 1938. Although brought up in the church singing in the gospel choir, she was drawn to rhythm and blues, and rock and roll, and by her mid-teens had formed a vocal trio named the Creolettes that worked up an answer song to Hank Ballard’s “Work With Me Annie” entitled “Roll With Me Henry.” The trio caught the attention of bandleader Johnny Otis, who arranged for the group to record “Roll With Me Henry” (retitled as “The Wallflower”) for Modern Records. Released with the group renamed the Peaches, "The Wallflower" topped the R&B chart for four weeks in 1955 ...
Women who rock know how to rock a look. From Bessie Smith and Ma Rainey to Janelle Monáe and Lady Gaga, the ladies who have made the music that moves us have used fashion – clothes, makeup, hairdos, hats, jewels, boots, shoes – to help express themselves. Their art goes beyond song and sound. They create entire worlds of style that connect us to their musical messages, draw us into fantasies that run the gamut from elegant to edgy, push us to understand how the spectacle of self-presentation can communicate ideas and emotions in ways that transcend words or melody. Today, the idea of rock style is a given: We’ve grown accustomed to seeing singers on the cover of Vogue, we buy the clothes and makeup promoted by stars from Madonna (featured in Versace ads) to Rihanna (a spokesmodel for Revlon); we can even dress ourselves head to toe in clothes created by rockers, such as Gwen Stefani’s L.A.M.B. label or Beyoncé’s House of Deréon.
It’s easy to boil rock style, in all its guises, down to two ideas: glamour and rebellion. But, as the Women Who Rock exhibit illustrates, the story is ...
Born in Birmingham, England, on December 3, 1948, John Michael "Ozzy" Osbourne started his carreer as a musician in the late 60s, as he, Tony Iommi, Geezer Butler and Bill Ward banded together, seeking to escape the trappings of factory life in their shared hometown. The foursome began to take shape as a blues band – influenced by the likes of Led Zeppelin and Cream – calling themselves Earth Blues Company (later shortened to Earth). Osbourne channeled his love of soul music (particularly Sam and Dave) to his duties as frontman, but the group took a tectonic shift after Osbourne penned a song about Butler's encounter with a sinister spectre, calling the song "Black Sabbath." The band eventually took Black Sabbath as their name – and the title of their 1970 debut album. The group would go on to release such heavy metal classics as Paranoid, Master of Reality, Black Sabbath, Vol. 4 and Sabbath Bloody Sabbath, effectively defining the heavy metal genre and making Osbourne the voice of it. Osbourne's delivery was melodic and well-pitched, and he never resorted to the sort of histrionic screaming that became a hallmark of metal’s lesser lights.
Osbourne took his heavy metal charge ...