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 ...
Who was Mrs. Roosevelt and what's her relation to Mrs. Robinson? Where did Joe DiMaggio go? Where does Paul Simon come up with his lyrics?
"So goodbye to Mrs. Roosevelt, all along the road down to glory hallelujah," Simon recites from an old handwritten lyric manuscript (pictured) featured in the Rock and Roll Hall of Fame and Museum's new exhibit, Paul Simon: Words and Music. "I don't think of what I do as writing poetry, but the language may have imagery in it."
Watch Hall of Fame Inductee Paul Simon talk about how "Mrs. Roosevelt" became the famous "Mrs. Robinson," the real background to the "Where have you gone Joe DiMaggio" lyric and more:
Opening on October 30, 2014, the Rock and Roll Hall of Fame and Museum in Cleveland's new exhibit Paul Simon: Words & Music will feature exclusive candid commentary gathered from hours of filmed interview footage that walks the audience through the personal story of Simon’s life and his creative process. This opening marks the Museum’s first-ever exhibit anchored by first-person narration by the artist. In addition to the autobiographical films, there will be videos of select performance highlights from Simon’s ...
The Godfather of Soul, James Brown, revered Little Willie John, having opened shows for John early on and later recorded an entire album of his tunes, the 1968 tribute Thinking About Little Willie John and a Few Nice Things. Brown was just but one of many artists of the day who were influenced by John's gospel-charged R&B sound. The likes of Hall of Fame Inductees Sam Cooke, Jackie Wilson and Al Green all noted a musical debt to the man behind "Fever," and hits including "Sleep," "Talk To Me, Talk To Me" and "Leave My Kitten Alone" – the latter an early Beatles fave.
Spending his formative years raised in Detroit, Michigan, Little Willie John's stature belied his powerful voice. Signed to Syd Nathan's Cincinnati-based King Records in 1955, John cut the haunting, sultry "Fever" in 1956 at the tender age of 18. His smooth style presaged soul music. His delivery was passionate and dramatic, which paired with his melding of styles proved the perfect foil to such evocative lyricism.
Sadly, this polished, passionate artist suffered a sad fate: convicted of manslaughter in a post-gig fracas and sentenced to prison in 1966, he died under disputed circumstances ...
British music magazine NME recently published a feature asking more than two dozen performers what are the songs they'd wish they had written. The responses gathered from artists young and old, across genres, included nods to the likes of Bob Dylan ("It's Alright Ma(I'm Only Bleeding)"), David Bowie ("Ziggy Stardust" and "Life on Mars?"), James Brown ("Hot Pants" and "Cold Sweat"), Abba ("The Winner Takes It All"), the Beach Boys ("God Only Knows"), Ike and Tina Turner ("Nutbush City Limits") and more. (pictured, clockwise from left: Jimi Hendrix's 1967 Gibson Flying V dubbed "Love Drops;" Slash performs live at the 2012 Rock and Roll Hall of Fame Induction Ceremony; dresses worn by the Supremes in 1969.)
"Cole Porter and Irving Berlin are just the best," Ray Davies of Hall of Fame Inductees the Kinks told NME. "Songs by Chuck Berry, Otis Redding and Hank Williams I love, too. Or anything Holland-Dozier-Holland did for the Supremes." All those artists – as well as the songwriting team of Holland-Dozier-Holland – are Hall of Fame Inductees and feature prominently in the Rock and Roll Hall of Fame and Museum's Cities and Sounds and Legends exhibits.
2012 Hall of Fame ...
What was it like being in the studio with Metallica as they recorded some of their earliest albums: Ride the Lightning, Master of Puppets and … And Justice For All? Producer Flemming Rasmussen knows. Tapped by James Hetfield, Lars Ulrich, Kirk Hammett and Cliff Burton in 1984, Rasmussen was hired to produce Metallica's second studio album, Ride the Lightning. The thrash classic followed the band's 1983 debut, Kill 'Em All, and brought the band to Sweet Silence Studios in Copenhagen, Denmark, where they connected with Rasmussen.
On the 30th anniversary of Ride the Lightning, Flemming Rasmussen visited the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio, during a trip to the region to deliver a keynote speech and master classes at Capital University's Music Technology Workshop. While in Cleveland, Flemming donated studio photos to the Rock Hall's Library and Archives, and sat down to talk about recording three seminal heavy metal recordings with 2009 Rock and Roll Hall of Fame Inductees Metallica, including the recording of "For Whom the Bell Tolls" and "Master of Puppets," and what he believes is the best Metallica recording.
Rock Hall: How did you first start working with Metallica ...
This summer as rock and roll fans gather at musical festivals around the globe, the Rock Hall is celebrating the the greatest music festivals in history, the biggest and baddest music festivals of today and the fans who make Common Ground: The Music Festival Experience.
From June 12-15, the Bonnaroo Music and Arts Festival takes over Manchester, Tennessee, with a host of performances from some of the biggest names in music. Among the headlining acts and performers at Bonnaroo this year are a number of artists who also feature in the Rock and Roll Hall of Fame and Museum, in Cleveland, Ohio, including four Rock and Roll Hall of Fame Inductees.
Percussionist Mickey Hart was inducted into the Rock and Roll Hall of Fame in 1994 with his bandmates in the Grateful Dead. When Hart visited the Rock and Roll Hall of Fame and Museum in 2012, he shared stories about the first time he ever saw the Grateful Dead live and the San Francisco scene in the 60s. Pictured below is his illuminated signature in the Rock and Roll Hall of Fame in Cleveland, Ohio.
Bobby Womack was born in Cleveland, where he and his ...
Recently, I gave a presentation at the Rock and Roll Hall of Fame Library and Archives about my books on 1960s folk-rock. Most of it was centered around rare film clips, but I was also asked to talk a bit about the research I’ve done at the library over the past two weeks (thanks to a grant from the Gladys Krieble Delmas Foundation). This is for the expanded ebook edition of my two-volume work on 1960s folk-rock, Turn! Turn! Turn! (published as a print edition in 2002) and Eight Miles High (published as a print edition in 2003), which I’m combining into a single ebook, Jingle Jangle Morning: Folk-Rock in the 1960s.
It would take many hours and many pages to cover all of the material I’ve discovered at the library. So I used just a few images to illustrate how rare items could shed some light on folk-rock’s history, even after having written about it for 600 pages in the print editions. All of these are taken from ads that appeared between 1965 and 1967 in Cash Box, the biggest music trade magazine besides Billboard, but (unlike Billboard) very hard to find copies of these ...