Born on March 1, 1944, Roger Daltrey injected the Who's songs with expressive muscularity and passion. Daltrey made a natural rock and roll frontman, theatrically swinging the microphone and proving the ideal, angst-projecting foil to Who songwriter/guitarist Pete Townshend's "windmill" strumming and instrument destroying antics and drummer Keith Moon's explosive – sometimes literally – playing. With rock-steady bass virtuoso John Entwistle, the four evolved from purveyors of Mod-era "maximum R&B" to visionary, literary creators of concept album narratives and singular rock opera productions. Simply put: the Who created some of rock and roll's most enduring and powerful anthems.
In mid-1965, Daltrey and the Who were unflagging devotees of R&B, though their reverence ultimately started to stifle creativity. Hoping to shake things up on the compositional front, manager Kit Lambert demanded a new anthem to go with the image they didn't have yet. Pete Townshend responded with a primitive home demo of "My Generation." Arranged as a talking blues number, it didn't sound much like his generation. With a terse order to make it beefier, Townshend returned with a version deemed chunky enough to warrant a group whack at a demo session, which Lambert ...
How do you define rock and roll?
Each year, with the announcement of the next class of nominees for induction into the Rock and Roll Hall of Fame, a debate swirls as to what music is considered "rock and roll." The announcement of the 2014 Rock and Roll Hall of Fame Nominees – the Paul Butterfield Blues Band, Chic, Deep Purple, Peter Gabriel, Hall and Oates, Kiss, LL Cool J, the Meters, Nirvana, N.W.A., the Replacements, Linda Ronstadt, Cat Stevens, Link Wray, Yes and the Zombies – brought with it passionate discussions as to not only who should be inducted, but also how the Rock and Roll Hall of Fame and Museum and people all over the world interpret and define rock and roll.
Visitors to the Museum in Cleveland will find a large type-and-graphics treatment featured in the Main Exhibit Hall, just before the Roots of Rock exhibit. It marks the unofficial start to a tour of the Rock and Roll Hall of Fame and Museum, and explains the roots of rock and roll, and how the Rock and Roll Hall of Fame recognizes rock and roll today. It reads as follows:
Rock and roll is a form of ...
Recently, music journalist Ann Powers wrote a piece for NPR titled "Holding Music History in Your Hands: Why Archives Matter." In it, Powers notes that she's planning "to head next to the Rock and Roll Hall of Fame Library in Cleveland, which has served thousands of visitors – students, scholars and plenty of just-fans – since opening last year." In advance of her visit, she connected with Rock Hall Library and Archives director Andy Leach, who shared a story of one young visitor connecting with the Sex Pistols, in a new way.
"A couple of weeks ago, our head archivist told me a story about a teenage boy who came in with his family," Leach explained. "They were all looking at books and periodicals and watching videos, and the kid asked whether we had his favorite album, the Sex Pistols' Never Mind the Bollocks, on vinyl. He'd never actually seen a vinyl copy until then, and he was very excited. He very reverentially played the record in our Archives Reading Room while he pored over the album cover. He listened to the entire first side before it was time for his family to leave, at which point he begrudgingly rejoined ...
Rumors swirled around the 1992 Reading Festival that Kurt Cobain’s reported ill-health would force Nirvana to bail on their headlining gig. Cobain, clad in a hospital gown and ridiculous wig, was pushed onto the stage in a wheelchair and faked a dramatic swoon before leading the band through a blistering, brilliant set. Reading 1992 sealed Nirvana’s legacy as the most important new band of the decade.
The Rock and Roll Hall of Fame and Museum will open its latest featured exhibit, Common Ground: The Music Festival Experience on Friday, April 25, 2014. The exhibition will be an engaging look at the music festival as more than just an outdoor concert, but as a community experience. Whether it‘s forging human bonds, building a sense of community, providing broad exposure for musical artists or as one of the most important economic engines of the music industry, the story of the music festival is inextricably linked with music’s powerful cultural impact around the globe. Visit Common Ground: The Music Festival Experience to immerse yourself in this story.
In a career that has spanned more than 30 years, 2006 Rock and Roll Hall of Fame Inductee Glen Matlock has made indelible contributions to music as the original bass player with the Sex Pistols, founder of the New Wave act Rich Kids, and collaborator with a variety of artists ranging from Iggy Pop to fellow original School of ’76 Brit Punk Rockers the Damned to neo-rockabilly singer Robert Gordon – all while pursuing his own musically distinctive direction. Matlock released Born Running in 2010, and has been taking the coveted bass playing role in the reformed Faces with fellow Hall of Fame Inductees Rod Stewart and Ronnie Wood.
On the other side of the Atlantic from Matlock, before joining the New York Dolls in 1971, Sylvain Sylvain was a member of the band Actress, also featuring the Dolls' Arthur Kane, Johnny Thunders and former fashion partner Murcia. He played rhythm guitar in the proto-punk group the New York Dolls (replacing Rick Rivets), from 1971 until the group’s final dissolution in 1977.
On Tuesday, March 18 at 7 p.m., in the Rock and Roll Hall of Fame and Museum's intimate Foster Theater, Matlock and Sylvain will perform an ...
On a stop at the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio, during their Punk Goes Acoustic tour, Glen Matlock (Sex Pistols) and Sylvain Sylvain (New York Dolls) talk the history of the Sex Pistols, recording the punk rock classic anthem "Anarchy in the UK," "being the first" punk band and more.