In this exclusive Rock and Roll Hall of Fame interview with Hall of Fame Inductee Graham Nash, the musician talks about his experience getting high with Jimi Hendrix at a Frank Zappa and the Mothers of Invention concert, looking for Rolling Stones member Brian Jones.
"Jimi Hendrix and I once went to the Royal Albert Hall to see Frank Zappa and The Mothers of Invention. During the intermission, we spotted Brian Jones up in one of the boxes, and we wanted to go and get high with Brian. So, we got up from our seats, and we started to move along the seats and a spotlight found us. Now, quite frankly we were both on acid, so this bright light hitting us in the face when we thought that we were invisible was quite shocking to us, but we managed to make it all the way to Brian, to the box that Brian was in, and we managed to get higher than we were."
On December 4, 1951, Gary Rossington was born. One of the founding members and guitarist of Lynyrd Skynyrd, Rossington played his way into Southern rock history.
This year marks Rossington’s 63rd birthday and also the 40-year anniversary of Lynyrd Skynyrd's debut album, (Pronounced 'leh-'nérd 'skin-'nérd), featuring the hit song “Free Bird.” The original 1973 version of "Free Bird" was truly wrenching: a nine-minute salute to a departed Southern brother Duane Allman, highlighted by Ronnie Van Zant's mournful vocals and relentless soloing from Allen Collins and Gary Rossington. (Skynyrd's trademark three-lead guitar lineup hadn't crystallized yet.) Rossington’s instrument of choice was his 1959 Gibson Les Paul guitar that is now on display in the Museum’s Architects of Rock exhibit. Fifties-era Gibson Les Paul guitars are among the most sought-after and costly guitars in the rock world, and when Rossington was finally able to purchase a 1959 model, he named it after his beloved mother Berneice. Rossington played slide guitar on “Free Bird.” (pictured below: Gary Rossington 1959 Gibson Les Paul, on exhibit at the Rock and Roll Hall of Fame and Museum)
Despite saturation radio play since its first appearance ...
Over the course of a short career that only lasted a little more than five years, the Doors had a tremendous impact on rock and roll. They were a truly unique group, with a singer, Jim Morrison, who was a genuine poet with an almost mythical persona. Unlike most bands at the time, the Doors did not have a bass player. Ray Manzarek played the bass lines on his keyboards. John Densmore was a solid, steady drummer. And Robby Krieger was an elegant guitarist with a distinctive style unlike the blues-based guitar leanings favored by most his six-string peers. 20 years after being inducted into the Rock and Roll Hall of Fame in 1993, Robby Krieger sits down for an exclusive interview with the Rock Hall, reflecting on the passing of friend and bandmate Ray Manzarek, patching up differences with John Densmore, the Doors' greatest moments, where the Doors would've gone had Jim Morrison lived, Jimi Hendrix, the Rolling Stones, what he's listening to now and more.
Rock and Roll Hall of Fame: First, let’s talk about Ray Manzarek’s death…. Did you see that coming? Had he been sick for a while?
Robby Krieger: Not really ...
“'I Walk the Line' was a hit in November of 1956, that’s about a year before I was born, so it really is a part of the world that I know. But that’s the way it seems with great songs and great artists. Their impact on people is such that you can’t imagine what the world would be like or sound like without them.”
That was Lyle Lovett describing the first Johnny Cash song he ever heard, when he inducted Cash at the 1992 Rock and Roll Hall of Fame induction ceremony (watch video of Lyle Lovett inducting Johnny Cash into the Rock and Roll Hall of Fame).
“I Walk the Line” hit Number One on the country Billboard charts and crossed over into the pop Top 20. Nearly six decades after "I Walk the Line" – and more than a decade after his passing in 2003 at age 71 – new, never-before-heard material from The Man in Black is scheduled for release in Spring 2014.
Pictured (l-r): 1943 Martin acoustic guitar played by Johnny Cash during his Sun Records recording sessions from 1955 to 1958; c.1955 suit worn by Johnny Cash during his time with Sun Records ...
He’s a Rolling Stone, one of rock and roll's greatest guitarists, a Rock and Roll Hall of Fame Inductee and so much more. He’s Keith Richards. Born on December 18, 1943, in Dartford, England, Richards celebrates his 70th birthday in 2013, so we're taking a look back on some of his most memorable moments at the Rock and Roll Hall of Fame. Richards inducted a handful of talented artists and always made his appearances memorable – as only Keith Richards could.
Keith Richards Inducts Chuck Berry at 1986 Induction Ceremony: “It’s very difficult for me to talk about Chuck because I lifted every lick he ever played.”
Keith Richards Inducts Johnnie Johnson and James Burton at 2001 Induction Ceremony: “It’s only rock ‘n’ roll. You’ve got to laugh. A sideman needs humor, incredible patience and usually more money than he ever gets.”
Keith Richards Inducts ZZ Top at 2004 Induction Ceremony: “When I first saw them I thought, I hope these guys are not on the run because that disguise is not going to work, man. You’re ...
Phil and Don Everly brought the country tradition of blood-related harmony to the rock and roll generation. Their songs and musical style informed and influenced countless musicians across many genres for seven decades and likely many more to come. There's a reason that Don and Phil Everly were among the first group of Inductees in 1986: their music helped define rock and roll. With the passing of Phil Everly on January 3, 2014, rock and roll lost one of its greatest voices, though a legacy of recordings and acolytes around the globe promise that Phil's music will never be silenced.
"When I was about 15 or maybe 12, I started playing in a band in school, and we got together in my garage – four guys with some beat up pieces of equipment that really didn't work too good," Neil Young said when inducting the Everly Brothers at the 1986 Rock and Roll Hall of Fame Induction Ceremony. "We started playing, and we did instrumentals for about a year or so, and then I got up enough nerve to start singing. Some people say maybe I shouldn't have started that. Anyway, one of the other guys in ...
Remembered not only as a peerless songwriter but also as a formidable personality and cheerful raconteur, 1992 Rock and Roll Hall of Fame Inductee Doc Pomus was one of the real characters from rock and roll’s golden era. Atlantic Records producer and co-owner Jerry Wexler succinctly described his sphere of influence: "If the music industry has a heart, it would be Doc Pomus."
Pomus authored among the greatest songs in rock and roll history: "This Magic Moment" (recorded by the Drifters), "A Teenager in Love" (recorded by Dion and the Belmonts) and "Save the Last Dance for Me" (recorded by Ben E. King). Elvis Presley recorded at least 20 Pomus originals. In Cleveland, the Rock and Roll Hall of Fame and Museum's collection includes the hand-written lyrics to "Save the Last Dance for Me," which Pomus wrote at his wedding, while watching his new bride, Wilma Burke, dancing (pictured below).
Born Jerome Solon Felder in the Williamsburg section of Brooklyn on June 27, 1925, he adopted the name Doc Pomus to hide his singing from his parents. Stricken with polio as a child, Pomus was confined to crutches and a wheelchair, though it never slowed him down. For ...
In January 1961, Motown signed the Supremes, an all-female group who emerged from the poverty of Detroit’s Brewster housing project to become among Motown’s most consistent hitmakers and the most popular female group of the 60s.
Representing the Motown sound at its most stylized, the Supremes were the 1960s’ biggest group after the Beatles. They scored 10 Number One hits, including five in a row, right in the midst of the British Invasion. Diana Ross’ vocals achieved their greatest affect in this period because producers/songwriters Holland-Dozier-Holland supplied her with novel concepts that capitalized on her penchant for melodrama. “Stop! In the Name of Love” could be the most dramatic of them all. HDH recordings used gospel elements more proudly and directly than any other Motown productions – the ever-present Motown tambourine is a gospel trademark, for example. But HDH never limited themselves.
“Stop! In the Name of Love” benefits from James Jamerson’s earthquake bassline, the track's baritone sax riff and ringing vibes undercurrent, and an organ part adding tension to Ross' chilling moment: “Stop!” Stylistically, Ross had little more relationship to gospel than Frank Sinatra does, but HDH didn't put her in church, they simply ...