The Rock and Roll Hall of Fame celebrates gospel music every day at the Museum as one of the essential musical roots of rock and roll. Three gospel performers who have had a profound influence on popular music have been inducted into the Hall of Fame: Mahalia Jackson (pictured above), whose fervent contralto was one of the great voices of the 20th century; The Soul Stirrers, who brought gospel out of local churches to a national audience, setting the pace for gospel and pop vocal groups; and The Staple Singers, who landed gospel on the pop charts with songs that advanced the Civil Rights movement.
Gospel echoes throughout the history of rock and roll. We hear it in the early vocal groups like The Drifters and this year’s inductees The “5” Royales (who started out in North Carolina singing gospel as the Royal Sons Quartet); the Motown sounds of the Temptations, and Martha Reeves and the Vandellas; the soul music of legends like Ray Charles, Sam Cooke, Darlene Love, Aretha Franklin, Al Green and Wilson Pickett; and in the message and spirit of The Isley Brothers and Earth Wind & Fire in the 70s; as well as the extraordinary music ...
The sheer emotional impact of Jimi Hendrix’s Woodstock rendition of “The Star-Spangled Banner” sparked my fascination. His squealing guitar effects depicting the incoming descent of bombs that were soon “bursting in air,” grabbed me, especially as intensified on film when Hendrix “lip synched” the resulting cries and screams. His performance makes the abstract so very human. For me Hendrix’s Woodstock anthem of August 18, 1969, remains atop the list of the most powerful performances of Francis Scott Key’s song ever created.
The Woodstock anthem gets even more interesting when compared with the other 40 or so surviving recordings of Hendrix performing the song. They reveal Hendrix’s artistic as well as political evolution and define the critical and patriotic extremes of his expression to place Woodstock firmly in the middle as a combination of both. Here's a look at five incredible Hendrix versions of "The Star Spangled Banner.' Want more Hendrix? Catch Mark Clague going deep on all-things Hendrix at the Rock Hall's Library and Archives on Wednesday, March 25, 2015!
Hendrix first references the anthem melody a year ...
In advance of opening the latest Rock and Roll Hall of Fame exhibit Herb Ritts: The Rock Portraits on March, 13, 2015, the Rock Hall caught up with Chris Isaak for a look back at 1989's "Wicked Game" music video directed by Herb Ritts and featuring supermodel Helena Christensen.
What was the song "Wicked Game" about? Did the on-camera chemistry with supermodel Helena Christensen happen off-camera, too? What was photographer/director Herb Ritts' vision for the video? Chris Isaak answers all those questions and more.
Rock Hall: What was the song "Wicked Game" about?
Chris Isaak: It's about four in the morning, and somebody calling and saying I'm coming over to your house and I thought right after I said okay, I thought I should have never allowed this person to come over to my house. I know what's going to happen.
And I wrote the song between the time I got off the phone and the person came over to visit. It was just about what happens when you have a strong attraction to people that aren't necessarily good for you.
I think it hit a nerve because I think a lot of us ...
Long Island, New York rap crew and Hall of Fame Inductees Public Enemy saw Armageddon everywhere and all of life as a struggle. Adding dissonance, noise and speed to the muscular hip hop of their idols Run-D.M.C., they came on as "Prophets of Rage" with ties to the Nation of Islam and an eye toward revolution.
That's some high-wire act to sustain, but while they walked it, Public Enemy's music was both viscerally and rhetorically scorching. And then they joined forces with a thrash metal group in 1991, recasting their 1987 single "Bring the Noise" as a rap-metal explosion that challenged perceptions and preempted a mainstream surge in rap-rock sounds by more than a decade.
The F**king Jugular of Doubt
"Bring the Noise" first emerged as a rap single from Public Enemy before its inclusion on 1988's It Takes a Nation of Millions to Hold Us Back. Fittingly, the track's lyrics made arguments for rap's historical connections to rock and roll (Soul control, beat is the father of your rock 'n' roll). The track caught the ear of Anthrax and in 1991 the group recorded a new version with Public Enemy. A ...
This week, millions of music fans, pop culture mavens and dedicated viewers tuned in to the star-studded 2015 Grammy Awards. Over the course of more than three hours, the ceremony offered up a whirlwind of performances – nearly two dozen, in fact – and there were a handful of awards presented, some to Kanye West's chagrin. Throughout it all, there were many Rock and Roll Hall of Fame connections. Did you catch them all?
AC/DC Goes Down a "Highway to Hell"
Although Aussie rockers AC/DC have taken their unmistakable, hard-charging, loud and fiery brand of music-making around the world for more than 40 years, it was the 2003 Rock and Roll Hall of Fame Inductees first time on the Grammy stage. The group opened with new track "Rock or Bust" before segueing into classic rock anthem "Highway to Hell" – the same song they played at their 2003 Hall of Fame Induction. Other familiar nods? Angus Young's signature school boy outfit, one of which is also featured in the Rock Hall's heavy metal exhibit alongside the handwritten lyrics to "Highway to Hell."
Hozier and Annie Lennox cover Screamin' Jay Hawkins' "I Put a Spell on You"
Irish songwriter ...
In the pantheon of rock and roll's greatest guitarists, there is a cadre of fabled axemen who consistently bubble to the top, including such Hall of Fame Inductees as Jeff Beck, Chuck Berry, Eric Clapton, Jimi Hendrix, Robert Johnson, BB King and Jimmy Page – all artists represented at the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio. And no discussion of six-string masters would be complete without Eddie Van Halen, the innovative firebrand that turned the world of guitar playing on its ear in the late 70s and early 1980s. "I was so used to doing old blues licks with the first three fingers," Van Halen once explained to a reporter. "When I started using my pinky and finding more spread things, that's when I started getting my own style." That style went on to influence millions of budding shredders. Here are five tracks that contributed to that influence:
Guitar Solo, from Live Without a Net (1986)
Van Halen went out with something to prove during the live tour for the 5150 album. With new singer Sammy Hagar, the band had to show fans and critics alike that it could keep rocking without Diamond Dave ...
Discover more amazing Clash stories in the Rock Hall's punk rock exhibit and plan your visit today.
Below is an excerpt from Stealing All Transmissions: A Secret History of the Clash by Randal Doane.
With her Pentax camera in hand, Pennie Smith stepped onto the left wing of the stage of the Palladium, just behind the curtain, and waited for The Clash to return for their encore. It was September 21, 1979, the second of a two-night stint for The Clash in New York City. WNEW-FM, the album-oriented rock station that had recently found felicity in punk and new wave, supplied a live simulcast for the tri-state region. On the opposite stage wing, Richard Neer, the on-air host, gushed: “If you’ve never seen The Clash it’s an experience, I’ll tell you that. I was out front for a bit and it’s so loud. I’m used to loud music but it is loud to the point of real distortion, and the people are just totally enveloped in the music. . . . They’re dancing, they’re jumping up and down and they are just totally into it!” Back onstage, The Clash offered the audience a respite from ...
Released in the Spring of 1971, Marvin Gaye's What's Going On was a transformative recording for Gaye and his Motown label. The nearly operatic concept album mused deeply on such issues as Vietnam, drugs, the decline of northern cities, the economy and the environment, all over a free-flowing musical backdrop that drew on jazz, pop and classical forms. Gaye referred to the album as a “gift from God,” and the album’s spiritual dimension found overt expression in his liner notes: “We’ve got to find the Lord. Allow him to influence us. I mean, what other weapons have we to fight the forces of hatred and evil?” With his inimitable voice, he provided nuanced perspective that immediately resonated with audiences – and has so for generations.
"My phone would ring, and it’d Motown wanting me to start working and I’d say, ‘Have you seen the paper today? Have you read about these kids who were killed at Kent State?’ The murders at Kent State made me sick," explained Marvin ...