On October 26, 2013, a once-in-a-lifetime collection of musicians gathered in Cleveland, Ohio, for the Rock Hall's Music Masters tribute to the Rolling Stones. That evening's concert at the Playhouse Square State Theater was anchored by a group of top flight musicians who have performed with the Rolling Stones over their 50-year career and contributed to shaping the band’s extraordinary sound.
Grammy Award-winning drummer Steve Jordan led the house band as musical director, assembling a group of critically-acclaimed musicians, including 2012 Rock and Roll Hall of Fame Inductee Ian McLagan.
McLagan had played on the Rolling Stones' Some Girls album and toured with the group in 1978, 1981 and 1982.
Among the incredible performers sharing the stage with McLagan that night was the incomparable Bobby Keys, the legendary sax player for Elvis Presley, Joe Cocker, B.B. King and others, including the Rolling Stones. Keys had been recording and touring with the Rolling Stones since 1970, appearing on Let It Bleed, Sticky Fingers, Exile On Main Street, Goats Head Soup, Emotional Rescue and several live albums.
WATCH: In the clip below, Bobby Keys delivers a fiery solo during a jam on the Rolling Stones' Sticky Fingers cut ...
The Small Faces and Faces created some of the most inventive and lasting music of their time. Ian McLagan’s Hammond organ provided depth to the soulful aesthetic of the earlier mod group, and color to its later, and rowdier, incarnation featuring Ronnie Wood and Rod Stewart.
After the Faces broke up in 'mid-70s, McLagan went on to a solo career and was an in-demand session musician, working with the Rolling Stones, Bruce Springsteen, Bonnie Raitt, Jackson Browne and many others. For the last several years, he led the Bump Band, based out of Austin, Texas.
Just days before the Faces/Small Faces induction into the Rock Hall in 2012, McLagan, Wood, and Kenney Jones visited the newly opened Library and Archives in Cleveland for a book event. The intimate gathering provided a unique insight into the popular 60s and 70s groups.
The following year, McLagan and they also recently deceased Bobby Keys took the stage at the Annual Music Masters tribute concert honoring the Rolling Stones.
Mac’s talents and warm personality will be missed by fans, his many friends in music and all of us at the Museum. We were honored to count him as a friend and ...
Bobby Keys was one of the definitive sax players in the history of rock and roll. He played with seminal artists such as Buddy Holly, Del Shannon and Little Anthony and the Imperials, as well as some of the most influential UK bands of the 60s and 70s, including John Lennon.
Keys really was a link between the beginning of rock and roll and the British Invasion. He was also a crucial element of the Rolling Stones’ sound, making his mark on such tracks as "Brown Sugar." He played with the Stones so often and for so long that he’s really a part of the band.
It was a honor to have Keys in Cleveland for the Rock and Roll Hall of Fame's Annual Music Masters tribute to the Rolling Stones in 2013. He was an essential part of that program. Click here to view pictures from that unforgettable concert, including the time Bobby Keys performed alongside Chuck D. of Public Enemy.
Moreover, Bobby Keys was a genuinely warm, funny big-hearted man who’ll be missed tremendously.
Recorded backstage at the 2013 Music Masters, this video interview with Bobby Keys and Steve Jordan has the musicians trading stories ...
The Band, more than any other group, put rock and roll back in touch with its roots. With their ageless songs and solid grasp of musical idioms, the Band reached across the decades, making connections for a generation that was, as an era of violent cultural schisms wound down, in desperate search of them. They projected a sense of community in the turbulent late 60s and early 70s – a time when the fabric of community in the United States was fraying. Guitarist Robbie Robertson drew from history in his evocative, cinematic story–songs, and the vocal triumvirate of bassist Rick Danko, drummer Levon Helm and keyboardist Richard Manuel joined in rustic harmony and traded lines in rich, conversational exchanges. Multi-instrumentalist Garth Hudson provided musical coloration in period styles that evoked everything from rural carnivals of the early 20th century to rock and roll revues of the 50s.
In an era of divisive politics, the Band produced music that crossed generational and historical borders. They did so with an ensemble brilliance borne of many years spent playing on the road.
Everything great about the Band can be found on "The Weight," the central piece of their 1968 debut, Music From Big ...
Although she was already queen of the clubs, Madonna didn't swim in the mainstream until "Like A Virgin," the 1984 title track from her second album, became her first million-selling single. Produced by Chic's Nile Rodgers in a bouncy, vaguely retro girl-group mode, the song established one of Madonna's most enduring personas: the good bad girl capable of being "touched for the very first time."
Though Madonna was 26, this witty send-up of innocence and experience made the former cult star a teen idol: the song's video featured Madonna flouncing around Venice in bustier, lace, multiple crosses and a wedding dress that inspired her first legions of wannabes. Along with its equally chirpy follow-up, "Material Girl," "Like A Virgin" might not present Madonna at her vocal best. It did, however, mark her early on as an exceptionally shrewd performer who created and manipulated controversy, changed her image to suit the moment, and prospered through a combination of talent and will.
Madonna, a 2008 Rock and Roll Hall of Fame inductee, is among the many artists from rock and roll history featured in the Rock and Roll Hall of Fame and Museum's Ahmet Ertegun Main Exhibition ...
Last night, 2009 Rock and Roll Hall of Fame Inductees Metallica kicked off a week-long residency on The Late Late Show With Craig Ferguson with "Hit the Lights" – a fitting opening volley as it was also the opening track of the group's furious 1983 debut album Kill 'Em All.
For more than three decades, Metallica has been the standard by which metal's vitality and virtuosity are measured. Led by vocalist and guitarist James Hetfield, drummer Lars Ulrich, bassist Cliff Burton and lead guitarist Kirk Hammett, the group's debut established the thrash metal sound in America.
Ride the Lightning, Master of Puppets and …And Justice For All
The Metallica albums that immediately followed Kill 'Em All – Ride the Lightning (1984) and Master of Puppets (1986) – showed increasing levels of ambition, intensity and technicality. On the strength of those recordings, the band enjoyed a surge in popularity, but tragedy struck during a headlining tour of Europe. Traveling on an icy road in Sweden, Metallica's tour bus lost control, crashing and instantly killing bassist Burton in September 1986. Fans of Cliff Burton will recognize the 1978 Rickenbacker 4001 bass guitar that is part of the Rock Hall's heavy ...
Below is an excerpt from Glyn Johns' new book, SOUND MAN: A Life Recording Hits with the Rolling Stones, the Who, Led Zeppelin, the Eagles, the Faces... (On sale now, 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 remarkable skill, the synthesizer dictating a constant tempo for every bar of the song, with them staying locked relentlessly to it throughout. Roger Daltrey’s powerful vocal equaled ...
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 ...