With the patriotic pageantry, fireworks, barbecues and neighborhood gatherings that come with the 4th of July just around the corner, Rock Hall staff crafted the ultimate playlist as the soundtrack to all things Americana and celebrations of summertime fun.
The 50-song list covers a lot of musical territory, from 50s to today, blues, pop, punk, R&B, jazz and some classic rockers, of course. Inductees feature prominently – Alice Cooper, Sly and the Family Stone, Young Rascals, Bob Marley, Janis Joplin, Martha Reeves and the Vandellas, the Ramones, among many others – but so do other artists who've made their mark with sunny revelations: Kool and the Gang, Chicago, the Undertones, the Surfaris, Lovin' Spoonful, Billy Idol, Afrojack and, yes, Katy Perry.
Get the Rock Hall's Ultimate 4th of July playlist via Spotify.
In the meantime, here are three tracks that are so routinely misinterpreted – and we included some deliberately in our list! – we just had to give the backstory.
Arguably the most misappropriated song in rock and roll history, "Born in the USA" has been the anthemic backdrop to countless episodes of fist-pumping demonstrations. Anti-Muslim protestors chanted the chorus while picketing the site ...
The studio and live LPs released during the last seven years of 2015 Rock and Roll Hall of Fame Inductee Stevie Ray Vaughan's life ensured his place in Stratocaster immortality and influenced the next generation of blues guitarists. With Double Trouble bandmates Tommy Shannon on bass, Chris Layton on drums and Reese Wynans on keyboards, the Texas-born blues-rock powerhouse forged a sound that influenced and inspired countless players around the globe.
“Love Struck Baby”
The first song on the debut album from Stevie Ray Vaughan & Double Trouble, Texas Flood, released on June 13, 1983 – it was also the first single from the album. But don’t be fooled if it sounds too good to be a new band; Stevie Ray formed the band in 1978, and the final lineup had come together in 1980 consisting of SRV, Tommy Shannon (bass), and Chris Layton (drums).
“Pride and Joy”
This song is a great example of a Texas Shuffle (in which the guitar plays a triplet pattern over the quadruple meter of the band). Listen to how in the opening Stevie Ray plays all the off beats with an upstroke on the guitar to emphasize them. It makes for a great ...
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 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 ...
Today, the Rock and Roll Hall of Fame is proud to announce the 2015 Hall of Fame Inductees. The Rock Hall's 2015 class includes the Paul Butterfield Blues Band, Green Day, Joan Jett & the Blackhearts, Lou Reed, Stevie Ray Vaughan & Double Trouble and Bill Withers, all in the performer category.
This year's class also recognizes the "5" Royales with the early influences award, and former Beatle and solo artist Ringo Starr enters the Hall of Fame – the last of the Fab Four to be inducted as a soloist, following John Lennon in 1994, Paul McCartney in 1999 and George Harrison in 2004.
“As we mark 30 years of Rock and Roll Hall of Fame Inductions, we’re proud to honor these artists,” said Rock and Roll Hall of Fame Foundation President Joel Peresman. "These Inductees epitomize rock and roll’s impact over the past 50 years and continuing through today."
Leading up to the April 18, 2015 ceremony, the Rock and Roll Hall of Fame will host a series of special events, including the grand opening of the major new 2015 Inductee exhibit, which will serve as an introduction to the Rock and Roll Hall of Fame visitor ...
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 ...
Last year, it was announced that Hall of Fame Inductees Led Zeppelin would be reissuing their first three albums with a series of box sets featuring previously unheard mixes, live versions and one unreleased track. In advance of Led Zeppelin II's re-release, the group shared a radio edit of a rough mix of the classic cut "Whole Lotta Love" that sounds quite different than the famous radio-staple studio version, most notably Jimmy Page's guitar parts and Robert Plant's vocals. It's a mix as intriguing to listeners as the song's controversial – sometimes litigious – history.
Plant remembers the first time he noted similarities between a Zep-credited composition and an obscure but not that obscure blues. JPage's response was "shut up and keep walking." Led Zeppelin almost got away with "Whole Lotta Love." The crunching riff and relentless thud that opens Led Zeppelin II could be attributed to few other bands in 1969. But as the lyrics unfolded, certain listeners got a dose of deja vu. "Whole Lotta Love" distinctly recalled the Small Faces' number "You Need Loving." Had the music police paid heed, Led Zeppelin ...