“You can play or you can transcend. You can go as far, there’s no boundaries how far you can go in your own body and how far your mind can expand while you are playing and Jimi showed me that... I learned that from Jimi.” - Neil Young, inducting the Jimi Hendrix Experience into the Rock and Roll Hall of Fame, 1992
James Marshall “Jimi” Hendrix, was born Johnny Allen Hendrix on November 27, 1942 in Seattle Washington. Hendrix’s first studio recording was in March 1964, on the Isley Brothers' track “Testify.” From 1964 to 1966, Hendrix recorded and toured with a number of artists from Arthur Lee of Love to Little Richard, Ike & Tina Turner and King Curtis. In September of 1966, Hendrix went to London with Chas Chandler of the Animals, who was instrumental in forming the Experience.
The Jimi Hendrix Experience formed in London in October 1966, and was composed of singer, songwriter and guitarist, Jimi Hendrix ...
In 2000, Al Hendrix, father of legendary guitarist, songwriter and musician Jimi Hendrix, sat down for an interview in the Rock and Roll Hall of Fame and Museum's Jimi Hendrix exhibit. In this clip, Al Hendrix shares memories of his son, including Jimi's first interest in music and playing the guitar, Jimi's move to London, the first time he heard Are You Experienced, seeing his son perform for the first time, hearing Jimi's version of "The Star Spangled Banner" and more.
The Rock and Roll Hall of Fame and Museum in Cleveland, Ohio, is home to a singular collection of Jimi Hendrix artifacts that help tell his story, from his boyhood days in Seattle, Washington, through his meteoric rise to superstardom.
In this clip, Rock and Roll Hall of Fame and Museum curatorial director Howard Kramer tells the story behind two of the guitars featured in the Rock Hall's Jimi Hendrix exhibit: the 1967 Gibson Flying V dubbed "Love Drops" and the 1960s 12-string Zemaitis acoustic made famous when Hendrix played it in the 1973 movie A Film About Jimi Hendrix.
"Imagine" became one of the enduring anthems of John Lennon's post-Beatles work. In an interview days before his death, he made a case for the brotherhood of man and woman: "That should be credited as a Lennon/Ono song. A lot of it – the lyric and the concept –came from Yoko, but in those days I was a bit more selfish, a bit more macho, and I sort of omitted to mention her contribution, but it was right out of Grapefruit, her book; there's a whole pile of pieces about imagine this and imagine that, and I have given her credit now long overdue." Ono downplayed her involvement, claiming the period was ripe for mutual inspiration. Lennon responded, "Yeah, but if it had been Bowie, I would have put 'Lennon/Bowie' if it had been a male, you know... but when we did it, I just put 'Lennon' because, you know, she's just the wife and, you ...
The Clash possessed an indefinable chemistry that makes for a great band. Their explosive, uptempo punk-rock manifestos were unleashed with pure adrenaline and total conviction. Following the Sex Pistols’ dissolution in January 1978, the Clash became the central voice of the punk movement and remained at the forefront for five years. Their albums - The Clash (1977), Give ‘Em Enough Rope (1978), London Calling (1979), Sandinista! (1980) and Combat Rock (1982) - captured the tumult of the times with unerring instinct and raw power.
Rhythm guitarist Joe Strummer – born John Mellor in Ankara, Turkey, on August 21, 1952 – wrote most of the words and lead guitarist Mick Jones contributed much of the music. Bassist Paul Simonon’s background in painting and sculpture helped shape the band’s aesthetic overview. Topper Headon was a journeyman drummer who found his niche powering the Clash. “As a mix of personalities,” noted writer Lenny Kaye, “the Clash was a perfect engine.” They ran hottest on a concert ...
In the fall of 1995, Smashing Pumpkins, the Chicago-based alternative band who cracked the Billboard 200 Top 10 in August 1993 with Siamese Dream, released the anticipated studio follow up, Mellon Collie and the Infinite Sadness. The sprawling 26-song double album Corgan then referred to as The Wall for Generation X highlighted the lead songwriter's penchant for abstract lyricism and expansive, evocative instrumental arrangements that owed much to the psychedelic rockers who came decades before him.
At the 1996 Hall of Fame induction ceremony, a twentysomething Corgan inducted Pink Floyd, with David Gilmour, Nick Mason and the late Richard Wright on hand to accept their awards. "The first album I heard was Dark Side of the Moon, which as we all know is probably one of the best albums of all time," said Corgan, a self-professed "fan" of the band. "I first heard this album in The Wall era, which to me, at my tender age of 14, was too ...
From her self-titled debut album in 1971, Bonnie Raitt has established herself as a virtuoso blues musician who sings blues with gritty passion and plays slide guitar with authority, as if the genre’s fundamentals had been etched in her soul. With mentors that included Sippie Wallace, Mississippi Fred McDowell and Son House, Raitt has demonstrated a studied reverence for old-school country-blues tempered with a contemporary outlook and willingness to experiment. She recorded eight albums for Warner Bros. Records from 1971 to 1986, progressively moving from straight blues into more pop-oriented areas without losing sight of her roots. Raitt's move to Capitol Records was followed by her 1989 breakthrough Nick of Time, which netted four Grammy Awards in 1990 and prompted her to note: “It means so much for the kind of music that we do. It means that those of us who do rhythm & blues are going to get a chance again.”
In this clip, Rock and Roll Hall ...
A lot of rock and roll, and especially Sun-label rockabilly, has liquor on its breath. Eddie Cochran – born in Minnesota, a California transplant at age 12 and a teenager until almost the end of the 1950s – never got ruder than a soda-pop belch, musically speaking. His recordings convey youthful good times without the dark undertow of his southern contemporaries. "Summertime Blues" was a B-side, but not for long. Written by Cochran and manager Jerry Capeheart, it's a concise masterpiece: a protest song without rancor, pointedly funny and propulsive. Cochran's teenage frustration will never be out of date. Ten years after being the biggest hit of a tragically short career, "Summertime Blues" survived a lysergic distortion by Blue Cheer to enter the Top 20 all over again. Two years after that, in 1970, the Who was almost as successful with their version, a longtime concert favorite. Eddie Cochran released only one album during his lifetime, which was abruptly cut short ...