Before I saw David Bowie live, I was just your normal, dysfunctional, rebellious teenager from the Midwest, and he has truly changed my life.
I’ve always had a sentimental attachment to David Bowie, not just because I grew up with his music, but it’s because it was the first rock concert that I ever saw, and it was a major event in my life. I planned for months to go and see it. I was 15 years old, it was the end of the school year, and leading up to the week of the show, I begged my father and he said, “I absolutely refuse, over my dead body, you’re not going there, that’s where horrible people hang out,” so of course I had to go. So my best friend spent the night at my house and when we thought everyone was asleep, we snuck out of my window, which was no mean feat, as I was wearing my highest platform shoes and a long black-silk cape. Don’t ask.
We couldn’t drive, so we hitch-hiked into Detroit and I don’t know who was scarier ... the drivers that picked us up, or us in ...
I was just an elementary school kid when I first heard “Dance to the Music,” Sly and the Family Stone’s first hit single, in spring 1968. The song was on the radio all the time. If it wasn’t on the Top 40/pop stations WIXY or CKLW, you just had to dial up to WJMO or WABQ, the R&B/ soul stations, to hear Cynthia Robinson’s cheeky introductory demand: “Get up and dance to the music! Get on up and dance to the funky music!”
Cynthia Robinson was one half of the horn section of the Family Stone and the de facto MC – that’s MC in the early days of hip-hop sense – the “mic controller” who would punctuate dance tracks with enjoinders to “get up” or “get down” to the music to keep dancers engaged and moving on their feet. Cynthia was doing it 10 years before the Sugarhill Gang or Grandmaster Flash dropped their first beat.
That’s just one more way that Cynthia was ahead of her time, a pioneer, showing the rest of us the way. She was a strong female presence in a band – not a vocalist, as was the usual position ...
Brian Wilson has long been an inspiration to his contemporaries and hopeful songwriters around the globe. Much of the popular music that has followed in his creative wake owes a debt to the much-mythologized (and biopic friendly) frontman.
“Brian Wilson is a genius,” says two-time Rock and Roll Hall of Fame Inductee Graham Nash in a video featured in the Rock Hall's Touching the Flame exhibit. “Pet Sounds was a journey from start to finish, and I think that was recognized by John (Lennon) and Paul (McCartney) when they started Sgt. Pepper's… The idea of turning a long-playing record into an actual mental journey was brilliant. Brian Wilson started it, and John and Paul really finished it off.”
But decades later, how would that translate live? Was Brian Wilson a charismatic live performer able to carry the interest of a crowd or better suited to his own devices in the studio? Would any former Beach Boys bandmates reunite with Wilson? I had questions, and on Saturday, November 14, Brian Wilson brought his “No Pier Pressure” tour to the Taft Theatre in Cincinnati, Ohio, giving me answers.
The setlist mostly featured Beach Boys songs penned by the eldest Wilson ...
Compassion, peace and a celebratory atmosphere have loyally followed the Grateful Dead for five decades, yet the reformed group's November 13, 2015 concert began on a somber note.
After taking the stage with his Dead & Company bandmates, grabbing his guitar and briefly warming his fingers, Bob Weir started the show with a eulogy: “So to begin, we have some bad news from Paris. And really I think the best thing we can do, all of us are doing, is remember, celebrate the lives of the 60 or so Parisian concertgoers who died today at the hands of religious extremists, who if they had their way, would outlaw music in all the world." He implored Deadheads to celebrate the lives of those who lost their lives in the Paris attacks "and the joy that they found in music.”
For the hours leading up to the Dead & Company tour stop at Columbus, Ohio’s Nationwide Arena, social media feeds and news reports were filled with the news unfolding across the globe; and with tragedy occurring at a concert, I could not help feel grief, slight paranoia and empathy.
Following Weir’s dedication, he and the band (John Mayer on guitar and ...
I didn't even realize the impact that Smokey Robinson had on me until a few years ago, but his influence is so far-reaching. You can't listen to music - particularly American music - without being touched by Smokey.
I think my first introduction to him was through the Jackson 5, through [the Jackson 5 song] "Who's Lovin' You."
And I was just a huge Jackson 5 fan. I knew all the songs. I loved the Motown sound and just music that was coming up from that time.
I didn't know until a few years ago that Smokey Robinson had written ["Who's Lovin' You"].
So, the fact that I'm going get to sing it to honor him at the Rock and Roll Hall of Fame is really trippy.
It's such an incredible song. The way he writes about love is unparalleled. He is the original person to sing, to write about, to really capture the feeling of longing, and being in love, and ...
Ask any Clevelander who heard Smokey Robinson perform here early on in his career, and they’ll likely tell you about Leo’s Casino.
Leo’s Casino, designated a historic rock and roll landmark by the Rock and Roll Hall of Fame in 1999, stood at 7500 Euclid Avenue on Cleveland’s east side. From the time it opened in 1963, Leo’s featured Motown artists on a regular basis. “It was a very important club to us,” Motown founder Berry Gordy, Jr., told The Plain Dealer. The Supremes, the Four Tops, the Temptations, Stevie Wonder, and – of course – Smokey Robinson and the Miracles were among the acts that played there, often using the 700-seat, racially integrated venue to hone their acts.
Throughout the 1960s, the Miracles returned to Leo’s Casino at least once a year for a four-evening stint, performing as many as three shows each night. One of these performances was even filmed in 1966 for a nationally televised documentary on the Miracles. In addition to playing Leo’s traditional “Sweater Night” Thursdays, men’s nights and ladies’ nights, the Miracles – described as “a handsome young group of vocalists” by Cleveland’s Call and Post in 1965 ...
"It took an iconic radio station, WHK, and an anglophile disc jockey, Ron Britton, to bring what is arguably the most popular British rock group ever, the Beatles, to Cleveland, Ohio, the 'Home of Rock and Roll,'" says Lynn Jones, who was a young boy when the Fab Four made their concert debut in Cleveland. "On September 15, 1964, the Cleveland rock and roll world exploded, first on Public Square when thousands gathered to wave up to the Beatles and Ron Britton as they waved back from open windows… and then, 'The Concert.'"
John Lennon, Paul McCartney, George Harrison and Ringo Starr stayed at the Sheraton-Cleveland, which was surrounded by a police cordon given the fan fervor. Cunning Cleveland police used a riot van traveling between the concert venue, Cleveland's Public Hall, as a decoy. Adoring Beatles fans eventually caught on to the fact that the Fab Four were not in the van, but the group still managed to escape undetected from inside the hotel not long before showtime.
"Sitting with the WHK station managers, Ron’s wife Peach, my wife Ann, and sister Kathy," remembers Jones, "we watched from 40 feet away as screaming girls and women rushed ...
The California music scene took off during World War II when it became the home of some of the most prominent western swing bands, including Bob Wills and his Texas Playboys and Spade Cooley and his Orchestra. They played primarily to an Okie audience — men and women who had migrated from the southern plains to work in the wartime production plants in places like Los Angeles and San Diego.
A large number of those wartime workers were women, dancing to the music of Bob Wills and Spade Cooley. So how did female musicians really stake a claim in this scene? Enter Rose Maddox.
Rose Maddox, the lead singer of the Maddox Brothers and Rose, developed a unique singing style — a belting voice that could be heard in the raucous roadhouses and dancehalls of California. Her resonating chest voice clearly projected over the din of dancing, drinking and socializing. Patrons had to take notice.
The Maddoxes were part of the Okie migration, leaving the depressed South for California in the 1930s. They worked as farmhands in the Central Valley until they formed the band The Maddox Brothers and Rose in the late 1930s. They came to the forefront of California’s ...