Rock & Roll Hall Of Fame Celebrates 2018 Inductees

Bon Jovi, The Cars, Dire Straits, The Moody Blues, Sister Rosetta Tharpe and Nina Simone Join Rock Hall

I know many of the folks who may see this post have strong opinions about the Rock & Roll Hall of Fame. Discussions about inductees and who hasn’t been inducted but should be in there are sure to continue. The selection process certainly looks less than perfect. One could even question the name of the institution. After all, rock & roll certainly doesn’t come to mind when it comes to the amazing Nina Simone, one of the 2018 inductees. So should The Rock & Roll Hall of Fame be renamed to “The Music Hall of Fame?” But if that would be done, wouldn’t this imply such a broad scope that would make it an even more daunting task to identify nominees and select inductees?

While I acknowledge the Rock & Roll Hall of Fame is flawed, I still like the idea of celebrating rock & roll music. And let’s be honest, being in the company of the likes of Chuck Berry, The Beatles, The Rolling Stones, Bruce Springsteen and the Eagles, to name a few, is pretty cool. I think it’s safe to assume that many artists dream about joining such an exclusive club, whether they admit it or not.

Rock & Roll Hall of Fame Plaques

Following are highlights from last night’s induction ceremony in Cleveland, based on Rolling Stone’s reporting. Unfortunately, most of the current clips on YouTube sound distorted. I’m actually wondering whether this is done on purpose, so people don’t widely share the material. Also, keep in mind the HBO broadcast of the festivities is still ahead on May 5. Perhaps, better quality clips will become available thereafter I could use to replace some of the current footage. We shall see.

Interestingly, the night kicked off with Bon Jovi who were inducted by Howard Stern. It’s fair to say the Jersey boys, who by far won the fan vote, were the most anticipated artists of the night. One of the questions was whether former guitarist Richie Sambora would join his former band mates – he did, unlike Mark Knopfler who was a no-show. Since ultimately it’s the fans who have made these bands successful by purchasing their music and going to their shows, it’s unfortunate when artists cannot put aside their reservations at least for one night. Knopfler’s absence meant Dire Straits did not perform, which must have been a real bummer to many of their fans!

Anyway, here is Bon Jovi’s performance of Livin’ On A Prayer from their third studio album Slippery When Wet from 1986, which catapulted them to international super-stardom and more than 130 million albums sold to date.

Next it was the turn for Dire Straits. Three former members showed up, including bassist and co-founder John Illsley, initial keyboarder Alan Clark and the band’s second keyboarder Guy Fletcher. While Knopfler was absent, I still feel somebody should have inducted the band. Here is a clip of their acceptance speech.

One of the artists I was particularly pleased to see inducted is Sister Rosetta Tharpe, a true trailblazer of early rock & roll. She was inducted by Brittany Howard, the lead vocalist of Alabama Shakes. After her speech, Howard grabbed a guitar to perform That’s All, a Tharpe tune from 1938 – that’s 80 years ago! Howard was backed by a band that included Roots drummer Questlove and Paul Shaffer, among others.

Next up were the Cars, an American new wave, power pop rock band that had a string of hits between 1978 and 1988. They were inducted by Brandon Flowers, the lead singer and keyboarder of The Killers. “The Cars were the first band I fell in love with,” he noted. “And you never forget your first…They achieved greatness and left a comet trail behind them, writing and recording songs that have transcended into classics.” Here’s You Might Think, one of the band’s hits from their fifth studio album Heartbeat City, which was released in March 1984.

Nina Simone was inducted by Mary J. Blige. “Nina was bold, strong, feisty and fearless, and so vulnerable and transparent all at the same time,” she said. “Her voice was so distinctive and warm and powerful; I never heard anything like it. She knew who she was and she was confident in what she did and why she did it. But it was often the lack of confidence in herself that people could relate to. Nina sang for all her pain, her joy, her confusion, her happiness, her sickness, her fight. She fought through all the stereotypes. She fought for her identity. She fought for her life.”

Simone was honored with a two-part tribute. Part one was performed by the Roots and singer-songwriter Andra Day. For the second part, Lauryn Hill, formerly with the Fugees, took the stage. Here is Hill’s entire set, which consisted of Ne Me Quitte Pas, Black Is the Color of My True Love’s Hair and Feeling Good.

The last honoree of the night were The Moody Blues. They were inducted by Ann Wilson, formerly with Heart. Referring to the band’s iconic second studio album Days Of Future Past, she said, “In 1967, The Moody Blues made a record that changed the face of popular music and influenced an entire generation of progressive musicians, including Yes, Genesis, ELO and many, many others. For the first time, mellotron was introduced to the rock and roll mainstream and rock married classic orchestra. There was no progressive showboating or self-indulgent, mathematical noodling; just great, classy music that expanded your mind, sang to your heart, took you inward and lifted you higher.” Nicely said! Here’s a clip of the band’s best known song from that album: Nights In White Satin.

The evening also included tributes to Tom Petty and Chris Cornell of Soundgarden, performed by The Killers and Wilson and Jerry Cantrell, respectively. Here are The Killers playing  American Girl, throwing in some lyrics of Free Fallin’ at the end – too bad the clip’s sound sucks!

And here are Wilson and Cantrell with their rendition of Black Hole Sun, Soundgarden’s best known song. Written by Cornell, the tune appeared on the Seattle rock band’s fourth studio album Superunknown from March 1994.

Last but not least, Steve Van Zandt came on stage with a surprise announcement. “We all know the history of rock and roll can be changed with just one song, one record,” he noted. “This year, we are introducing a new category to the Rock Hall. We’re calling it The Rock and Roll Singles. It’s a recognition of the singles that shaped rock and roll, a kind of Rock Hall jukebox by artists that aren’t in the Rock Hall, which is not to say these artists won’t ever be in the Rock Hall. They just aren’t at this moment.”

The first six singles in this new category include Rocket 88 (Ike Turner’s King’s of Rhythm), Rumble (Link Wray), The Twist (Chubby Checker), Louie Louie (Kingsmen), A Whiter Shade of Pale (Procul Harum) and Born To Be Wild (Steppenwolf) – cool choices!

Sources: Wikipedia, Rolling Stone, YouTube

 

What I’ve Been Listening To: Eric Clapton/461 Ocean Boulevard

1974 album marked Slowhand’s triumphant return to music after three-year heroin addiction

461 Ocean Boulevard represented a clear break for Eric Clapton from his hardcore blues rock-oriented days with John Mayall & The Bluesbreakers, The Yardbirds, Cream and Derek and the Dominos. I’m a fan of all the aforementioned bands but also dig the more laid back side Clapton showed on his second studio solo album, which was released in July 1974.

It’s important to remember this record came after a three-year hiatus during which Clapton had overcome a heroin addiction. As the great documentary Eric Clapton: Life In 12 Bars tells, he tragically ended up replacing heroin with alcohol before finally getting sober in 1987. Clapton had also grown weary about his previous status as a “guitar god,” so he was clearly looking for a new start.

The album opens with a cover of Motherless Children, a blues standard that was first recorded by American gospel blues singer Blind Willie Johnson in 1927. The sped up beat gives the tune a great groove. I also like Clapton’s slide guitar playing.

The second track Give Me Strength is one of three tunes, for which Clapton has writing credits. I dig the dobro he plays on that track, something that at the time of the album’s release seemed to irritate a Rolling Stone critic, who also noted, “What’s disturbing is not that Clapton plays differently, but that he plays so little.” In my humble opinion, knowing when and how to show restraint is part of being a great guitarist.

Willie And The Hand Jive is one of two songs that were also released separately as singles. The tune was written by Johnny Otis and first appeared in 1958. Like the original version, Clapton’s take has a cool Bo Diddley beat.

The second and undoubtedly much better known single from the record is I Shot The Sheriff, a nice cover of the Bob Marley tune. I really like the slightly funky guitar sound and the keyboard part on this recording. It became a big hit for Clapton, hitting no. 1 in the U.S. on the Billboard Hot 100, and also topping the charts in Canada and New Zealand. According to Wikipedia, years later Marley told Clapton he liked his cover.

Next up: Let It Grow, which is my personal favorite on the album and another tune written by Clapton and on which he plays the dobro. Yvonne Elliman sings backup vocals. Before joining Clapton’s band in 1974, she had played Mary Magdalene in the musical Jesus Christ, Superstar. Elliman also scored a hit with If I Can’t Have You in 1978, which became part of the soundtrack of the motion picture Saturday Night Fever. Music critics noted the chord progression of Let It Grow is similar to Led Zeppelin’s Stairway To Heaven, something Clapton himself acknowledged. I wonder whether those same critics also worried about the similarity between Stairway and Taurus, the instrumental by Spirit.

The last track I’d like to call out is Steady Rollin’ Man, a song written by Robert Johnson, one of Clapton’s influences. In fact, 30 years later, he would record Me And Mr. Johnson, an entire album dedicated to the delta blues artist. This is another example where Clapton took an old blues tune and gave it new life and a nice groove by speeding it up.

While 461 Ocean Boulevard received mixed reviews from music critics, it became one of Clapton’s most successful albums with strong chart performances in the U.S. and many other countries. In August 1974, it was awarded Gold status by the Recording Industry Association of America. And, oh yes, it’s also listed at no. 409 in Rolling Stone’s 2012 list of the 500 Albums Of All Time – the same publication whose critic ripped it apart when it originally appeared.

This post wouldn’t be complete without acknowledging the musicians who helped Clapton record the album. Some critics felt they were less than capable – yes, there was no John Mayall, Ginger Baker, Jack Bruce or Duane Allman, but to say that Clapton’s band essentially was mediocre is simply ridiculous, in my opinion.

The musicians included Dick Sims (keyboards), George Terry (guitar, vocals), Carl Radle (bass), Jamie Oldacker (drums, percussion), Al Jackson Jr. (drums on Give Me Strength and Albhy Galuten (synthesizer, piano, clavichord). In addition to Elliman, Tom Bernfield and Marcy Levy were backing vocalists.

Last but not least, the album was produced by studio wizard Tom Dowd. This certainly helps explain the great sound.

Sources: Wikipedia, Rolling Stone, YouTube

My Playlist: Joe Cocker

Earlier this week, a post from fellow music blogger hotfox63 reminded me of Joe Cocker and made me go back and listen to some of his music, which I had not done in a long time. I’ve always liked the English singer for his distinct rough voice and excellent covers, especially With A Little Help From My Friends. Cocker truly made the tune his own; in fact, I prefer it over the original by The Beatles, and I say this as a huge fan of The Fab Four. From my rediscovery of Cocker it was only a small step to put together this post and playlist.

Cocker was born as John Robert Cocker on May 20, 1944 in the old British steel town of Sheffield, England. While growing up there, his key musical influences were Ray Charles and “skiffle king” Lonnie Donegan. At the age of 16, Cocker co-founded his first band The Cavaliers, together with three friends. Following the group’s break-up, he adopted the stage name Vance Arnold and performed with a new band called Vance Arnold and the Avengers. They mostly played at local pubs in Sheffield, focusing on Chuck Berry and Ray Charles tunes. In 1963, the band opened for The Rolling Stones at Sheffield City Hall.

Joe Cocker_I'll Cry Instead

In 1964, Cocker got his first record contract with Decca and released his debut single, a cover of The Beatles song I’ll Cry Instead. One of the backing musicians on that recording was a then 20-year-old session guitarist called Jimmy Page. Despite vigorous promotion by Decca, the single was a flop. After the setback, Cocker dropped his stage name and formed Joe Cocker’s Blues Band. The group was short-lived and Cocker took a one-year hiatus from music. In 1966, he re-emerged and together with session musician Chris Stainton formed The Grease Band. That group came to the attention of producer Denny Cordell.

Cordell, who worked with Procol Harum and The Moody Blues, among others, secured Cocker a residency at London’s Marquee Club, where he performed with a revamped lineup of The Grease Band. Cocker’s breakthrough came in October 1968 when he released his cover of With A Little Help From My Friends. Among others, the recording featured Procul Harum drummer B.J. Wilson, session keyboarder Tommy Eyre and guitar work from Page. The tune hit no. 1 on the UK Singles Chart on November 9, 1968.

Joe Cocker at Woodstock

With A Little Help From My Friends also became the title track of Cocker’s debut album, which appeared in May 1969, three months prior to his acclaimed performance at Woodstock. Over a 40-year-plus recording career, he went on to release 21 additional studio records. Cocker’s discography also includes 11 live albums and numerous compilations. On December 22, 2014, he passed away from lung cancer at the age of 70. Time to get to some music!

Kicking off this playlist is Cocker’s first single I’ll Cry Instead. I just totally dig this cover, especially the double bass, and similar to With A Little Help From My Friends like it better than the original.

Next up: The mesmerizing performance of With A Little Help From My Friends at Woodstock.

She Came In Through The Bathroom Window is another excellent Beatles cover. Cocker recorded it on his sophomore album Joe Jocker! which appeared in November 1969.

In August 1974, Cocker released his forth studio album I Can Stand A Little Rain. It was produced by Jim Price, who had previously been a trumpet player in Cocker’s touring band. Here is I Get Mad, a co-write by Cocker and Price with a nice soul grove. I Can Stand A Little Rain became Cocker’s highest-charting album of the 70s in the U.S., peaking at no. 11 on the Billboard 200.

By 1976, Cocker was highly indebted and struggling with alcoholism. In April that year, he released Stingray, his final album for A&M Records. It includes the excellent slow blues Catfish, which was co-written by Bob Dylan and Jacques Levy.

Next up: Seven Days, another outstanding cover of a Dylan tune, appearing on Sheffield Steel. Cocker’s eighth studio album from May 1982 is a gem in his catalog. Here’s a nice live version of the track, captured during an August 1993 show in Germany, which I recall watching on TV at the time.

In April 1986, Cocker’s 10th studio album Cocker appeared. Fueled by the hit singles You Can Leave Your Hat On and Don’t You Love Me Anymore, it became a major success.  Here is You Can Leave Your Hat On, which was written by Randy Newman and initially became popular after its use in the steamy motion picture 9 1/2 Weeks. I love the horns and honky tonk style piano in this tune.

Have A Little Faith In Me is the title track of Cocker’s 14th studio album released in September 1994. This beautiful tune was written by John Hiatt. The gospel choir is one of the song’s outstanding features.

Cocker’s 17th studio album No Ordinary World appeared in Europe and the U.S. in September 1999 and August 2000, respectively. One of standouts is a great version of the Leonard Cohen tune First We Take Manhattan. Originally, the song was recorded by Jennifer Warnes on her 1986 Cohen tribute album Famous Blue Raincoat. In July 1982, Cocker and Warnes had recorded the chart-topping ballad Up Where We Belong, which was part of the soundtrack to the film An Officer And A Gentleman.

I’d like to conclude this playlist with the title track from Cocker’s 18th studio album Respect Yourself released in July 2002. The song was co-written by Stax recording artists Luther Ingram and Stax house songwriter Mack Rice, and first recorded by The Staple Singers in 1971. Here is a great live version of Cocker’s rendition during a 2002 concert in Germany.

Cocker was ranked at no. 97 on Rolling Stone’s 2010 list of 100 Greatest Singers of All Time. “He brought Ray Charles to the mix as an influence on rock & roll,” said Steve Van Zandt in the accompanying narrative.

Sources: Wikipedia, Rolling Stone, YouTube

Clips & Pix: Bob Dylan & The Band/I Shall Be Released

Yesterday (April 7) was the 40th anniversary of the release of The Last Waltz, the triple LP album by The Band and soundtrack to the 1978 concert film directed by Martin Scorsese. The album and picture document the group’s official farewell concert at the Winterland Ballroom in San Francisco on Thanksgiving Day in 1976.

The Bob Dylan tune I Shall Be Released was the closing number of the official show. In addition to Dylan and The Band, it featured other high caliber guests, who had performed earlier during the show, including Van Morrison, Neil Young, Joni Mitchell, Eric Clapton, Ringo Starr, Ronnie Wood, Ronnie Hawkins and Neil Diamond.

Many critics have called the film one of the best rock concert movies; however, not everybody agreed. Notably, The Band’s Levon Helm charged the film portrays The Band as sidemen of Robbie Robertson. He also called it “the biggest fuckin’ rip-off that ever happened to the Band,” adding he and the other group members Rick Danko, Garth Hudson and Richard Manuel didn’t earn a dime from the film and the soundtrack album.

Sources: Wikipedia, YouTube