Sly and the Family Stone made some of the most buoyant and thoughtful music of the late-'60s and early-'70s, uniting and transforming black and white music at a time of highest hope and deepest betrayal in America. Leader Sly Stone personified both extremes, as the truest of believers and a victim of his own disillusionment.
Stone was a musical child prodigy who recorded a gospel song at age four. In the mid-'60s he produced hit records for the Beau Brummels and Bobby Freeman before his dream blossomed into the colorful, freaky Sly and the Family Stone. Sly wrote the songs, created the arrangements and handled the production, but allowed each member to express his/her individual identity. The Family blended blacks and whites, men and women: Sly’s b
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Jamaican singer Bob Marley brought the righteous message and "positive vibrations” of reggae music to the world.
The greatest singer, songwriter, and cultural figure in Jamaican history, Bob Marley brought the righteous message and "positive vibrations” of reggae music to the world, and is the only towering figure of the rock era not from America or the U.K.
Marley and his band, the Wailers, created transcendent music around the entrancing, inverted reggae beat and unforgettable melodies that equally decried poverty and injustice and celebrated physical and spiritual ecstasy — all of it grounded in Marley’s abiding Rastafarian faith. Marley’s
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Pink Floyd is the most eccentric and experimental multi-platinum band of the album rock era, creating exceptional cinematic sound sculptures "Meddle,” "Dark Side of the Moon,” "Wish You Were Here,” and the band’s popular apex and conceptual death knell, "The Wall.”
Beginning in the mid-'60s as a R&B-based hard rock band, the band (named after Piedmont blues men Pink Anderson and Floyd Council) — Syd Barrett on guitar and vocals, Roger Waters on bass and vocals, Richard Wright on keyboards, and Nick Mason on drums — mutated quickly into a strange combination of twee British psychedelia ("See Emily Play,” "Arnold Layne”) and long-form instrumental space rock ("Astronomy Domine,” "Interstellar Overdrive”), in
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The Ramones — Dee Dee (bass, vocals), Joey (vocals), Johnny (guitar), Tommy (drums, later replaced by Marky) — were the American punk band, an endless wellspring of noise, energy, attitude, humor and (sometimes forgotten) great songs, who helped reinvent rock ‘n’ roll when it needed it most in the mid-'70s.
Working for indie Sire Records in the mid-'70s, producer/talent scout Craig Leon became involved with the percolating New York underground music scene. One summer night in 1975 he went to CBGB’s and saw two bands, the Talking Heads and the Ramones.
"I went to that show and there were literally four people in the audience besides me, but the bands were phenomenal,” Leon said
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Over a 10-year, nine-album career from 1969-79, Led Zeppelin was the most popular rock group in the world, ultimately selling more than 50 million records in the U.S. alone (more than 200 million worldwide), developing the blues-based power trio-plus-lead singer archetype in many directions including mystical English folk-rock, Middle Eastern-influenced exotica, quirky pop and every manner of heaviness. They also came to symbolize the Dionysian excesses of the rock lifestyle.
Their ubiquity on classic rock radio formats and the aforementioned excesses have led many to dismiss the band as overrated and s
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Out on the road today/I saw a Deadhead sticker on a Cadillac/A little voice inside my head/Said ‘don’t look back, you can never look back.’ — Don Henley, "Boys of Summer”
When Henley wrote "The Boys of Summer’ in 1984, he saw the sticker on luxurious Detroit steel as a contradiction of values: a symbolic matter/antimatter collision that obliterated the meaning of both. But Henley didn’t realize that his symbol of a Dead past was in reality a very powerful symbol of the present and future.
The Vietnam War was the perfect polarizer between youth and adult culture: it had no clear objective, it was far away, it cost many liv
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Ireland’s U2 is the most important and influential band of the post-punk era, joining ringing guitar rock, punkish independence, Celtic spirituality, innovative production techniques and electronic experimentalism — all held together by singer/lyricist Bono’s transcendent vision and charisma.
U2 — Bono (Paul Hewson), guitarist the Edge (Dave Evans), bassist Adam Clayton and drummer Larry Mullen — formed in Dublin in 1976 as a Beatles and Stones cover band while the players were all still in high school. In 1980 they were signed to Island Records and released their spectacular first album, "Boy,” produced by Steve Lillywhite.
The band’s sparkling, radiant sound jumped from the grooves from the first note of "I Will Follow” and rode M
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Oldham split with the band amid the insanity and media frenzy of drug busts in 1967, but he and the band generated some amazing music during the two years between the squirmingly lascivious "Satisfaction” — considered by many the greatest rock song ever — released in May 1965, and the hit-filled "Flowers” compilation, released in July '67. Included was the incredibly self-aware narcissism of "Get Off Of My Cloud,” chamber music gentility and vulnerability of "As Tears Go By,” bemused urban modernity of "19th Nervous Breakdown”; and the Stones’ first classic album, "Aftermath,” with the simultaneously mocking and empathetic drug song "Mother’s Little Helper,” deeply groovy and misogynistic "Under My Thumb” and "Out Of Time,” lovely "Lady Jane,” and exotic, roiling "Paint It Black.”
Then came the Stones classic late-'60s/early-'70s period between "Beggar’s Banquet” and "Exile
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When the Beatles ceased to exist in 1970, the title of "World’s Greatest Rock ‘n’ Roll Band” fell with very little dispute to the Rolling Stones, who by then were in the middle of such a wondrous creative peak that they might have challenged the Fab Four for the title anyway. It’s a title the one-time "anti-Beatles” haven’t relinquished since. Not only have the Stones been the greatest rock band in the world for more than 30 years, but they have been a functioning rock ‘n’ roll unit for more than 40, the longest run in history.
Boyhood friends Mick Jagger and Keith Richards, along with guitarist Brian Jones and pianist Ian Stewart, formed the first version of the Rollin’ Stones in 1962, and with the crack rhythm section of Charlie Watts on drums and Bill Wyman on bass soon on board, were ripping it u
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A small but significant slice of the Beatles’ magic came back in 1986 with release of the classic John Hughes teen flick "Ferris Bueller’s Day Off,” wherein Matthew Broderick’s title character lip-syncs the early Beatles classic "Twist and Shout” (ironically, a song they didn’t write) from the top of a float in a downtown Chicago parade.
John Lennon sang "Twist and Shout” as though the words were joyful corrosive poison, that his only hope of survival was to expel them with all the vehemence that his rhythm-besotted body could muster, and so does Ferris in the scene. Paul and George’s responses matched John’s zeal at the end of each stanza with their delirious "Ooohs.” They were enjoying themselves so much that this song seemed the most important thing in their lives at that moment. The Beatles knew the awesome responsibilities of
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