Tag Archives: Greenwich Village

10 Glaring Omissions From The Rock and Roll Hall Of Fame

The rock and roll hall of fame is known for excluding numerous bands and artists over the years.  Here’s a list (in no particular order) of artists that are eligible, but currently not in the hall of fame.

Joy Division

With just two albums Joy Division influenced generations of artists from the early U2 records to The Killers.  Emerging from the punk scene, they were one of the first groups of that era to take the lo-fi esthetic of punk and emphasize mood and texture rather than sheer energy and bombast.  Ian Curtis’ cold baritone and lyrical fascination with isolation and despair  was a perfect mix for the icy, atmospheric music found throughout Unknown Pleasures and Closer.   And no matter what you think of the genre, it’s hard to think of Emo existing without Joy Division.

Television

Television more or less invented post-punk taking cues from the Velvet Underground.  even though they began their career just as the punk scene was beginning to explode in New York City in the mid 70s.  Guitarists Tom Verlaine and Richard Lloyd circumvented the traditional roles of lead and rhythm guitar, specifically on such songs as “Marquee Moon”, which often led the rhythm section of Fred Smith and Billy Ficca to anchor the songs.  What’s even more profound is the lack of blues influences, which even the more avant-garde and wild groups (like The Velvet Underground) had used as a blue-print.  While U2’s The Edge gets most of the credit to popular audiences for the extensive use of delay pedals, Verlaine was perhaps the first to really explore it.

Brian Eno

To many Brian Eno is just the guy who worked with U2, David Bowie and Coldplay.  As a producer and a member of Roxy Music, he certainly deserves recognition, but his solo albums have proved to be extremely influential as well helping to popularize minimalism.  Eno is often credited with coining the term (and also creating) “ambient music” – low volume music which is meant to change the listener’s perception of the environment around them.  His collaboration with David Byrne  1981’s My Life in the Bushes was one of the first records with extensive use of sampling.

Gram Parsons

There are so many alt-country artists on the scene, that it can sometimes be hard to distinguish what exactly constitutes the term.  But Gram Parsons was a true pioneer.  He welded together his love for traditional Country & Western into the emerging rock scene in a way that was not only groundbreaking, but also respectful to its original source. Country-rock never sounded as glorious as it does on GP and Grievous Angel.  While Parsons never had huge success, his influence can be felt on many records by The Rolling Stones, The Black Crowes, Ryan Adams and Wilco among countless others.

Toots and the Maytals

Bob Marley is more universally known, why omit Toots and the Maytals, one of the key artists in reggae?  They might not have had the big names songs that the wanna-be white dude with dreads plays in his dorm, but they might be more consistent.   The band had some of the best harmonies found in reggae, particularly on such as “Sweet and Dandy” the immortal “Pressure Drop”.  It also doesn’t hurt that Toots Hibbert has often been called a Jamaican Otis Redding for his soulful, tender vocals.

Emylou Harris

Emylou Harris has one of the best voices in rock and country music that is gut-renching and aching as it beautiful and angelic. So it’s no wonder she has been a go-to back up singer for artists such as Gram Parsons, Bob Dylan, Neil Young, Warren Zevon, John Denver, and Ryan Adams among others.  Like her mentor Gram Parsons, Emylou Harris helped make traditional country cool for a rock audience.  And like many of those artists, Harris has a restless musical soul with consistently great records (Elite Hotel and Luxury Liner in particular).

Son House (Early Influence)

Thankfully the Rock Hall inducts early influences from artists who pre-dated rock and roll.  If you can include Robert Johnson, John Lee Hooker and Lead Belly where the hell is Son House? Torn between his spiritual upbringing (he grew up wanting to be a preacher) and the secular and profane delta music, Son House embodied the Blues like no one else before or since.  Son House’s rhythms provided blueprint for hundreds of artists Muddy Waters and Robert Johnson to most recently The White Stripes.

The Faces

While The Faces aren’t as well known (or influential) as The Rolling Stones, they’re torn from the same cloth.  If you want dirty, sloppy rock and roll for a bad-ass party, The Faces are an essential soundtrack.  And like The Stones, you can feel the sweat and sheer joy from the performance. It’s hard not to want to get up and dance when listening to songs like “Stay With Me” and “Too Bad”.  A Nod Is As Good as a Wink To a Dead House is an undisputed classic in straight-up rock and roll boogie.  It’s also proof that, despite his cheesiness now, Rod Stewart was once pretty fantastic.

The Smiths

If you can include R.E.M. in the Rock Hall, you also have to include their British contemporaries, The Smiths.  Like Peter Buck, The Smith’s guitarist Johnny Marr favored a clear ringing style of guitar that was under-stated but brilliant.  The Smiths’ jangled, melodic, alternative rock with Morrisey’s articulate and literate crooning style was a direct anthesis to the synth-pop that was over-taking the British music scene at the time.   Like Joy Division, The Smiths had a huge influence on Emo, providing the soundtrack for many alienated and confused teenagers.

Harry Smith (Non-performer)

It’s hard to over-estimate the importance of The Anthology of Folk American Folk Music (aka The Harry Smith Anthology).  Prior to this collection, many of these recordings would otherwise go unnoticed and be lost in time.  The Blues, Folk and Bluesgrass music culled from Depression-Era America, directly resulted in the Folk-Revival off the late 50s and early 60s.  Simply put, without Smith’s archival the Coffeehouse perfomances in Greenwich Village probably wouldn’t have existed.  And who can imagine music without that?

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Preview of This Week’s Theme: James Jamerson

You can thank the bar I went to over the weekend in Greenwich Village for the inspiration for this week’s theme.  They played old-school soul music for hours straight.  It really might be the best-bar music I’ve ever heard.  I won’t officially start posting this week’s theme until tomorrow, but here’s a preview of this week’s theme – the great and perhaps (under appreciated) James Jamerson.

 

 

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Bob Dylan & New York: “Positively 4th Street”

1965 has often been described as the year when Dylan was an “angry young man”.   There are many songs during that period where Dylan cut down ex-lovers (“Like a Rolling Stone”), journalists (“Ballad of a Thin Man”), and society in general (“It’s Alright Ma (I’m Only Bleeding)”).     While “Like a Rolling Stone”‘s attack was visceral and sadistic its intent was covered in word-play and drugged out literary images.  This of course ensured that its meaning and lyrics could be deciphered for years to come.  But it’s “Positively 4th Street” that is downright nasty – Dylan eschews his surrealistic imagery that he was custom to at the time.  It’s so direct and simple, that there is no question exactly how he’s feeling.

For years Dylan had been living in Greenwich Village – (4th Street may be a reference to where he once lived) and cut his teeth performing at the coffee-houses in the area.  “America is changing,” Dylan wrote in his memoir Chronicles Volume 1. “I had a feeling of destiny and I wasd riding the changes.  New York was as good a place to be as any.”  Dylan was always good at picking up on change.  He came into New York just as the folk-scene was beginning to explode, and in the mid 1960’s he released followed the cues of the Beatles.  Of course his version of amplified music, would send ripples across the counter-culture.

It was inevitable that there would be a backlash once he decided to go electric.  The famous performance at Newport got the most press, but back in Greenwich Village, some of his supporters viewed him a sell-out.  The topical songs were gone.  Just as everyone else was trying to catch up to Dylan, he quickly moved the opposite direction.

“Don’t you know, it’s not my problem”, He declares near the end of the song.  Dylan wasn’t just being apathetic here – he had moved on, and felt that the scene was also moving on as well.  The Folk Scene in Greenwich Village might have started out as progressive, but sometime between 1960 and 1965 it seemed to become very constricted its own ideals. Dylan used to live on 4th Street in Manhattan (there’s also suggestions that 4th Street refers to his time at the University of Minnesota, but I find this doubtful) so he makes it clear from the beginning his targets in the song are those who used to come to his shows, old friends journalists, and anyone else who was now crying foul on his new direction.

“You got a lot of nerve,” Dylan says in the song.  As if to reinforce the idea, he says it twice (although it’s followed up with a different reason.) Dylan calls out his “friend” for talking behind his back.  He knows his target is guilty, because he used to do the same thing, and hang out with the same people.  This line reminds me of the chorus of “My Back Pages” – “I was so much older then, I’m younger than that now” – Dylan is realizing how pathetic the “scene” is to him.

In contrast to the song’s light tone, and an organ that you can almost whistle to, Dylan imagines that his friend would rather see him paralyzed.  “Why don’t you just come out once and scream it?” Dylan demands.  The weight of the song is put upon this line.  In his mind, much of the folk-scene complained and bitched about what was taking place, but very few actually made the change themselves. They couldn’t come up and “scream it”.   Dylan did in more ways that one, and that’s why much of the scene was pissed.  It wasn’t about Dylan being a sell-out.  They knew the change had come, and missed their opportunity.

 

(For some reason, Youtube only has covers of “Positively 4th Street”.  Sorry that there’s no video/audio.)

 

 

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