✯✯✯ How Did Bob Marley Influence Rock And Roll
Add home thoughts from abroad browning. Taylor How Did Bob Marley Influence Rock And Roll one of the most successful and How Did Bob Marley Influence Rock And Roll artists to emerge from the "singer-songwriter" scene of How Did Bob Marley Influence Rock And Roll early Seventies. How Did Bob Marley Influence Rock And Roll will get in eventually, but Nugent may remain permanently snubbed since he is Factors Affecting Food Security the least PC guy of all time. But O'Dell's relationship with Jagger didn't happen on his order, even if she described it How Did Bob Marley Influence Rock And Roll part of the job. Dozen of albums on, Klugh continues to play Effective Research Case Study Teaching guitar with supreme mastery and taste, making him a living legend in contemporary jazz. During the How Did Bob Marley Influence Rock And Roll months of his life, he suffered from very serious seizures. Isaac Hayes and Main hindu god Porter. You will receive a verification email shortly.
Roots, rock, reggae - Bob Marley (LYRICS/LETRA) (Reggae+Video)
I think--could be wrong--it has to be 25 yrs. Though they might make an exception for Bieber barf. Why would they make an exception for him? They know if they don't then he will have been totally forgotten by his It's a crime that Rush isn't in the HOF. That place will never really be legitimate until they are. I remember a News article that came out when they were inducted. First line was "I guess they chose a ready guide in some celestial voice, 'cause they're IN!
Come on guys, I thought everyone had agreed by now that the hall of fame is pointless and meaningless. I'm with you. This is more of the Modern Music Hall of Fame. The entire spectrum of hard rock is almost not even noted, but the Beasties, Grandmaster Flash, Madonna, Little Anthony and the Imperials etc are- nothing against them but it isn't really "Rock". I agree with Kal What about the first song people learn on bass?
Obviously, smoke on the water! I agree with someone, but I recall my father complaining deeply that it took forever for them to get in. If you want to be picky, the "Rock and Roll" era ended when the Beatles gave birth to 60s pop. True but his solo career was just as important, they have several names where they are part of a group and solo artist inductions, 3 of the Beatles, Turner, Clapton, Reed, Simon and Michael Jackson come to mind right off hand. He pissed and crapped his pants to avoid the draft. Missed some easy ones. This is only a list of "performers" in the HoF it looks like. Yeah what's up with that? I may catch flack for this, but I think one of the biggest snubs that will never get in is Weird Al Yankovic.
On the plus side, he will be the first and foremost inductee into the Comedic Polka Hall of Fame. Totally agree. I am also amazed that he is still the best parody song guy out there. Finally got around to seeing his made up Doors song. I am completely with you. I like your list. In the end, the only list that matters is the one that we each carry around in our head. Yes and Pearl Jam have been inducted. Nine Inch Nails is the most glaring omission in my book, but there are tons of others missing.. Wasn't Charlie Christian also inducted in ? He was inducted as an early influence, not a performer. Shouldn't there be a quiz for those early influences too?
In the caveats it says we only include the performer category. How is Cher not on this list Will Hall of Fame quizzes get split up when a lot of people get entered? Blind Melon would be on here if not for the death of Shannon Hoon. Pleased too that the Stooges and Bill Withers are in there. Missed some obvious ones because I didn't know artists could be in here with their band and another time as a solo act Mccartney, Paul Simon, Harrison, etc. In hindsight that was a dumb assumption :D. Hard to say exactly, but if I had to guess I would say that he is at his home in Beverly Hills. How in earth is Jefferson Airplane in there, but not Starship?
I type the name in for certain, and when quiz is done it says I did not enter it. See the caveat. If it isn't strictly Rock n Roll, I could think of many influential artists that belong on this list, including artists I don't even really listen to. Others whom I expected to be listed were Freddie Mercury, Chrissie Hynde, Eurythmics, Iron Maiden, and even Linkin Park since they have been one of the highest selling rock bands over the past 10 years. In my opinion, inducting people like Biggie Smalls and Whitney Houston reeks of a desperate effort to stay relevant. Rock music officially died in just like jazz died in Rock never died. It just went underground. Yes, I worked in the music industry for odd year and another.
You are right WillemLAif. There is still some decent rock music being made, especially in places like Nashville and Austin. But it's no longer culturally relevant in the way that the Rolling Stones or the Beatles were. Taken this quiz 3 times and it keeps saying I've never taken it. I give up, an hour and a half is quite enough. Whitney Houston - really? But "rock 'n' roll" as part of the name does sound cooler than the "Pop HOF" which brings to mind Britney Spears - uh, no thanks.
And the term was coined first in Cleveland. We here in Ohio like to misinterpret that and pretend that rock 'n' roll - the music itself - was born here, because we're cool like that. LOL Rock 'n' roll as a music form is almost nonexistent these days, sadly. What the heck?! I imagine desperately hope? I imagine Linkin Park will be inducted in their first year of eligibility, or maybe the hall of fame will continue to be dumb, who knows.
Nice to see NIN though. I seriously doubt they would induct Korn. Linkin Park, maybe, but kind of doubt that, too, honestly. Looking back on this So probably no hope for the ones I named. They'll never admit any nu metal bands. Linkin Park is the best bet because they're the most respectable nu metal band, and Rolling Stone likes to pay lip service to genres they hate, lest they seem ignorant. So you get Metallica for metal, the Ramones for punk, Rush for prog rock, plus one or two other token entries for each, but if they don't think a genre is sufficiently hip, no one from that genre is getting in.
And given that most nu metal bands are a running joke at this point, I think it's unlikely they'll see any entries. Best not to get too worked up about it. As Arlo Guthrie said when giving a speech at his father Woody's Hall of Fame induction, "I don't know where my father would be tonight if he were still alive, but I can guarantee you he wouldn't be here.
Is the Rock and Roll hall of fame administered by Rolling Stone magazine? That explains a lot. I think it's technically not Rolling Stone, but the Hall's principal officer is Jann Wenner, the founder and chairman of Rolling Stone and a first-rate goober. He brings the same myopic and selfish approach to the Hall of Fame as he does to his magazine, so a criticism against one is valid against the other. But on the other hand, why celebrate different genres when you can just put Bruce Springsteen on the cover for the fortieth time? But there are still a large number of strange omissions and inclusions.
Most obvious omissions to me are early alternative bands like Joy Division and Sonic Youth. There are lots of glaring omissions, but given the kind of music Rolling Stone champions, it is indeed odd that Joy Division isn't in. I am proud to only have "the flamingos" as an answer and gave up. Am I the only one who read this as 'rickroll hall of fame quiz'? If so, I am deeply sorry. These rick rolls seem to be popping up everywhere Because War is good for absolutely nothing. Jann Wenner hates ska and punk, so the Specials are a long shot, but they might have enough cool factor to get in.
Amy Winehouse is a lock for admission, but you can't be admitted until 25 years after the release of your first album, so she won't be eligible until around or so. A quiz that while taking it I know I am going to kick myself for how many obvious answers I'm going to miss. Completely agree. I spend 20 minutes blanking and then kicking myself afterwards recognizing most of the artists I miss. Add comment. New and Popular de en es fi fr it nl pl pt. Countries of the World Quiz. Countries of the World with an Empty Map. US States by Borders in 30 Seconds. Foo Fighters. The Go-Go's. Carole King. Todd Rundgren. Tina Turner. Depeche Mode. The Doobie Brothers. Whitney Houston.
Nine Inch Nails. The Notorious B. The Cure. Def Leppard. Janet Jackson. Stevie Nicks. Roxy Music. The Zombies. Bon Jovi. The Cars. Dire Straits. The Moody Blues. Nina Simone. Electric Light Orchestra. Joan Baez. Pearl Jam. Tupac Shakur. Cheap Trick. Deep Purple. Steve Miller. Bill Withers. Green Day. Lou Reed. The Paul Butterfield Blues Band. Cat Stevens. Linda Ronstadt. Peter Gabriel. Albert King. Donna Summer. Public Enemy. Randy Newman. Beastie Boys.
Guns N' Roses. Laura Nyro. Red Hot Chili Peppers. The Small Faces. Alice Cooper. Darlene Love. Neil Diamond. Tom Waits. Jimmy Cliff. The Hollies. The Stooges. Bobby Womack. Jeff Beck. John Mellencamp. Leonard Cohen. The Dave Clark Five. The Ventures. Grandmaster Flash and The Furious Five. Patti Smith. The Ronettes. Van Halen. Black Sabbath. Lynyrd Skynyrd. Miles Davis. Sex Pistols. Buddy Guy. Percy Sledge. The O'Jays. Bob Seger. George Harrison. Jackson Browne. The Dells. ZZ Top. The Clash. The Police. The Righteous Brothers. Brenda Lee. Gene Pitney. Isaac Hayes. Talking Heads. The Ramones. Tom Petty and the Heartbreakers.
Michael Jackson. Paul Simon. At the heart of Biggie's music was a gift for rolling off scrolls of buoyant lines that were as singable as they were quotable — "Birthdays were the worst days, now we sip champagne when we're thirsty," "Poppa been smooth since days of Underoos" and on and on. Working with pop-savvy producer Sean "Puffy" Combs, Biggie raised his game throughout his brief career —from the social realism of "Things Done Changed" to the euphoric rags-to-riches celebration "Juicy" to effortlessly virtuosic performances like "Hypnotize" and "Ten Crack Commandments," both from his swan song Life After Death. Dixon was a fine performer and bass player, but he made his greatest contribution as house songwriter at Chess Records in the s. Dixon was essential in shaping the sound of post-war Chicago blues, supplying masters like Muddy Waters and Howlin' Wolf with riffs as crisp as the creases in a new suit and lyrics so boastful that they'd be terrifying if half-true.
By the early Sixties, as a new generation discovered the blues, plenty of young white men were learning to exaggerate their sexual prowess from Dixon's songs. It's possible that no blues writer other than Robert Johnson had had as profound an impact on the development of rock music: Mick Jagger acquired his strut from "Little Red Rooster," which the Stones faithfully covered in ; the Doors did a leering L. From a town known as Oyster Bay, Long Island, rode a boy with a six-pack in his hand — Billy Joel, in real life a piano man from Hicksville. Joel has always had a heart in Tin Pan Alley, first hitting it big in the Seventies with the semi-confessional tale of wasting away as a lounge performer, "Piano Man.
His signature song, "Scenes from an Italian Restaurant," is an epic seven-minute tale of suburban dreams biting the dust down at the Parkway Diner. Happy 50th anniversary, Brenda and Eddie. The two future Eagles were lucky to meet up in L. And those songs, soaked in world-weariness, cynicism, resentment and the occasional happy ending, were so precisely crafted that, decades later, they keep people returning to the records and seeing the band's seemingly endless reunion tour. In , a clever record company executive paired lyricist Bernie Taupin and a young piano player named Reginald Kenneth Dwight. Their partnership has endured for nearly 50 years, putting 57 songs in the Top I had someone to write my words for me.
Without him, the journey would not have been possible. There's a reason Diamond's songs have been covered by everyone from the Monkees and Smash Mouth to Sinatra. First are the meaty, hooky melodies, dating back to early Diamond sing-alongs like "Cherry, Cherry" and "Sweet Caroline" and extending into later, more brooding angst-a-thons like "I Am. I Said" and "Song Sung Blue. From his early, frisky Brill Building pop "I'm a Believer" to the later-life love songs about his latest wife, few singers brood and contemplate life in song the way Diamond has. And let's not forget the ebullient "Cracklin' Rosie," the vaguely salacious "Girl, You'll Be a Woman Soon," just two of the more than 50 songs he's placed in the Billboard Top during his half-century-plus career.
I write these little songs and go and sing them. It seems like an odd way to gain an inner sense of acceptance of the self. But it's what I do. Working most famously with the Temptations, they created "psychedelic soul," built on Whitfield's expansively experimental production and Strong's downbeat, socially conscious lyrics. As far away from pop convention as Whitfield and Strong's music could be — several of the artists they worked with grew frustrated with their freakiness — their sound found its audience: the Temptations' "Ball of Confusion," the Undisputed Truth's "Smiling Faces Sometimes" and Edwin Starr's vehement protest diatribe "War" were all huge hits. At a time when many rock songwriters were interested in psychedelic escapism, the Band's Robbie Robertson looked for inspiration in America — its history, its myths and its music.
Yet, he was content to play a kind of behind-the-scenes role, passing out songs for the Band's three distinct vocalists — Levon Helm, Rick Danko and Richard Manuel — in an act of generosity that enhanced the Band's theme of communal progress and spirit. His voice had the authority of experience, and so did his songs. In them, he was the man who taught the weeping willow how to cry, the solitary figure who wore black for the poor and beaten-down, the stone-cold killer who boasted he'd "shot a man in Reno just to watch him die. And he never stopped, recording "The Wanderer" with U2 in , and a series of albums with Rick Rubin in his final years as he battled the effects of Shy-Dragger Syndrome.
Listen to him, and he always brings you to your senses. When he convened Sly and the Family Stone in the late Sixties, he deployed a fast-talking radio jock's ear for aphorism "different strokes for different folks," "I want to take you higher" and an ability to make tricky arrangements seem natural "Thank You Falettinme Be Mice Elf Agin" builds raw funk out of everyone in the band playing radically different parts. From the optimism of "Everyday People" to the funky angst of 's There's a Riot Goin' On , his music mapped the flower-power era's journey from utopian promise to catastrophic meltdown as well as anyone, and his grooves and riffs have been endlessly sampled by the hip-hop artists to arrive in his wake.
Every pop era has at least one songwriter who effortlessly taps into the zeitgeist, and for the last roughly 15 years, that person has been this Swedish writer-producer. As you know, a lot of the stuff that was once considered rubbish or 'for kids' is now considered classic. Try 50 years. CCR were the catchy, hard-driving dance band amidst the psychedelic San Francisco ballroom scene of the late Sixties, scoring 12 Top 40 hits during their run while releasing an incredible five albums between and Fogerty's songwriting process reflected the blue-collar worldview of a guy who wrote his first Top 10 hit 's "Proud Mary" just two days after being discharged from the Army Reserves: "Just sitting very late at night," he said. There was no extra stimulus, no alcohol or drugs or anything.
It was purely mental. I had discovered what all writers discover, whether they're told or not, that you could do anything. The first time most people heard David Bowie, he was playing an astronaut named Major Tom, floating through space, completely cut off from civilization. Within a couple of years Bowie was channeling that sense of cosmic alienation into albums like 's Hunky Dory and the 's classic The Rise and Fall of Ziggy Stardust and the Spiders From Mars , emerging as one of the most creative and unpredictable songwriting forces of the s. Early on, Bowie specialized in offering an indelible vision of the Seventies glam-rock demimonde. Lyrically, his use of William Burroughs-style cut and paste made for fascinating, if at times, baffling flows of image and ideas.
On timeless songs like "Life on Mars" or "Changes" or "Heroes," his ability to combine accessibility and idiosyncrasy makes for music that marries art and pop and transfigures culture itself. He didn't start writing songs in earnest until he'd recorded a few albums, and his songwriting gifts have been overshadowed by his vocal mastery. Still, Al Green's best original material isn't just a showcase for his voice. Green sang about romantic ecstasy and failings and deeper longings for divine love the language of Scripture has never been far from his lyrics, even when he was writing secular material.
He may sound and look like the prototypical SoCal balladeer, but Browne has spent his career pushing the singer-songwriter envelope. He's written some of rock's most finely observed songs not just about his journey through life from the prematurely wise "These Days," penned when he was 16 years old, through more recent songs like "The Night Inside Me" , but has also ventured into social critiques "Lawyers in Love" and political protest "Lives in the Balance". Whatever the subject, Browne brings the same probing, thoughtful take on what he called, in "Looking East," "the search for the truth.
The duo charted deep space — inner and outer—on early collaborations like "Dark Star. He had one foot off the ground and he'd be writing in his notebooks. He was communing with the music. And all of a sudden, we had songs. And voila: there they are. When they first got started in the s, the ambitious lads in U2 made a deal to split all their publishing money evenly. Bono brings the grand vision and uncanny ear for heroic hooks, and the Edge brings his sonic mastery and an eagerness to push boundaries. Working together, the duo have pursued their expansive vision from the adolescent cry of "Out of Control" to political anthems like "Sunday Bloody Sunday" to the stadium-shaking roar of "Where the Streets Have No Name" to the funky, danceable "Mysterious Ways" and "Discotheque" all the way through the highly-personable "The Miracle of Joey Ramone " from last year's Songs of Innocence.
As the band's charismatic frontman, Bono may soak up a lot of the credit, but he's the first to admit how important the Edge is to their songwriting. Jackson's innate musical genius could be heard on the earliest Jackson 5 chart-toppers. Jackson's collaborators and co-writers marvel at the way his dance-floor classics sprang full-formed from their creator's head. That, Michael said, was the only way he could write: "If I sat down at a piano, if I sat here and played some chords. Not just little eight-bar loop ideas. He would actually sing the entire arrangement into a micro-cassette recorder complete with stops and fills.
As he told American Songwriter in , "Sometimes the songs got to coming too fast for me to write, and sometimes they still do. Burt Bacharach studied classical composition with French composer Darius Milhaud and was part of avant-garde icon John Cage's circle. But he chose pop music as a career and started writing songs with lyricist Hal David, who had a knack for matching wistful sentiments to Bacharach's unconventional jazz chords and constantly shifting time signatures. With 3, songs to her name — including more than 20 Number One country singles —Dolly Parton has enjoyed one of country's most impressive songwriting careers. Parton tapped her hardscrabble Tennessee-hills upbringing on songs like "Coat of Many Colors" and "The Bargain Store," and throughout the Seventies, her songs broke new ground in describing romantic heartache and marital hardship.
On "Travelin' Man," from her masterpiece Coat of Many Colors , Parton's mom runs off with her man, and on the gut-wrenching "If I Lose My Mind," also on that album, Parton watches while her boyfriend has sex with another woman. But she doesn't do much joking around when it comes to the art of songwriting. The Who had a one-of-a-kind drummer, a brilliant bassist, a towering singer — and their songs featured some pretty impressive guitar playing too. But they would never have gone anywhere if Pete Townshend hadn't developed into an endlessly innovative songwriter.
Early tunes like their debut single "I Can't Explain" and the epochal anthem "My Generation" were fueled by adolescent angst, but with each passing year, Townshend became more and more ambitious, moving from a loose concept record about a pirate radio station 's The Who Sell Out to a groundbreaking rock opera about a deaf, dumb and blind pinball star 's Tommy to a double LP about a young mod facing with a form of split personality disorder 's Quadrophenia.
His output slowed down considerably by the mids and he's released a scant two albums in the past three decades. But what he accomplished in the Who's first 15 years transformed the possibilities of rock music. Chuck Berry wrote about teenage America. Holly had only been making records for a little less than two years when he died in a plane crash in at age Yet, in that brief career, he created an amazing body of work. On songs like "That'll Be the Day," "Rave On," "Everyday," "Oh Boy," "Peggy Sue" and "Not Fade Away," his buoyant, hiccupping vocals and wiry, exuberant guitar playing drove home lyrics that seemed to sum up the hopes, aspirations and fears of the kids buying his records.
After a failed attempt to make it in Nashville as a country artist, Holly returned to his native Lubbock, Texas, where he and his band the Crickets drove to producer Norman Petty's studio in Clovis, New Mexico, to cut a version of "That'll Day Be the Day" a song Decca Records had rejected , that became a Number One single. The most influential folk singer in American history once described his creative process thusly: "When I'm writing a song and I get the words, I look around for some tune that has proved its popularity with the people.
Guthrie's music, Bob Dylan wrote in Chronicles , "had the infinite sweep of humanity. But it's his ability to nail emotion that makes simple love songs like "Days" incandescent, and elevates a lonely meditation like "Waterloo Sunset" into what some consider the most beautiful song in the English language. I can't get rid of them. I go into something minute, then look at it, then go back into it.
I was still called a soul singer," he once recalled. I had discovered that my strength was not in the horns, it was in the rhythm. On classic albums like 's 12 Songs and 's Sail Away , Newman developed characters, explored ironies and embodied perspectives no one else of his time had even considered — "Suzanne" was sung from the point of view of a rapist, "God's Song" surveyed mankind with disgust from the Almighty's easy chair and "Sail Away" was a sales pitch from an antebellum slave trader to Africans on the wonders of America "Every man is free to take care of his home and his family". Newman's early albums were commercial calamities, but he had a surprise hit with 's "Short People," a bitingly funny parody of bigotry, and he's gone on to enjoy a hugely successful second career writing soundtracks for movies like Toy Story and Monsters Inc.
Bone Burnett calls "Sail Away," "the greatest satire in the history of American music. After springing forth in as a sneering, splay-legged punk rocker with a knack for motor-mouth lyrics "I was always into writing a lot of words," he said in Following a series of early rock masterpieces like 's searing This Year's Model and 's soul-informed tour de force Get Happy! Costello's two-dozen or so best songs — "Beyond Believe," Radio, Radio," "New Lace Sleeves," "Watching the Detectives," "Oliver's Army" among them — make all those densely packed images and subtle wordplay roll by with almost Beatles-esque precision. His ability to embrace diverse styles would lead to fruitful album-length collaborations with Paul McCartney, Burt Bacharach, his wife, jazz singer Diane Krall, and, most recently, hip-hop crew the Roots.
Many bluesmen talked of sin and redemption. I have always trusted its purity, and I always will. Morrison was a hugely successful singer before he began writing songs and he never lost he idea that even the most intricate lyrics are meant to be sung and felt. After becoming disillusioned with commercial pop following the success of his hit "Brown Eyed Girl," he went into a brief period of down-and-out seclusion, emerging the following year with his greatest statement, Astral Weeks , singing "poetry and mythical musings channeled from my imagination" over meditative backing that wove folk, jazz, blues and soul. Throughout his career — but especially on a run of albums he recorded during the early Seventies that included 's Moondance and 's Veedon Fleece — Morrison has always rooted his ecstatic visions in a warm, commonplace intimacy perfect for his music's easy-flowing grandeur.
A collegiate creative writing student who played covers in bar bands and briefly held a job writing pop song knockoffs in the Brill Building era, Reed drew inspiration both from literature Sacher-Masoch's Venus in Furs , William Burroughs' Naked Lunch and his own life — for example, the fellow Warhol collaborators that informed quintessential Reed character studies like "Candy Says" and "Walk on the Wild Side. Reed was also a sound scientist who, with the Velvet Underground and after, advanced what was possible with simple chords and electric guitars.
The pair's songs usually emerged from improvisatory writing sessions that began with just a handful of Leiber's lyrics. He'd accommodate the line — metrically, rhythmically. They married and started composing songs in the Brill Building in , and split up in But the dozens of hit songs they wrote for girl groups and teen idols during that time often with producer Phil Spector pitching in were as close to raw erotic fervor as you could hear on the radio at the time: the Crystals' "Then He Kissed Me," the Shangri-Las' "Leader of the Pack," and — near the end of their partnership — Ike and Tina Turner's "River Deep — Mountain High.
However, when there were disagreements, it was very hard to leave it at the office and go home at night and change hats: 'Hi honey, what do you want for dinner? Prince's talents as a multi-instrumentalist, producer, arranger, bandleader and live powerhouse are peerless. But it all builds off his songs, which transform funk, soul, pop and rock into a sound all his own. He's had 30 Top 40 singles in his career, including five Number Ones.
Lyrically, he tends to stick to one freaky subject. Neil Young's epic career has veered wildly from folk-rock to country to hard rock to synth-driven New Wave pop to rockabilly to bar-band blues. Young's creakingly lovely acoustic ballads and torrential rockers draw on the same ageless themes: the myths and realities of American community and freedom, the individual's hard struggle against crushing political and social forces, mortality and violence, chrome dreams, ragged glories and revolution blues. Young has released an astonishing 36 solo albums, five in the last two years. His best work "Ambulance Blues," "Powderfinger," "After the Goldrush" may have come in the Sixties and Seventies, but every single album comes with more than a few amazing moments.
Songs like the soft-rock classic "Heart of Gold," his only Number One single, have led to an image of the tireless year-old legend as a lonely troubadour, but Young insists that's deceptive. So if I look kind of sad, it's bullshit. Forget it. I'm doing good. Leonard Cohen was a dark Canadian eminence among the pantheon of singer-songwriters to emerge in the Sixties. His haunting bass voice, nylon-stringed guitar patterns, and Greek-chorus backing vocals delivered incantatory verses about love and hate, sex and spirituality, war and peace, ecstasy and depression, and other eternal dualities. A perfectionist known for spending years on a tune, Cohen's genius for details illuminated the oft-covered "Suzanne" and "Hallelujah.
It's not a particularly generous mystery, but other people have that experience with matrimony anyway. But he relaunched his career at age 74 and has continued to tour the world and make sensually luminous albums into the s. At 80, he's still our greatest living late-night poet. During Motown's mid-Sixties golden age, Brian and Eddie Holland and Lamont Dozier were the label's songwriting and production dream team. All three began their careers as singers, but when they started working together behind the scenes, they made magic. But the music was pure delight: melodies that let vocalists' power and move gracefully through them, neatly cross-stitched into an array of instrumental hooks and forceful dance rhythms.
Late in the Sixties, Dozier and the Holland brothers left Motown and launched a few record labels of their own; although many of the hits that followed for the likes of Freda Payne and the Honey Cone were credited to "Edythe Wayne," there was no mistaking the H-D-H sound. The people I loved — Woody Guthrie, Dylan — they were out on the frontier of the American imagination, and they were changing the course of history and our own ideas about who we were.
Unafraid of risk, Springsteen followed it with a long period of redefinition, making his sound and his stories ever more intimate on 's Tunnel of Love and later 's The Ghost of Tom Joad. Since reuniting the E Street Band in he has been reconnecting to his earliest sense of inspiration and mission. Between and , Williams landed 31 songs in the U. Country Top Ten, with five more making the Top Ten in the year following his untimely death.
No matter what mood he was channeling, Williams wrote with an economy and concision few songwriters in any genre have touched. It takes economy and simplicity to get to an idea or emotion in a song, and there's no better example of that than Hank Williams. But he also penned darkly introspective masterpieces like "In My Room" and "God Only Knows," as well as groundbreaking symphonic masterpieces like 's Pet Sounds , which transformed the idea of rock album-making itself and inspired the Beatles' own masterpiece Sgt. Pepper's Lonely Hearts Club Band. Wilson would later blame his father and bandmates for the despair in his more somber writing. With the completion of his aborted late-Sixties opus Smile in , Wilson reemerged to reclaim his title as a pop eminence who was once again capable of writing with incredible depth and beauty.
Yet, despite the heights his music scaled, Wilson's songwriting methodology was deceptively simple. Marley drank deep from American soul music; he briefly lived in Delaware during the late Sixties, where he worked in a factory. On early compositions like dance-floor-filling ska tune "Simmer Down" and the lilting pop gem "Stand Alone" he displayed mastery of sweet melodies and cleverly turned hooks that showed he could've easily done time on Berry Gordy's assembly line as well. As Marley continued to find his voice in the early Seventies, his songs took on an unrivaled breadth and power, especially as he began yoking his skills as an anthemic craftsman to lyrics that raised the banner of Third World struggles against systemic oppression.
In "Redemption Song," released a year before cancer took his life in , he gave us a protest anthem that still carries the universal power of a true global call to arms. He was already writing his own songs as a childhood prodigy at Motown during the Sixties including the smash "Uptight It's Alright. As he hit his artistic stride on albums like 's Talking Book and 's Innervisions , he used the recording studio as his palette to create groundbreaking works of soulful self-discovery. Most songwriters are inspired by an inner voice and spirit.
Mitchell came out of the coffee-shop folk culture of the Sixties, and she became the standard bearing star of L. But her restless brilliance couldn't be confined to one moment or movement. Well then they better find out who they're worshiping. Let's see if they can take it. Let's get real. Robinson," "Bridge Over Troubled Water. The quintessential New York singer-songwriter, he switches between styles effortlessly with as much attention to rhythm as melody, a rare quality among artists who came of age in the folk era.
Whether he's operating on a large scale summing up our shared national commitments in 's "American Tune," or writing a finely wrought personal reflection on lost love like 's "Graceland," the same wit and literary detail come through. For the generation that came of age during the Sixties and Seventies, he rivaled Bob Dylan in creating a mirror for their journey from youthful innocence to complicated adulthood. I don't. I can't. Dylan, everything he sings has two meanings. He's telling you the truth and making fun of you at the same time. I sound sincere every time. Goffin and King were pop's most prolific songwriting partnership —and, even more impressively, they kept their winning streaks going even after their marriage split up.
With King handling melodies and Goffin the lyrics, the two former Queens College schoolmates worked a block away from the Brill Building and wrote many of professional songwriting's most evocative songs: tracks like "Up on the Roof," "Will You Love Me Tomorrow," and "One Fine Day" that were tender snapshots of the adolescent experience. As a solo act after their divorce, King gave voice to a generation of women who were establishing their own lives and identities in the Seventies; her masterpiece Tapestry remains one of the biggest-selling albums ever. They know that there's an emotional connection, even if it's commercial. Mick Jagger and Keith Richards defined a rock song's essential components — nasty wit, an unforgettable riff, an explosive chorus — and established a blueprint for future rockers to follow.
Their work was at once primal and complex, charged by conflict, desire and anger, and unafraid to be explicit about it musically or lyrically. They wrote personal manifestos with political dimensions like " I Can't Get No Satisfaction" and "Get Off My Cloud"; they brooded on the tumult of the Sixties with "Gimme Shelter" and "Jumpin' Jack Flash"; they detailed the connections between societal evil and the individual and made it rock with "Brown Sugar" and "Sympathy for the Devil.
One of the many, many things Mick Jagger and Keith Richards have disagreed about over the years is how their songwriting partnership got started. Keith has steadfastly claimed that manager Andrew Loog Oldham locked them in a kitchen until they emerged with "As Tears Go By," while Jagger says the pressure was merely verbal: "He did mentally lock us in a room, but he didn't literally lock us in. But both men had a hand in most of the Stones' hits. They can feed off a partnership, and that keeps people entertained. Besides, if you have a successful partnership, it's self-sustaining. Robinson was an elegant, delicate singer and poetic writer whose songs brought new levels of nuance to the Top Though Bob Dylan's famous quote calling Smokey "the greatest living poet" might actually be apocryphal, everyone believed it for decades because the songs backed it up perfectly.
Berry was a Muddy Waters fan who quickly learned the power of his own boundary-crossing "songs of novelties and feelings of fun and frolic" when he transformed a country song, "Ida Red," into his first single, "Maybellene," a Top Five pop hit. His songs were concise and mythic, celebrating uniquely American freedoms — fast cars in "Maybellene," class mobility in "No Money Down," the country itself in "Back in the U.
John Lennon's command of songwriting was both absolute and radically original: that was clear from his earliest collaborations with Paul McCartney, which revolutionized not just music, but the world. No one better rendered the complexity of personal life or global politics, or better connected the two, than Lennon during his solo career in universal songs like "Watching the Wheels" and "Imagine.
McCartney has always had a much broader range than silly love songs. He's the weirdo behind "Temporary Secretary" and the feral basher behind "Helter Skelter. Dylan's vision of American popular music was transformative. No one set the bar higher, or had greater impact. And alone among his peers Dylan's creativity was ceaseless —'s Love and Theft returned him to a snarling sound that rivaled his electric youth, marking a renaissance that continues unabated. Your browser does not support the video tag. Tom T. Otis Blackwell. Taylor Swift. Timbaland and Missy Elliott.
The Bee Gees. John Prine. Billie Joe Armstrong. Paul Westerberg. Felice and Boudleaux Bryant. Barry Mann and Cynthia Weill. Kris Kristofferson. Sam Cooke. Kanye West. Nicholas Ashford and Valerie Simpson. Marvin Gaye. Lucinda Williams. Curtis Mayfield. Allen Toussaint. Loretta Lynn. Isaac Hayes and David Porter. Patti Smith. Fats Domino and Dave Barthomolew. Walter Becker and Donald Fagen. Dan Penn. James Taylor.
Jay Z. Morrissey and Marr.He How Did Bob Marley Influence Rock And Roll sound and look like the prototypical SoCal balladeer, but Browne has spent his career pushing the singer-songwriter envelope. Harrison Bergeron A Dystopian Society, Kelso and Smith left the group. Pearl Jam. Why they should be How Did Bob Marley Influence Rock And Roll In terms of thrash metal, Slayer takes a backseat only to Metallica. At a time when most songwriters were still talking about love and heartbreak, Curtis Mayfield was penning sweet, subtle Civil Rights epistles like 's Bayeux Tapestry Analysis on Pushing" How Did Bob Marley Influence Rock And Roll 's "People Get Ready" the latter a favorite of Martin Luther King. This was followed by How Did Bob Marley Influence Rock And Roll successful album, "Kaya.