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Louder Than Words: Rock * Power * Politics

If you miss Louder Than Words in Cleveland, it opens January 6, 2017, at the Newseum in Washington, DC.

Rock and Roll Hall of Fame, Cleveland, OH, Thursday and Friday, July 14 and 15, 2016

In the Belkin Gallery on Levels 5 and 6 of the Rock and Roll Hall of Fame, was Louder Than Words, a “special exhibit created in partnership with the Newseum in Washington, DC, exploring rock music’s power to change attitudes about peace, equality, patriotism, and hope.”

It was magnificent.

On the wall Up the stairway are some lyrics from Patti Smith’s People Have the Power: “And the people have the power To redeem the work of fools From the meek the graces shower It’s decreed the people rule.”

There were kiosks about all the Presidents, from Truman to Obama, describing the music they used in their campaigns. But mostly it was music, graphics, and artifacts about how the country dealt with a variety of conflicts.

Mississippi Goddam by Nina Simone was one of the songs representing the civil rights movement.

In the Vietnam War period, you heard Waist Deep in the Big Muddy by Pete Seeger and Ohio by CSN&Y, but also The Ballad of the Green Berets, a 1966 hit by Staff Sgt. Barry Sadler.

There was a display about the Parents Music Resource Center versus Rock, with Tipper Gore, Al’s wife leading the charge against the “pornography” of Prince’s Darlin’ Nikki and other songs, and succeeding in getting parental advisory labels on CDs.

Pro- and anti-Iraq war songs were represented, as were anthems from Helen Reddy’s I Am Woman to Lady Gaga’s Born This Way and Macklemore and Ryan Lewis’ Same Love.

The song that played constantly: a Michael Jackson song, They Don’t Care About Us. More recent struggles, such as songs associated with Black Lives Matter were described.

If you miss Louder Than Words in Cleveland, it opens January 6, 2017, at the Newseum in Washington, DC.

Did I mention that the Hall would be closing early on that Saturday, and closed all day on Sunday so that delegates from the Republican National Convention could tour the facilities? I would be VERY interested to get their reaction.

In fact, the first day we were there, we could tell security was tightening. But the second day, it was much worse, with a tent making it much more difficult to enter the facilities.

A couple more highlights of the Hall: a 13-minute movie called Artist Unite about the rock benefit concert, from Bangladesh to Live Aid, tied to Louder THan Words.

There was a walkway with displays of recently deceased musicians, including Prince, Percy Sledge, Gerry Goffin, Bobby Womack, Tommy Ramone, Maurice White, George Martin, Jack Bruce, B.B. King, David Bowie, Glenn Frey, Allen Toussaint, Paul Kantner, and William Guest of the Pips.

Possibly the best thing: Because we are Supporters of the Albany Institute of History & Art, and we also got an annual membership to the North American Reciprocal Museum Program, we received “free admission and other benefits at more than 500 museums throughout the United States and Canada.” This included the three of us going to the Rock and Roll Hall of Fame, twice.

Rock and Roll Hall of Fame

There was a special section on Graham Nash: Touching the Flame, featuring the photos and drawings he and his friends created during his time with the Hollies and CSNY

Rock and Roll Hall of Fame, Cleveland, OH, July 14-15, 2016

Since it’s only about an hour away from the Ashtabula reunion, the family was unanimous in agreeing that we would HAVE to visit the Rock and Roll Hall of Fame in Cleveland.

I had been there before, in 1998. They had special displays for the Carls Perkins and Wilson, who had recently died. But much has changed in the intervening 18 years.

They recommend that you start your tour on the lower level, and this is appropriate. It has a film about the 2016 induction ceremony. I spent a LOT of time, and could have spent more, in the Stewart Gallery, reading about and listening to “The Roots of Rock: Blues, Gospel, R&B, Country, Bluegrass, and Folk.”

The Elvis Presley exhibit featured a 14-minute film about him, which was worth watching. Then “The Legends of Rock and Roll” were portrayed in various ways. Each of the Beatles’ albums was described in short films. There was a film on the Rolling Stones, which I did not have time to watch. Lots of outfits of artists from Hendrix, Bowie, the Who, the Supremes, Michael Jackson, and others.

A couple of displays were geographically oriented Cities and Sounds, and The Music of Cleveland and the Midwest. There was an area about the radio personalities, such as Alan Freed, who delivered the music. Also, I watched the 30-minute film Dick Clark’s American Bandstand.

There was a special section on Graham Nash: Touching the Flame, featuring the photos and drawings he and his friends created during his time with the Hollies and Crosby, Stills & Nash (& Young). A sound booth allowed one to sing along with Bus Stop and Teach Your Children, and see how off-key we were, at which point, the recorded Graham would indicate that you shouldn’t quit your day job. (I wanted to try this solo, since I was more familiar with the songs, but never had the chance.)

Finally, on the Lower Level, was Right Here, Right Now, a display of videos of more recent songs, most of which I had never heard. I spent 20 minutes there but could have spent two hours.

The escalator skips Level 1 going up (but it lands IN the gift shop going down – no fools, them.) There were segments about the architects of rock and roll; watching Les Paul play was hypnotic.

A multimedia exhibit Video Killed the Radio Star was 11 minutes of very strange stuff, but I liked it. Peter Gabriel and others were represented.

The Daughter could have spent all day at the Rock and Roll Hall of Fame listening to headphones listening to the “songs that shaped rock and roll and one-hit wonders,” and more the Hall of Fame Jukebox on the 4th Level, with a collection of songs by all the inductees.

I watched a short film, The Life and Music of Smokey Robinson. There were displays of the evolving technologies, “from Wax to .Wav.”

On Level 3, the Induction Ceremony highlight films from over the years that interested me greatly, but there was still so much to see, I watched only a couple of years’ worth, limited by time.

There’s also a cafe on this level, where we got some snacks and sat outdoors, with a nice view of Lake Erie. We were only bothered by the people who insisted on feeding the seagulls, despite signs prohibiting this.

I should note what on the wall on Level 4: Pink Floyd: The Wall, this giant paper mache-looking thing.

Hmm, I didn’t get to Levels 5 and 6. Seems like another post about the Rock and Roll Hall of Fame, soon…

If I Had a Ballot for the Rock and Roll Hall of Fame

The band Yes was both a commercial AND critical success, so it made no sense to exclude them from the Rock and Roll Hall of Fame.

Last year, I specifically complained about the Rock and Roll Hall of Fame failing to even nominate Yes, Chicago, Moody Blues, and Todd Rundgren. Then, this year, the former two are on the roster.

Last year, two of my picks, The Paul Butterfield Blues Band and Joan Jett & the Blackhearts, actually got in.

The nominees for induction into the Rock and Roll Hall of Fame in 2016:

“To be eligible for nomination, an individual artist or band must have released its first single or album at least 25 years prior to the year of nomination. The 2016 nominees had to release their first recording no later than 1990.”

The Cars – worthy
Chic – what I wrote last year when I voted for them, still holds: “its sound still relevant, though if Nile Rodgers got in as a non-performer (songwriter/producer), I could accept that.”
*Chicago – those first two albums were great, and some of their later stuff was decent. They’ve gotten nicked for being too “commercial”, I suspect.
Cheap Trick – probably worthy
Deep Purple – when they got nominated a couple of years back, I admit not knowing them beyond their hits

Janet Jackson – possibly one of the most worthy. Yet, because she’s relatively young, I think she’ll get in eventually, if not this year.
The J.B.’s – James Brown’s backup group, and they should get in in THAT category, not here.
Chaka Khan – for both her music with Rufus and her solo stuff. And we share the same birth month.
Los Lobos – a friend said they are “such a watershed group” long before they “crossed over” to the Anglo market
Steve Miller – definitely worthy

Nine Inch Nails – sure, they’re influential and nominated last year.
N.W.A – also nominated last year, and with the Straight Out of Compton movie, this may well be the year they get in
The Smiths – likewise nominated last year, surely would vote for them down the road
*The Spinners – Motown did NOT know what to do with them, and they didn’t really click until they moved to Atlantic. I LOVE the Spinners. Nominated last year.

*Yes – The problem with the R&R HOF, as Chuck Miller noted, “is that so many deserving ‘rock’ artists were left behind in favor of inducting whoever [Rolling Stone magazine founder] Jann Wenner felt was more deserving.” Some of this had to do with the sense that “commercial is bad,” overcome somewhat by the induction of Hall & Oates last year.
But Yes was both a commercial AND critical success that, unless all of “progressive rock” was being punished, it made no sense to exclude them. Now that long-time bassist Chris Squire has died, it’s well past time for the group’s inclusion. I’d go as far as to suggest his passing affected their nomination, and I hope, their inclusion.

So, in part because of ageism, I’m going with Chicago, Chaka Khan, Los Lobos, The Spinners, and Yes. Especially YES. If I had a sixth vote, it’d probably be Steve Miller.

Which five artists would YOU vote for?
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Harry Nilsson has been eligible almost as long as the Hall has been open, but he’s never even been nominated.

X is for Estelle Axton

I believe Estelle Axton ought to be in the Rock and Roll Hall of Fame.

Jim Stewart was inducted into the Rock and Roll Hall of Fame in 2002. Here’s part of his bio:

Jim Stewart and sister Estelle Axton were the co-founders of Memphis-based Stax Records. Stax and Motown were the two most important record labels in America in terms of bringing black music into the mainstream during the Sixties and Seventies.

Stax recorded some of the greatest acts in the history of soul music – Otis Redding, Wilson Pickett, Sam and Dave, Johnnie Taylor, Booker T. & the MG’s, Carla Thomas, and Eddie Floyd, among them.

If Motown was “the Sound of Young America,” then Stax/Volt was “Soulsville, U.S.A.” Between 1959 and 1975, Stax and its affiliated labels released 300 albums and 800 singles. Among the latter, 167 were bonafide hit singles.

Now here’s part of Estelle Axton’s 2004 obituary:

In late 1958, her younger brother, Jim, appealed for financial help to develop Satellite Records, which he had set up to issue recordings of local Memphis country and rockabilly artists.

Estelle convinced her husband [Everett Axton] that they should remortgage their house and, in February 1959, she joined Satellite as an equal partner, contributing $2,500 – at a time when Everett was earning just $18 a week. She kept her bank job, but took a keen interest in Satellite’s fortunes, enjoying pop music and working with young people.

By 1960, Jim and Estelle had found the Capitol Theatre, in a black Memphis neighbourhood, that they turned into a recording studio. To help defray the rent, she opened a record shop in the foyer, and left the bank to work there. She and Everett remortgaged for another $4,000 to refurbish the cinema…

The studio’s location meant a wealth of aspiring local black talent began dropping in, Estelle’s record shop encouraging them to hang out and play popular songs. “The shop was a workshop for Stax Records,” she explained. “When a record would hit on another label, we would discuss what made it sell.”

Also in 1960, Estelle’s son, saxophonist Charles “Packy” Axton, provided Satellite with its first million-seller when his group, the Mar-Keys, put out their debut single, Last Night. According to Estelle, her brother had not been interested in releasing the record until she pleaded, cried, and swore at him. Then he bet $100 that it would never be a hit. [It was.]

Satellite was forced to change its name after it was discovered that a Los Angeles label already owned the title. Taking the first two letters from Jim and Estelle’s surnames, Stax Records was born…

Over the years, many of Stax’s musicians recalled that it was Estelle who encouraged them, then forced her brother to sign them up. “You didn’t feel any back-off from her, no differentiation that you were black and she was white,” noted Isaac Hayes. “Being in a town where that attitude was plentiful, she just made you feel secure. She was like a mother to us all.”

From Jim and Estelle’s Memphis Music Hall of Fame induction page:

At Stax, Estelle ran the front of the house – the record store – and Jim ran the back – the studio. Many of the label’s stars first came in as her customers – Booker T. Jones, William Bell, and Albert King among many (in the early years, she also employed Steve Cropper). Her store would serve as both a respite from the studio, and perhaps more importantly, as a library and research facility for the songwriters and musicians.

From Wikipedia:

Estelle was the founder of the Memphis Songwriters Association in 1973. The Memphis Songwriters Association was formed in order to foster the education and advancement of local area songwriters. There was a focus on the development of the songwriting craft with the intentions of producing commercially viable songs and improving performance skills.

After her split from Stax, Axton went on to found the Fretone label, which launched Rick Dees’ 1977 novelty smash “Disco Duck.”

Clearly, Estelle Axton was the ears and heart, and soul of STAX in the 1960s, helping move the label from its rockabilly roots to become a soul powerhouse. In spite of Disco Duck, I believe Estelle Axton ought to be in the Rock and Roll Hall of Fame.

ABC Wednesday – Round 16

Jimmy Rocco

Jim Rocco and I talked about the Beatles, a LOT.

Jim Rocco, 10/06/2010. (Michael P. Farrell / Times Union) Used with permission.l — Jim Rocco, 10/06/2010. (Michael P. Farrell / Times Union) Used with permission

Long before he joined the chancel choir at First Presbyterian Church in Albany as a fellow bass, I would see Jim Rocco at the choir parties a couple of times a year with his wife Deb, our soprano soloist and section leader.

Inevitably, he and I would gravitate towards each other, no small task in a crowded space, and talk music. No, not the sacred music we tended to sing together every week.

Instead, we would talk about rock and roll, specifically the music of the 1960s. He would impress me with his arcane knowledge of obscure bands and records. Occasionally, I could surprise him with some bit of trivia that I knew.

We talked about the Beatles, a LOT. I attended one of those events at Proctors Theatre in Schenectady where Scott Freiman explained the background of many of the songs on the white album. He had gone to a similar Deconstructing the Beatles session for an earlier LP, probably Sgt. Pepper or Revolver.

He loved playing the drums, and had for a very long time, as this 2010 article about the reunion of his high school band, the Chord-A-Roys, will attest.

Jim had participated in several church productions, especially those involving the kids. One of the last times I saw him was in the fall of 2013 when he was on the drums, naturally, for a production at the Steamer No. 10 theater. He was feeling unwell, as though he had broken some ribs, but was still doing the gig because he loved playing.

When we talked, he had not yet been diagnosed with cancer, which involved various treatments over several months that seemed to be working for a time. I’ve missed not seeing him in 2014, as much of his treatment took place in Arizona.

Jim Rocco passed away on Friday, January 2, 2015. Those of us who knew him feel a tremendous sadness at losing him. He was a great guy.
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The Times Union obit.