Working as a roadie for a high decibel rock band, young Mickey Lagrange, fantasizes about someday playing his own songs up on stage. He also longs for the sexy lead singer and is jealous of the spotlight clamoring Guitarist. Desperate and frustrated Mickey is at his wits end as to a solution, until a neighbour supplies him with a synthesizer that creates music through pure thought.
In the 1950s, during the explosive birth of rock & roll as we know it, Chuck Berry was the man – lean and mean, with self-penned hits like "Roll Over Beethoven" and "Johnny B. Goode" motorvating his fast-lane machine. In 1986, in honor of Berry's sixtieth birthday, a concert was assembled at St. Louis' Fox Theatre – the very place where Berry had been turned away as a boy during segregation, and blocks from the courthouse where, as Berry says, "my forefathers were sold." In front of a ready-to-riot crowd, the concert brilliantly captures Berry's unflagging power as a guitar virtuoso (as well as his audacity in literally duckwalking circles around guest Linda Ronstadt). But what makes this a great film is what happens (on the road, in rehearsals and during interviews) leading up to the concert: Keith Richards, musical director of the celebration, nearly driven to tears by Berry's ball-breaking insistence that Richards bend a note just right; Jerry Lee Lewis' admission that his own mother told him Berry was the true king of rock & roll; a still-gobsmacked Eric Clapton confessing, "I didn't know about black men until Chuck Berry." Fascinating too is watching Berry handle his own business – traveling without backing band or entourage, demanding to be paid what he's worth – thus proving he also pioneered rock & roll's potent DIY ethic. An entertaining document of an original rock & roll immortal, Hail! Hail! is a perfect tribute to a homegrown American genius.
Réalisé par Taylor Hackford
Avec Chuck Berry, Keith Richards, Eric Clapton, Robert Cray, Etta James, Julian Lennon, Linda Ronstadt, Bo Diddley, Don Everly, Phil Everly, Jerry Lee Lewis, Little Richard, Roy Orbison, Kareem Abdul-Jabbar, Johnny Johnston.
Thurston Joseph Moore is an American musician best known as a singer, songwriter and guitarist of Sonic Youth. He has also participated in many solo and group collaborations outside Sonic Youth, as well as running the Ecstatic Peace! record label. New Thurston Moore record, featuring the same line-up of musicians who played on his last album, The Best Day: Deb Googe (of My Bloody Valentine), James Sedwards, and Steve Shelley. Recorded by Paul Epworth in London at The Church. Mixed by Randall Dunn in Seattle at Avast.
No Parole from Rock 'n' Roll was the first album by the American heavy metal band Alcatrazz led by veteran singer Graham Bonnet, released in 1983. It spent seven weeks on the Billboard 200 albums chart, peaking at No. 128. It is considered by fans of the group to be the best Alcatrazz release and launched guitarist Yngwie Malmsteen into a glittering solo career. The album is most famous for the singles "Island in the Sun" and "Jet to Jet". Other notable offerings are "Hiroshima Mon Amour", "General Hospital" and "Incubus", a solo by Yngwie J. Malmsteen he continued to play during his solo career.
This five-disc set was the first release in BMG's effort to present Elvis's recorded legacy in a manner befitting the most important musical artist of his time. The strategy was simple–showcase, in chronological order, remastered versions of the King's 1950s output, from his sessions with Sam Phillips at Sun Studios (where they arguably invented the very notion of rock & roll) through his 1958 Army induction. Not everything Elvis recorded in the '50s was great (just as not everything he recorded in Hollywood was rotten), but there are dozens of tracks here that, quite simply, can make a bad day seem all that much better. Which surely still makes him the king of something. Suffice it to say this is one box set that lives up to its title.
Recorded in 1974, this album almost never saw the light of day. Fortunately, the master tapes were found and the album was released posthumously. Professor Longhair was a giant in the New Orleans music community, but had not recorded in over ten years when he was convinced to start playing again. From the opening riffs, one can understand the stature of Professor Longhair as a great pianist – he demonstrates that he is equally at home playing rhumba boogie, blues songs, and calypso. He plays New Orleans standards (many penned by himself), but what makes this recording a classic is the chance to hear him play with guitarist Clarence "Gatemouth" Brown. The interplay of these music veterans is mesmerizing. The piano playing is breathtaking, and has a percussive quality unlike any other player before or since. It is hard to believe that Professor Longhair languished in obscurity for so many years after hearing the jubilance of "Mardi Gras in New Orleans," a song that will have you tapping your feet and hands as if you were in the parade. This album is essential for fans of New Orleans music and those aspiring to be rock & roll pianists.