The Beatles did their best cover work on Little Richard's 'Long Tall Sally' and music influenced by Richard, such as Larry Williams's 'Dizzy Miss Lizzie.
The Rolling Stones are constantly changing, but beneath the changes they remain the most formal of rock bands. Their successive releases have been continuous extensions of their approach, not radical redefinitions, as has so often been the case with the Beatles.
The greatness of Mac Rebennack, alias, Dr. John, also known as John Crieux, rests on his command of the musical use of idiomatic expression. Not a technically well-endowed singer, nor a great songwriter, he leaves his mark through the discipline and control he exerts over all that he touches.
My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor.
The Rolling Stones have been the best of all possible worlds: they have the lack of pretension and sentimentality associated with the blues, the rawness and toughness of hard rock, and the depth which always makes you feel that they are in the midst of saying something. They have never impressed me as being kitsch.
The Who, England's most self-conscious band, have released 'Quadrophenia,' which in turn freezes in time our image of the mid-Sixties Mod sensibility.
There is a 'patrician arrogance' to James Taylor that accounts in part for his popularity while it at the same time explains the critical resistance to his work.
Ringo Starr may not have much of a voice, but when he sang a song on a Beatle album, it had its own special charm.
While the Beatles always had George Martin around to clean up their act, the Rolling Stones had Andrew Loog Oldham to coarsen theirs.
'Sing It Again Rod' touches all the solo bases since Stewart's departure from the Jeff Beck Band, wherein he cut his teeth on American audiences for $75 a week plus expenses, and wisely ignores his generally inferior work with the Faces.
'Dance to the Music' was just Sly Stone being his natural crazy self right from the beginning. The man was an original and his first AM hit was nothing if it wasn't the example per excellence of the Sly Stone music machine.
'Band on the Run' is a carefully composed, intricately designed personal statement that will make it impossible for anyone to classify Paul McCartney as a mere stylist again.
It is by now beyond question that Elton John is a competent and classy entertainer. Few people who have achieved his popularity have succeeded in maintaining his standards for performance and professionalism.
James Taylor is the kind of person I always thought the word 'folksinger' referred to. He writes and sings songs that are reflections of his own life, and performs in them in his own style. All of his performances are marked by an eloquent simplicity.
Bob Dylan was the source of pop music's unpredictability in the Sixties. Never as big a record-seller as commonly imagined, his importance was first aesthetic and social, and then as an influence.
Sly Stone doesn't make good albums: only good records. His style is so infinite and revolves around so many crucial aspects that it has only come together perfectly on a handful of his singles.
The Beatles never sounded intimidated by their idols. They never interpreted old rock; they simply played it as well and as joyfully as they knew how. On 'Rock 'n' Roll,' John Lennon does nothing but interpret old rock.
Carole King's second album, 'Tapestry,' has fulfilled the promise of her first and confirmed the fact that she is one of the most creative figures in all of pop music. It is an album of surpassing personal-intimacy and musical accomplishment and a work infused with a sense of artistic purpose. It is also easy to listen to and easy to enjoy.
The Faces do not, as some have recently alleged, play badly. They are more than competent, especially at creating a mid-Sixties Rolling Stones-styled groove, as their excellent version of 'Memphis' proves.
Atlantic's Jerry Wexler believes first-rate records are made by first-rate voices. He certainly has worked with enough of them: Clyde McPhatter, Joe Turner, La Vern Baker, Ray Charles, Otis Redding, Solomon Burke, Wilson Pickett and Aretha Franklin.
The title song of David Bowie's 'Young Americans' is one of his handful of classics, a bizarre mixture of social comment, run-on lyric style, English pop and American soul.
Bob Dylan may be the Charlie Chaplin of rock n' roll. Both men are regarded as geniuses by their entire audience. Both were proclaimed revolutionaries for their early work and subjected to exhaustive attack when later works were thought to be inferior. Both developed their art without so much as a nodding glance toward their peers.
Aretha Franklin's 'Let Me in Your Life' is one of the few recent R&B albums that places the emphasis entirely and deservedly on a voice. Many R&B producers have been making records on which the singer is outshined by the song, the arrangement and the sound.
Bob Dylan has always sealed his decisions with the unexplainable. His motives for withholding the release of the magnificent 'Basement Tapes' will be as forever obscure as Brian Wilson's reasons for the destruction of the tapes for 'Smile.'
In the end, the sign of Aretha Franklin's artistry is that she always leaves her mark - first, on the music, then on us.
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