It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.
'Let's Get It On' is a classic Motown single, endlessly repeatable and always enjoyable.
The modern recording studio, with its well-trained engineers, 24-track machines and shiny new recording consoles, encourages the artist to get involved with sound. And there have always been artists who could make the equipment serve their needs in a highly personal way - I would single out the Beatles, Phil Spector, the Beach Boys and Thom Bell.
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 early Stones were adolescent rockers. They were self-conscious in an obvious and unpretentious way. And they were committed to a musical style that needed no justification because it came so naturally to them. As they grew musically the mere repetition of old rock and blues tunes became increasingly less satisfying.
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.
As a performing group, the Beatles began by playing old rock favorites, for dancing, to tough audiences in Liverpool and Hamburg. When they began writing seriously, they discovered that they couldn't compose in the early American rock tradition.
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 Stones were always exemplary of one of the best of all rock qualities: tightness. They have always been economical, the opposite of ornamental. Having a very clear idea of what they wanted to say they could go into a studio and make it all up on a three minute cut.
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.
One gets the impression that Elvis Presley does what his business advisors think will be most profitable. My advice to them: Put Elvis Presley in the studio with a bunch of good, contemporary rockers, lock the studio up, and tell him he can't come out until he's done made an album that rocks from beginning to end.
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.
The Rolling Stones are violence. Their music penetrates the raw nerve endings of their listeners and finds its way into the groove marked 'release of frustration.'
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.
'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.
'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.
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.
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.
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.'
The early Bob Dylan was compulsively drawn to the conflict between stability and the search for immortality.
There is absolutely no doubt that the extraordinary Donna Summer belongs in the Rock and Roll Hall of Fame.
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