Word: guitars
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Dates: during 1980-1989
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...roots of Men of Clay extend back almost a decade, when brothers Thomas M. Hammond '90 (guitar and vocals) and Benjamin M. Hammond '89 (bass) used that name for their band in junior high school. Taking their name from a friend's home movie, Men of Clay was originally a heavy metal band...
...news quickly became history, and Chuck Berry made both. For he defined the music, moods, moves and malevolence of rock 'n' roll. His twangy blues guitar fused -- indeed, electrified -- rhythm and blues and country music, even as his popularity helped desegregate early rock. His lyrics rollicked with internal rhymes, subversive satire and a wit that bent and broadened the language. He demolished the pop-music wall that had long separated singer and songwriter; now a man could perform his own compositions and do it with amazing sass. He could do wrong too, and here again Berry was a pioneer. Through...
...horns. A face already etched with pain and promises. Cocoa-color skin drawn taut over Jack Palance cheekbones. A smile that offered a great time on the way down. Chuck Berry might sing about School Days and Johnny B. Goode, but teens knew that his songs -- from the opening guitar riff through the four-on-the-floor chorus to the florid finale -- were siren calls to cut class and feel good. "You know my temperature risin', the jukebox blowin' a fuse,/ My heart beatin' rhythm and my soul keep a-singin' the blues./ Roll over Beethoven. Tell Tchaikovsky the news...
...same kind of right. In Taylor Hackford's Hail! Hail! Rock 'n' Roll, which chronicles the preparation and performance of Berry's 60th-birthday concert in St. Louis last year, tempers simmer as Berry keeps running Keith Richards, the concert's music director, through the opening guitar slur for Carol. And yet at the end of their concert -- which features guest shots by Linda Ronstadt, Eric Clapton, Etta James, Robert Cray and Julian Lennon -- Richards can feel satisfied that he provided a fine backup band for his loner-hero...
...album has a solid contemporary sheen, but it is never polished. It is as if Springsteen had buffed up a brand-new car with a sandpaper chamois. Using only simple instrumentation, with an occasional synthesizer riff or guitar blitz, Springsteen has created a modern surrogate for the resonant mystery on old blues and early rock records. This makes Tunnel of Love close kin to his 1982 solo effort, Nebraska, which was meant to sound homemade. Tunnel of Love takes that approach even further, into the mythic heart of American music and some slat-roof recording studio -- maybe on a prairie...