Points of View
These articles examine and opine on the state of rock music as well as trends, issues and other matters of consequence related to classic rock and its business and culture.
Rock Hall Chairman Pulls Back the Curtain on Nominating Process
“I think it’s because some people don’t understand the meaning of rock and roll. We’ve got to do a better job explaining it”—John Sykes
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50 Years Post-‘Tapestry,’ Carole King Finally Earned Rock Hall Induction as a Performer
She practically invented a genre and influenced countless other singer-songwriters. The 1971 album earned 4 Grammy Awards and set records and trends
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Woodstock 50 Debacle: No Peace. No Love. No Music
A 50th anniversary doesn’t just sneak up on you. So how did the plans for a worthy celebration of the 1969 festival fall apart?
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Bob Dylan: Still the Colossus
Is there any contemporary popular music singer, songwriter and musician as significant? The answer is no.
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Dave Edmunds Shares Two Chuck Berry Stories
“I don’t know if Chuck recognised I was copping his licks, or whether he was just feeling lazy, but he had me play all the guitar solos – to every song”
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Mad Magazine: Required Reading For Generations
Many of Mad’s articles exposed staples of American culture—nothing and no one was safe from its pointed humor, from hit movies to products to the media.
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When a Label Chief Threatened to Cancel Metallica Signing
An Elektra Records senior executive paints a great picture of an industry legend: “You have to get out of here. That guy is crazy”
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Before Judas Priest’s 2022 Rock Hall Induction, Rob Halford Was Gracious About Their Prior Rejection
Before finally being selected, one of the world’s top metal bands was turned down by the Hall’s voters.
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Tom Petty, a True Rock ‘n’ Roll Star—An Appreciation
Petty idolized the Byrds and he famously incorporated their 1967 song, “So You Want to Be a Rock ‘n’ Roll Star,” into the Heartbreakers concert repertoire
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Paul McCartney’s Memorable ‘Band on the Run’ B-side
Though best known as a musician for being a bass man, his signature as a melodist is his use of piano on “Let It Be,” “Hey Jude” and this one
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