Despite the accessible wishes of the impressively articulate and animated Rush admirers who arranged the 28th Bedrock and Cycle Anteroom of Acclaim consecration commemoration in Los Angeles' Nokia Theatre endure night, the actualization was not entirely about the long-delayed consecration of Toronto leash – and for all of Public Enemy accessory Flavor Flav's constant, oft-amusing attempts at attention-hogging, it actually wasn't all about him either.
But even by the once-in-a-lifetime standards of these anniversary ceremonies, it was an endlessly entertaining, surreally star-packed (Oprah!) night of abounding wonders and curiosities: Jackson Browne, Tom Petty and John Fogerty formed a actual acting bandage with inductee Randy Newman; a arrogant Jennifer Hudson channeled Donna Summer; Harry Belafonte actively intoned the lyrics of Public Enemy's "Don't Believe the Hype"; Dave Grohl and Taylor Hawkins covered Rush while cutting the band's abominable Seventies kimonos; and Rush themselves led a joyous, best abundant closing jam that saw Chuck D and bedfellow DMC balladry over the beats of Neil Peart. (The actualization will air May 18th on HBO.)
Geddy Lee on Rush's Bedrock and Cycle Anteroom of Acclaim Induction: 'We'll Actualization Up Smiling'
After an addition by Anteroom of Acclaim Chairman Jann Wenner – whose simple acknowledgment of the words "from Toronto" won a two-minute-long continuing acclaim for Rush – the black began with California guys Browne, Petty, Fogerty and Newman (yes, Petty is originally from Florida) arena a punchy, guitar-dominated adaptation of the inductee's "I Adulation L.A.," allowance to admire the ceremony's acknowledgment to Los Angeles for the aboriginal time aback 1993. Their shouts of "we adulation it" fabricated the song complete beneath acrid than ever, and as they anesthetized verses aback and alternating and harmonized on the song's "Twist and Shout"-style "ahs," it started to assume like they were a Wilburys-style supergroup in the making.
Don Henley inducted Newman, black the continued adjournment in his admittance in the anteroom of fame, and citation a Newman achievement he just saw in Texas: "When you can get 2,000 humans to acclaim a song like 'Rednecks' in a accompaniment that's adopted Rick Perry three times, you are a hell of an artist!"
"It's harder for me to accurate a 18-carat emotion," Newman said, "as you can acquaint from my writing. But I'm actual blessed to accept this award. And I achievement the actuality that I rushed my own song a little beforehand doesn't beggarly I get kicked out on my aboriginal night in."
Cheech and Chong, in abounding actor mode, inducted the ambassador and apostle Lou Adler, actually killing with a bit that included mimed amusement of a assertive actuality off his desk. Afterwards bringing tears to the eyes of admirers affiliate Michelle Phillips of the Mamas and the Papas as he declared her band's admirers for him, Adler got his own laughs, abandoning getting asked: "How does it feel afterwards all the hits . . . to be accepted as the guy with the bristles who sits next to Jack Nicholson at Lakers games?"
John Mayer gave an impressively agreeable consecration accent for dejection guitarist Albert King, archetype his access on Stevie Ray Vaughan and demonstrating on one of King's brand Flying Vs the advancing actualization he brought to the genre: "Albert is the acumen guitarists breach top 'E' strings." Again he and Gary Clark Jr. played two King classics, trading off the master's licks on "Born Under a Bad Sign."
An agitated Kelly Rowland – who was hit on by Flavor Flav from the army – inducted Donna Summer:. "I'm appealing abiding me and a lot of humans actuality were fabricated to that record," she said of "Love to Adulation You Baby." Jennifer Hudson, in a blatant gray dress, again elicited the a lot of movement anytime out of a anteroom of acclaim army with "Bad Girls" and "Last Dance" – even Tom Morello could be apparent boogying up front, and onetime disco foe Geddy Lee clapped along.
The better bedrock brilliant at the commemoration was arguably Oprah Winfrey, anticipation by the outsize barrage that greeted her abruptness actualization to conscript Quincy Jones, who casting her in The Color Purple. She accepted his adeptness to abutment talent: "When you plan with Quincy Jones, you feel admired and are loved," she said. "I wish to be like you if I abound up, I actually do." Jones gave a long, ardent accent abounding of acclaim for the applesauce greats he collaborated with, including Dizzy Gillespie and Miles Davis. "The aboriginal bedrock & cycle bands for me were Louis Jordan and Lionel Hampton," he said.
Introduced by Spike Lee, Belafonte showed up to a continuing acclaim and accepted Public Enemy for their adventurousness and radicalism. They took the stage, complete with their S1W aegis guys, and Flavor Flav filibustered endlessly, admitting Chuck D borer the alarm he wears on his chest. Chuck's accent was abundant beneath and far added essential: "There's some humans cerebration even at this moment, there goes the agreeable neighborhood," he said. "Let us not forget: We all appear from the abuse blues." He acicular out that "Tom Sawyer" was an oft-used DJ clue in aboriginal hip-hop, and said that even Albert King could be rhymed over – and again DJ Terminator X accepted it in P.E.'s performance, abrading up all of the night's inductees.
Chris Cornell inducted Heart, praising Ann Wilson's abiding articulation and their addition to Seattle rock. "Somehow it never occurred to us that Ann and Nancy Wilson were women," he said.
"We came from an era if women commonly did not rock," Nancy Wilson said. "And as alive moms who aswell apparent a few ancestor abecedary conferences, I'm even added abiding we deserve this honor." They played "Barracuda" beefed up by Pearl Jam's Mike McCready and Alice in Chains' Jerry Cantrell – and Ann Wilson actually nailed the affectionate of top addendum that macho harder bedrock singers of her bearing tend to abstain even aggravating any more.
Finally, it was time for the bandage that the admirers had been shouting for all night long, and no one was as aflame as Grohl and Hawkins. Grohl grew ashamed shouting his praise. "Rock & cycle has consistently been ensconced in mystery," he said. "But there's one abstruseness that absolutely eclipses them all: If the fuck did Rush become cool? . . . Their bequest is that of a bandage that backward accurate to themselves no amount how abhorrent they seemed to anyone. Rush accept consistently been cool! Consider this abstruseness apparent and it's our account to assuredly conscript Rush into the Bedrock and Cycle Anteroom of Fame."
"We've been adage for a continued time, for years, that this isn't a big deal," Peart said. "Turns out it affectionate of is."
Hawkins and Grohl again emerged from the black in their Rush kimonos, and airtight through a articulation of "2112," gradually abutting by Rush themselves. The leash played boastful versions of "Tom Sawyer" and "The Spirit of Radio," and it became harder to bethink why it was anytime a catechism whether these guys belonged in the Hall. "Thank you so very much," said Geddy Lee.
The closing jam, on Cream's adaptation of "Crossroads," began with a affective cross-genre moment, with Chuck D and DMC balladry "the dejection gave bearing to bedrock n' roll" as Lee and Peart played their adaptation of a breakbeat. The guitar jam itself was up to the greatest Anteroom of Acclaim closers ever, affective from Morello's interstellar scratching, to Gary Clark's raw rootsiness, to Lifeson's full-on Eric Clapton tribute. By the end, Chuck D and the associates of Rush were exchanging hugs.
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