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In the end, the sign of Aretha Franklin's artistry is that she always leaves her mark - first, on the music, then on us.

Jon Landau

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Jon Landau
Age: 77
Born: 1947
Born: May 14
Composer
Journalist
Music Critic
Record Producer
Talent Manager
the United States of America
Leaves
Sign
Mark
Ends
Music
Firsts
First
Artistry
Always
Franklin

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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.
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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.
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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.
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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.
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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.'
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When the Beatles cut old rock n' roll, they were recording music still in their performing repertoire, and besides, they never thought of the music as old.
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Often, equipment can as easily function as a security blanket for musicians unwilling or unable to risk anything personal in the studio. Whether one catches the feeling on a record is a subjective matter. How can you be sure? The machinery can hold out the promise of at least mechanical perfection.
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Joni Mitchell seems destined to remain in a state of permanent dissatisfaction - always knowing what she would like to do, always more depressed when it's done.
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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.
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Everyone eventually winds up writing about themselves - the problem is finding the best way to go about it. To write about oneself literally, in the first person, presumes a more interesting personal life and philosophy than most rock lyricists possess. John Lennon was good for one great album based on musical direct address, 'Plastic Ono Band.
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There is something complete about Stevie Wonder, and one senses that he is not only exceptionally important today, but will continue to be for as long as he chooses.
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It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.
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On first listening, Joni Mitchell's 'Court And Spark,' the first truly great pop album of 1974, sounds surprisingly light by the third or fourth listening, it reveals its underlying tensions.
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Part of me believes that the completed record is the final measure of a pop musician's accomplishment, just as the completed film is the final measure of a film artist's accomplishments.
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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.
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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.
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The early Bob Dylan was compulsively drawn to the conflict between stability and the search for immortality.
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'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.
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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.
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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.
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