Rock

Rock historian Ed Ward looks at some of the early integrated doo-wop groups. He says unlike today's white acts which appropriate black styles, those early groups truly mixed black and white performers and black and white musical styles.

Rock critic Ken Tucker reflects on some recent songs that have come out in favor of or against U.S. involvement in Iraq, including those by Sean Lennon, Hank Williams, Jr., Andrew Tippin, and Randy Newman.

Rock and roll historian Ed Ward looks back on the music of 1981 -- a year he says was great for black musicians in particular, including Prince, Rick James, and Grandmaster Flash. British bands like Duran Duran dominated, too.

Rock historian Ed Ward plays some of the worst in Christmas music. He says it's almost enough to make him convert to another religion.

Rock and roll historian Ed Ward profiles pioneering rhythm and blues artists Joe and Jimmy Liggins. Joe recorded one of the the genre's first hits,"The Honeydripper" in 1945. Jimmy was a lesser musical figure, but also enjoyed success with his more rough and ready style.

Rock historian Ed Ward discusses the musician's role in recent popular music. Before rising to prominence in the Velvet Underground, Cale studied with avant-garde composers like LaMonte Young.

Rock historian Ed Ward explains how American record companies repeatedly tried to capitalize on the popularity of blues music by repackaging it for pop audiences.

Rock historian Ed Ward profiles the influential musician, who had a string of hits in the early 1950s. An automobile accident scarred his face, and he stayed out of the public eye for several years. But Mayfield still made a living from music, with song for other artists -- like the Ray Charles hit, "Hit the Road, Jack."

Rock historian Ed Ward talks about the Beach Boys's legendary concept album, which was never released. Many of the songs eventually appeared on their later, official releases, often in a watered-down form.

Ed Ward concludes his two-part history of the politically-minded singer and songwriter. Mayfield was recruited by Columbia Records so that label could compete with Motown. After a few career missteps with other labels, Mayfield scored two hits from his soundtrack the film Superfly.