Rock and Roll; In the Groove; 102

Thank you for the Rock n Roll is provided by the Corporation for Public Broadcasting. Demand more financial support of you is like you the Experience Music Project a celebration to beauty and innovation to American popular music and culture. Welcome in Seattle in 1999 the National Endowment for the Arts. Radio Shack with its lineup optimised audio equipment official sponsor of the Rock n Roll Hall of Fame and Museum. And by the Boston Beer Company. Brewers of Samuel Adams. Do you love beer. When the night has come in the lane is done in the only light we see just. Elvis and The Beatles. The tuning megaton explosion of rock

lies an era when a new studio magic magic like Stand By Me. They're a polished black pop sound created by two white hipsters Jerry Leiber and Mike Stoller. The magic of Phil Spector is deeply textured Three-Minute symphonies. And the magic of Brian Wilson the Beach Boys and his dream world of surf sun and girls sculpted out of intricate harmonies. It was an era when the hit single became a highly crafted work of art. An air of a

rock. The producer. Said. Tonight. The story begins with two 19 year old rhythm and blues songwriters in Los Angeles in 1952. They stumbled upon inspiration but in a few years time would thrust them into the new world of rock n roll.

We went down to a rehearsal with Johnny Otis is and listen to his singers he had a number of different singers there had no way on this in the Lester and Big Mama Thorton Big Mama got up and sang a song and she's just not the same. Kind of guy. She was so nasty gel these razor scars all over her face. I loved her. We looked at each other and decided to take off immediately. And then we'd jump in my car and headed for his house. We landed and Mike went to the piano and I started yelling and the song came together in about eight or 10 minutes. Did you sing it how I see it like that but it always sings you.

Know. In 1953 a black record buyers made hound dog a number one. Rhythm and Blues hit. Three years later you could find a different audience. Lieber was the first to hear the news. The first thing he said to me we got to smash is the Hound Dog and I said No kidding Big Mama thought on that record and he said No no somebody named Elvis Presley I said well that's what you are. In 1956 Elvis Presley's uptempo version of Hound Dog and its flipside Don't be cruel. Created the best selling single of his entire career. It was also the mainstream's first taste. Of Leiber and Stoller. Stoller's ongoing work with Elvis music industry.

To take on rock'n'roll. I saw it in her hair. She could well look like that. Carl Gardner was one of four singers invited by Lieber and Stoller to form the coasters a group that came to embody their unique understanding of black culture. Writing that music. To Jewish kids. Knew our culture better than I knew about culture. That's it. How do they do that. You know that I wanted I thought about it how do you know what we

do. Because every song was in our culture. Jerry Leiber passion for black culture grew out of his childhood as a delivery boy for his mother's small grocery on the edge of a Baltimore ghetto. He was welcomed into black homes. We absorbed the music language and humor New Yorker Mike Stoller was inspired as a child by the sound of boogie woogie as a teenager he explored music from bebop to modern composition a range that would play a crucial role in his success. The greed. For Lieber and Stoller the coasters were a dream come true as the industry's first independent producers. They not only wrote the songs but produced them as well. Coasters records became three minute vignettes Leiber and Stoller called them play lists.

Got it right. All of their material is somehow poking fun at an idea. Now if some of them move one way a little bit more to the left or a little bit more to the right or some seem a little bit more white or a little bit more black. I think that's like unconscious. The main thing is that they're always about there always comedy It's always wanted to know and it's always some kind of social commentary. So it was simply on and he would play and he was saying down in Mexico. Yes. Young whatever and we said listen now I'm going to last a song with no way. We have songs in the trunk. We have song we wrote a song for them called colored folks that like folks call them folks don't talk like all of us no more.

We walked into a place in South Carolina and now so we were cautious to work they only meet each call of the way they did she said. You're not the coasters I say. Here's a picture. Yes we are. So now you're not the cause of the white guys. The Lynches in mix murder and he spread it spread about among us. And I said let's get out of it man. We're not out once and they said yeah of course that is if they thought we were gone too far and they would stop us they would let us know. But we have only had something that was really in ballpark which was like theatre fun universal they were. The Coasters were started with a black audience in mind. But in 1957 white America caught on his roof rocketed to the top of the pop charts the double sided smash Youngblood and certain. Things.

Just. Eat. That. Down that meat. God. I think the business end was changing. There was a much bigger white audience for this kind of material than there ever had been. I think that the subject matter unwittingly Wright was getting a little broader like the early stuff I wrote I was imitating the great old blues singers. But I think like REALLY woman. Well teenage kids don't buy songs about me loving women. You know and they don't they don't buy songs by a misnomer in a like. Bad bad bad bad whiskey but they do buy songs about you know bad bad girls walking down the street you know. I think I was part of the music business and these lyrics and these stories

signaled in on teenage don't you kill me you know down. By the end of the 50s teenagers were turning out in force to buy rock n roll. In response the industry offered up a variety of styles. You like. One was the cleaner safer sound of teen idol. Like. This. Chair just got what they had. Another style was practiced on the street but rooted in the gospel harmonies of the black church. To watch. The success of black vocal groups in the late 40s inspired a generation of future performers

to use the street corner as their stage doing doowop came about when I was in my teen years I met a couple of school pals that was singing and they found out I could sing a bit and I joined a group and we started singing on the chorus. As a replacement singer in the Drifters Benny can move from the street to the studio on the eve of one of the most influential recordings of the day produced by the hottest young team in the business Lieber and Stoller. There goes my mood. I was there when I got to my store they went to the drums door and I saw my

guys what do I do with this thing here. Say they say OK it's a four bar intro and I don't know nothing about counting bars and they show me so says count on it. So they taught me how to count bars and this is a four by intro and then starts singing. And all that's going in my mind at the same time I have all these strings good many do bits and pieces in the kettle drums going. So. I was a bit off but I knew once I started singing it was their problem to fix it wasn't mine and all I have to do is he say count four bars. It starts with. A And what a. Morning.

They aspire some dare to put strains on and orchestral percussion I mean this was on her guard didn't have drums and honking horns and a saxophone. What kind of record would you make. Well it evolved during rehearsals I came up with this line which. Sounds like a bored day in the room ski Korsakoff's because it was just. Good felt good. And Jerry said That sounds like violence and I said. Why not. Leiber and Stoller stuck to their guns and they made this record. I can go with perhaps 20 strings with the cello is doing a daughter do do do doot doot which is a steal from Beethoven and this and that they have always classical flags and sing the chores

until the music here dropped the. Ball Bowl but I guess they don't want the whole house. It was new it was something that Joel even Mike Stoller had came up with a new concept of black music and black singers and it took off and it just never stopped. You Can Dance him dance with the Cleburne Stoller had created the lush velvety sound of sweet soul. With songs provided by New York's finest writers they would produce hit after hit for the Drifters in the pale light. But Benny King's career with the group was so brief that on television a fellow drifter had to lip sync to King's vocals. Some. Say. Ask me. Lieber and Stoller agreed to produce King as a solo artist and the temperatures got hostile to fit the orchestral Productions. We do things

to the to the and then they would take when say doo doo doo if there is a rose in space. A red rose. Been spent. He is the special. He's never seen. He only comes out when the moon is on the run and on the stars. I say you gotta be joking. I would do it since it's just hit. Or installers work from Elvis to the coasters to help create an

R&B inspired foundation for rock crafted a form of black that would have a powerful influence on the music of the early six. Most of that music was created here in New York at the legendary Brill Building in the past to such Songsmith as Irving Berlin Cole Porter Rodgers and Hart. And now we brainstorm their work inspired many young songwriters and producers just starting out in the business. Like Gerry Goffin and Carole King Lieber and Stoller were absolutely role models for Jerry and me in the beginning. They were doing. They were combining classical music with a string kind of arrangements in the timpani with rhythm and blues which at that point was definitely not mainstream. And just a good lyric

sense that was part of the Broadway and pop tradition. And it was very inspiring. From an office near the Brill Building. Goffin and King would be key players in a whole new trend. The invasion of male dominated rock n roll by girls. Well I met him on a Sunday and I missed him and him and he says well I phone him on a Tuesday. And I dated him when Beverley arrived there and there and never have a do or die run after I do. That I would start the show rolls were for high school friends from Passaic New Jersey their first recording I met him on a Sunday. I didn't make the top 40 but they soon made recording history with a song written by Goffin and King.

Will You Still Love Me Tomorrow. I was brought to our office by Carol herself. She wanted that song to be a success so badly she was like that was her baby she's very proud of that song. We had a kettle drum got it where there was the Applying who she then felt she could play better. So she was never an easy ride so she came into the studio and played you know remember at that time there has been Gerry Goffin right because of their energy and feeling about the song that was passed over to us for you of

me tomorrow was the first song that Cherry And I ever had. As songwriters It was so we were married and just starting out. I'm sure he had a job as a chemist. And when will you Love Me Tomorrow. Hit really day. He quit his day he was. Yes there is quite a lot of controversy that it was suggested because of the lyric. Tonight you're mine completely you give your love so sweetly tonight the light of love is in your eyes but will you still love me tomorrow. Yeah and he definitely spoke for women and young women all over who are wondering if they should do it or not. Will you respect me in the morning. Kind of an

attitude that was prevalent feet during that time and. Sherry address. Was released in early 1961 love me to my. Our old broken new ground is the first recording by an all girl group to hit the top of the charts. Within weeks the show rolls out a second song in the top 10 and within months after the success of their singles coupled with relentless touring put the show rolls at the leading edge of a girl group explosion there did seem to be a blasphemy after we were pretty much yeah with this rose of opening the doors so that other groups girl groups could follow. And when I think back to it and all of the hard work I say that we earned it we earned it and I like to think that we were a very intricate part of doing that opening that door. I just everywhere we kicked the door so far Right now my ability level that. It's. Not. Like. You're going

to. Like me. Let's. See Gerry Goffin his words in the early 60s. Dad was a young black girl. Because. For many performers the trend meant fleeting fame. But for one eccentric genius. It led to rock'n'roll immortality. In the summer of 63. Twenty two year old Phil Spector sees the black girl group

sound. Saturated in the dynamic power of Wagnerian opera. And transformed rock n roll. Spector had worked with Lieber and Stoller and soaked up their rich orchestral treatment of the drifters. Later on his own label he pioneered what he called Little symphonies for kids. Others called it. A wall of sound. SPECTER wasn't only a producer he also wrote many of the school kids in collaboration with the Brill Building writers. Ellie Greenwich and Jeff Barry. Detour and probably came about because I couldn't think

of any right at the moment and maybe figured I'd do it the next day. And never got around to. It. It either means that or it means what do I did he means. But with three people. Back to his production techniques influenced generations of rockers the giant sound of his recordings emanated from a surprisingly small 22 like 31 at Gold Star Studios with Engineer Larry Levine. The studios just bought the same size as gold star. Soon the problem I had then was trying to figure out how I was going to get everybody in. Years later I had five guitars. Sometimes six or seven. Three pianos were standard three bases were standard.

Question. I don't know. Any guess it came in were going to end up playing. Drums we had one set at the end we had two then we had horns and to fit everybody Am I was a physical problem. But it made this sound great. And when these guys started playing we had a wall of sound. One of the revolutionary things that Phil did was eat. He never sought of saying well I have three pianos basically playing the same variations of the same rhythm. And what that did was create this rolling rumble that bounced off the ceiling went into somebody else's microphone and became the ball of sound. And Philip used to say to me. When when we play it back

on the speaker when the playback came back in gold that's gold. That represents gold coming out of that speaker. Ultimately Phil Spector's wall of sound became his trademark eclipsing the artists themselves who were interchangeable. Darlene Love was the run at Satan she was the crystals. She was Darlene Love he didn't care he broke all the rules. When he recorded then because he was a star his song was a star and the sound was a star so the art is was was a secondary item. Then. Meet. The daughter of a minister Darlene Love learn to sing in the church choir. Her gospel power could stand up to Spector's production and deliver a convincing Street sound although she sang lead on records such as the crystals He's a rebel and backup on countless

others. Few would know it was another Spector singers who captured the limelight. Senator as the most famous singer in all of Spector's girl groups was Ronnie Bennett the Ron mess the stage presence of the runouts former go go dancers combined with grannies provocative voice created a new type of girl group. The Bad Girls us to our long before the Material Girl Ronnie Bennett with rock n roll's first sex kitten. She later became Phil Spector's wife. Phil was in love with her voice before he was in love with her. You know because he was so close to Frankie Lymon when you compared

her to Frankie Lymon. Wow. She almost sounded like she was 12 years old all the time. That's what Philip love about Ronnie was that the sound that she had he thought she was the perfect artist for the time to interpret music in that period. Wow. Specter was right. Iran that's my baby captured the sound of an era. It was not however the final triumph of Spector's wall of sound. I can't imagine what Phil was thinking about when he said yeah I want to do the Righteous Brothers. I don't because it had been at least 90 percent of the stuff that he was doing at that time maybe 100 percent was all female. It was all

real catchy cute kind of stuff. And so I don't know. You know and the truth is I don't even know what made us think that yeah that would be a good idea to go with Phil because we were doing nothing but real rock n roll stuff. Bill Medley and Bobby Hatfield had earned their name the Righteous Brothers from black Marines and early gigs in Southern California even before working with Spector. They were well known on the west coast clubs are. The Righteous Brothers sounded very very black and we were trying to do it as a gimmick because I used to listen to those records. And that was my school. I mean Ray Charles taught me how to sing. He sat me down in my room. And taught me how to sing. I am unaware that. The good news.

Is that it may not lead. The Righteous Brothers first single on Spector's label was a collaboration between Spector and Brill Building writers Barry Manilow and Cynthia while. We went over to a hotel room to hear a song called You've Lost That Loving Feeling. They sang at Barry Mann and Phil Spector sang and they both have a little kind of thin voices and so they sang it and when they got to you sad love and feel and look well they sounded like the Everly Brothers to me and I said Man what a beautiful song for the Everly Brothers but I think it's not a great song for us because you're good good news. Good news. But they started teaching it to us and we lowered the key lowered the key then kind of became the different record heat. You're. Right.

But. I think Phil Spector. Was is a genius. You just heard something news here and didn't stop until he had a. Big departure for him and for us and for the industry I think. And I think maybe that's why it was such. A big hit. You have to understand back then. You didn't change attitudes in records like this. There was no back beat Phil saying I don't think I can get away with this. I don't think they'll buy it. He knew that's how the record had to be that's what it called for. But he had serious misgivings about this. Putting out a record.

Of doing that. But then everybody that heard it. Loved it. Was floored by it. We finally convinced him. That it was going to work. Let's just say it was just such a different. Kind of slower than it seemed like it should be the low or the slow voices sound like maybe it was on the wrong speed it was longer than it was. Should have been. But boy it sure was a big room. The. Specters hits pioneered new territory for rock n roll. His innovations resonated throughout the industry and their influence took hold in the most unlikely of musical genres. I mean

even to me. By the early 1960s the surfing scene of Southern California was over 30 years old and still thriving. To the outsider it seemed like a cult. Its alter of the beach its followers worshippers of sun sand and the Almighty wave in the surf culture had its own language and its own music at its core was an instrumental guitar driven sound that would reverberate all the way through to todays heavy metal. And the origin of the sound can be traced to one surfer who inspired legions of teens to claim surf for their own somewhat surpass them in popularity. He would

always be known as Dick Dale King the surf guitar. Lot of people say how did you get that sound in. What made you do that song. It was actually all way back to being at the beginning of time when I was listening to my mom and dad's big 70 or whatever they call records listening to like guys like Carrie James and I was listening to Gene Krupa and drums. He was such an influence on me and everything I do on stage is with this drumming rhythm that Jeanne Cooper put together. So when I play the guitar I play it like I'm playing a drum. I take people for a ride on that kind of a song like I would go for instance. That is a heavy staccato picking machine staccato picking sound it's

an attack and it keeps the timing tight and that is really the basis of what I play it's how I get that sound in that way I don't try to get too fancy. You know I don't get to keep it simple stupid like that. After I finally understood what Jeanne Cooper was trying to do with sound I knew what I wanted but I also look the same timeless surface fan I also at the same time headlined the Tigers when I would play my guitar and I would get the sound like my African limbs when they would turn around the war of 5:30 and their roar match the roar of the wind like the wind that's a real roar and then when the wave was coming over the top of my head and I'm coming through a tube and I stick my finger into the wall of the wave. And my ears went up against the water and you can just hear it in the in the laces coming out of my head it would go.

Just it's coming over the top of you. The kids could name the king of the surf guitar as well serve again. Thank you Dale. Our guitar. Combined with his family's from Middle Eastern melody created regional hit records. In southern California with his concerts attended by thousands. He became the embodiment of the surf life style. Those times I get out of the water. I get up behind the stage you know and then put on a T-shirt in my trunk to play my guitar on stage. It was such a ball that the people were happy and people with just me became a part of it even the non surfers would come to the beaches in be

wrapped up in this way of life. So so. So. In fact it was a group of mostly nine surfers of the create the next big wave in surf music. Five kids raised in the suburbs of L.A. took the surf sound had lyrics and increasingly complex harmonies and created the image of a white teenager's Nirvana. They call themselves the Pendleton's. But when their first single surfin came out the label read the Beach Boys. Thank you. LARRY LARRY LARRY LARRY LARRY.

10:49 was largely a family affair. Brian Wilson his high school friend Al Jardine a cousin Mike Love and Brian two younger brothers Dennis and Kong elect all five contributed to the success of the band the musical heart of the beach with Brian. He drew his inspiration from an unlikely source a song heard on the car radio with his mother when he was 14. Yeah yeah yeah with her day by day. What's that. I love that sound. That's the Four Freshmen. That's the Four Freshmen in. Me. All my Harmony. I learned so much from the sophisticated four part harmonies of the four freshmen who captured Brian's imagination and Wilson family

gatherings provided enough voices to create them. Years later those same harmonies became the basis for the Beach Boys sound. Well I am. I end. With Brian controlling the melodies and harmonies and often others supplying the lyrics. The Beach Boys were C.S. from their second single are. Quickly established as a gifted songwriter and arranger. Brian wanted to produce a job already filled by Nick Burnett assigned to the group by the record company a standard practice of the day. Here you do actually he said Okay fellows take warranty. You know that's why we're there because we want to branch out and do something new. So it was my dad who was our med. Tonic that would be there for me aren't you. Groucho Marx the

simplicity of the lyrics of early Beach Boys songs often belied the complexity of the underlying harmony. BRIAN WILSON Well that was the producer's task to make it sound simple. A servant girl was our first real creation the birth of a more loving. Family theme. It was tough to do current. Computers for the complex in the harmonies if you'll notice from the things they go by useful without the piano and carried on unconsciously. That's one thing sure full of it. I am. I am. I am. I

out I am planning. BRIAN WILSON At 21 had achieved a status that was new to the industry. By the end of 1963 he not only wrote or co-wrote the songs. But he performed and produced them as well. Becoming a true rock'n'roll Ohtori. It was an amazing thing because you have hit after hit who determines by I am the what will be done next. So I guess I do I don't know maybe I like the size and pretty but what about the food. Thank you. The sweetness of his productions. Also he had a fiercely competitive nature. He constantly measured his work against that of the most renowned producer of the day. It goes back there. He was very they don't know there's nothing to compare. He was it

the Vegas inspiration. And. I. Wow. You know I was in my car was my girlfriend. Also in the sky and destructive. Here we go in the run outs. And. Play and. Be on this front. Burner and action is what my poor little rat hole is. She's joining me on the straight to the curb. And I go where you. Going you know. That's when I reviewed the balls out totally freaked out. Freaking it. And I got my mind.

Pretty much. I know it's funny. Actually in a way it was a really good in my mind right. Your mind revamped. It's like when you heard that record. You're a fan forever. Yeah yeah. Thank you. Spector production he remain a lifelong inspiration to Brian Wilson. He would later say I was unable to really think as a producer until I really got familiar with Phil Spector's work. Wilson came to rely on the same musician Specter used to supply the instrumental tracks for Beach Boys records bringing in the other members of the band mainly to record vocals. So. It's just feline baby also inspired Wilson to write a song for the Rockets to record but Spector rejected it instead. Don't worry baby became a hit for The Beach Boys in 1064 same as by then a new group that stormed America and

abruptly changed the rules. Wilson would later write. Suddenly I felt on him. As if we look more like golf caddies than rock and roll stars. When I first saw The Beatles. I was working in Europe a lot especially in London and I got a chance to meet them as kids. Quite a few times they would come to the concerts and I knew their manager Brian. And he was telling me God I would love to get these kids to the states and I doubt it. So I said great. And I didn't think at that time we will be successful and he came to the states. But when I got home. And I started hearing all this stuff about The Beatles are coming the Beatles were coming and I think I met these kids could be does it could be described. As acting at the school and when I saw him on the plane I saw the same kid so there was a concert.

On February 7th one thousand sixty four of. The Beatles arrived in America for the first time. It was day one of a six year reign over rather. Than the start of a revolution in the industry that would challenge the Brill Building production staff. Like Brian Wilson. They wrote their own material jeopardizing the role of professional songwriters the vibrant sound of their singles displayed the power of a simply produced pop quartet. Overnight. The Beatles became a mother. It was scary when the Beatles came and the scene there was like an earthquake or. A fire or an accident you went into a little shock. So it was nice to listen to the music but it was also you realize that something bigger was threatening because you knew it wasn't just a

hot artist she knew was a new Elvis. Was a righteous prickly secular thing before it was probably so. That I love them. I mean. The songs. I love I even love the songs even though. Most of the early songs were kind of. Teenage teen oriented songs. I just love the whole thing. They were very refreshing sounding to me and I thought they were very exciting. The part of the songs that. Seemed unique to me were it was more melodic at the beginning even. Than the lyrics because they were still talking about you know I love you I don't love you and I need you I don't need you. It was just the right place at the right time but they weren't desirable. The material was great. Fantastic performance. When you could hear them moving in the screaming. First turn.

Now. Thank you I said I have such a scheme that doesn't really make the music to me I want to hold your hand for example. They're going to record them but they. Can stand there. And. Stand how something like this could happen. The thing. That meals. Are asses for asses when we start to look at the Beatles stuff or about. The Beatles success pushed Brian Wilson to innovate. He soon. Produced one of the seminal albums in rock n roll. Pet Sounds. Which would inspire Paul McCartney's work on Sergeant Pepper. The Beatles were always generous and citing their influences. From the early rockers to the

black vocal groups and solo artists of the early 60s. But ironically the ensuing British Invasion hard times to America's rich tradition of black pop. With the notable exception of Motown. Many black artists were sweet. Drop the pop charts. As British fans began to cover their songs. I know that. It just started to go downhill for us and we were told that that was a big part of it because the deejays were anxious to play all of this new stuff from the artist. The British artist so actually they were smart in the fact that they took our songs and I mean that they are songs chair and I was basically speaking about everybody across the board. Right and begin to rerecord them and had an awful lot of success with them so that of course did cause you know cut into our business than who we had been before. As a matter of fact I remember Manfred Mann covering We had a record that just started to make it across the country on the charts called Sha la la. La. In the effort New York from cover to.

Stop playing RS I started to play there and so are our record just dropped right back off the track. With a bit of jealousy because we were we were cut off by the time we was just getting ready. To become stronger than strong ourselves I mean to start the song. All the signs were there. The music that was being created right here at home was going to be tremendously big and then all of a sudden he's kids came along and stopped all that and I was a strong pill to swallow I think the only one that survived out of that thing bizarre someone like James Brown because he was so far to the left what they were doing didn't affect him. So James you covered all of what was going on and what blacks felt that they needed musically to survive to the Beatles to him in the minds that say hey world

look what we have. These kids are great and look at you and there's only one musicians and they're brilliant and they were screaming the girls was fain to be there said all what the whites needed to keep them going. To keep me and the thing that we had would create it but the business was in the middle of all that there was no separatism there we collected of people to listen to our music. But when they came along there was airy because you know blacks can go to hell long straight now forget that. So they came along with long straight hair. And that happened that changed the whole attitude of the music in a racial way. So there was no competition and what we were doing in comparison to what they had done when they landed here. We could compare there we tried for another 200 years. No way. Maybe if we would have Michael Jackson maybe. Yeah.

That. Was. The same month as the Beatles conquest of America. Lieber and Stoller released go now by Bessie banks to return to their first love R&B. In a sign of the times the song never reached a white audience until it became the first American hit of one of the new British bands. The Moody Blues The Beatles success signify the dawning of a new era. In fact some would say that they had even seen rock. But from whom. I'm not. Saying we're going to do this song again. They never did a song. They did

something. Different. Dylan becomes the voice for a new generation. Yeah isn't Bob Dylan all ready to rock n roll. A production of WG. Boston funding for Iraq and will is provided by the Corporation for Public Broadcasting. Me and my financial support of viewers like you. The Experience Music Project a celebration of creativity and innovation through American popular music and culture opening in Seattle

in 1998. The National Endowment for the Arts banned by the Boston Beer Company. Brewers of Samuel Adams. Do you love beer. And. RadioShack. Official sponsor of the house the rock. The Rock n Roll Hall of Fame Museum in Cleveland. Educators and educational institutions can purchase the rock n roll series on video cassette to order call 1 800 2 5 5 9 4 2 4. 6 PBS. To order the companion book to rock n roll call 1 800 2 5 5 9 4 2 4. This hardcover edition is available for $40 plus shipping and handling.