Tom Morello, John Fogerty, Emmylou Harris, Joe Ely and Smokey Robinson were honored this past weekend at the third annual American Music Honors, held at Monmouth University in Long Branch, New Jersey and presented by the Bruce Springsteen Archives and Center for American Music.
Springsteen himself was in attendance and in great spirits, playing host, giving rousing and heartfelt induction speeches, and strapping on his Fender Telecaster to perform with most of the honorees throughout the evening.
The event recognizes artists for their contribution to American music and this year’s class encompassed a wide cross-section of musical styles: from Robinson’s silky smooth Motown pop sensibilities to Ely’s gritty Texas twang, Harris’ unmistakable golden voice, and Fogerty’s everyman lyrical and musical sensibilities.
But it was Morello’s jaw-dropping performance on Springsteen’s Woody Guthrie-inspired “The Ghost of Tom Joad” that left the sold-out crowd in awe.
Using his heavily-modified Arm the Homeless custom guitar, Morello channeled his personal rage at the current state of the country’s political climate, elevating the song to a higher level with an incendiary guitar solo that echoed Hendrix’s take on the “Star-Spangled Banner,” complete with DigiTech Whammy dive bombs, rapidly ascending Van Halen–inspired runs, and police car siren–like volume swells.
“That is called ‘playing the shit out of the guitar!’” newscaster Brian Williams, the evening’s event MC, said after Morello’s performance.
In addition to his role as lead guitarist for Rage Against the Machine and Audioslave, Morello also spent time in Springsteen’s E Street Band, touring with the band as a member from 2013 to 2014.
In his acceptance speech, Morello pulled no punches on his commitment to using his music as a voice for what he feels needs to change. He kicked off his speech by exclaiming, “It is an honor to be here at the last big awards event before they throw us all in jail!”
“The number one most common thing I’ve heard people say about my career is, ‘Tom, just shut up and play the guitar!’ To which I invariably reply, ‘Fuck you, I won’t do what you tell me,’" he said, quoting the famous refrain from the Rage Against the Machine song "Killing in the Name."
“It’s important to note, there’s never been a successful social movement in this country that has not had a great soundtrack,” he continued, recalling Joe Hill’s union anthems and the folk classic “We Shall Overcome.” “Jimi Hendrix’s ‘Star-Spangled Banner’ channeled the moral cacophony of the Vietnam War through a Marshall stack. And one or two Rage Against the Machine songs were heard pumping in the streets at anti-Trump demonstrations last weekend.
“There may come a time in the not-so-distant future when the ideas expressed in our songs, and the people who write and play them, and maybe even those who sit in the audience, may find themselves censured, smothered, evicted, erased. Every act of art right now is an act of resistance. Every truth spoken is a beacon of light in this gathering darkness, and every song sung is a trumpet of hope to the future heroes who will undo this madness.”
E Street Band guitarist Nils Lofgren honored Morello.
“Tom knows styles and genres like nobody else. Punk, funk, heavy metal, hip-hop, rap, rock, folk, R&B. He loves and combines them all in a soul soup that’s all his own.
“When Tom started playing with the E Street Band, I saw in him a musical kindred spirit and I knew he would shine and make the journey special.”
“I loved walking into our dressing room, seeing… Tom, with guitar in hand, doing homework, working to digest 75 songs Bruce had given him just for starters. It was inspiring and I wondered if this was what Berklee School of Music might be like.”
“His ‘Ghost of Tom Joad’ solos are spectacular and emotional showstoppers. Tom’s sense of melody and rhythm while creating his own universe of new sounds all speak to changing our world for the better with music that calls upon revolutionary rebellion and radical hope for a just and decent planet.”
Fogerty performed “Bad Moon Rising,” “Proud Mary” and “Fortunate Son” using a rented black Gibson Les Paul Custom tuned down a whole step with .011–.052 strings.
Fogerty’s speech touched on his long battle to reclaim the rights to his storied catalog. He credits his wife Julie with spearheading the battle to victory and reigniting his performance of classics like "Who’ll Stop the Rain," "Up Around the Bend" and more.
“Inside I knew I loved music, and the rest of it just kind of burned me out. The worst part about it was I didn’t own my own songs. So, it became a lifetime battle… For a long time, I didn’t even sing my own songs because I was so angry or bitter about the whole thing. But I still loved music. Music is my best friend.”
Said Springsteen, “There is no music that speaks to the American spirit and heart with the passion and deep commitment of John Fogerty, both solo and with his great band Creedence Clearwater Revival. John’s been able to condense everything good and painful, joyful and serious, about this country we live in — in two minutes and 30 seconds. That’s hard to fucking do! The songs are so pure and universal. I’ve always described John as the Hank Williams of our generation. As long as there is radio, there’ll be a John Fogerty song being played somewhere.”
Patti Scialfa paid tribute to Emmylou Harris — “one of my favorite artists in the world” — before accompanying her in a moving rendition of “Red Dirt Girl,” the title track from Harris’ 2000 Nonesuch release. Van Zandt honored Robinson, and performed “Tears of a Clown,” a number one hit in 1965 penned by Robinson and performed by the Miracles.
Disciples of Soul guitarist Marc Ribler served as the event’s musical director, leading the house band of New Jersey/New York music veterans (including bassist John Conte and multi-instrumentalist David Mansfield) through spot-on renditions and short intro cues of each of the honoree’s contributions to the modern American music songbook.
Ribler commented on working with Springsteen and organizing the music selections during Tom Cunningham’s Springsteen on Sunday radio show the next morning.
“Bruce is very intense. When he’s working, he’s working. I gotta clear my mind and realize the reaction I’m getting from Bruce right now is ‘we’re doing business, and we have to get it over quickly and efficiently.’ And then there’s the Bruce that, when you’re playing, is childish joy.”
All honorees were in attendance except Ely, who is battling health issues but delivered a thank you speech read by a family member. Springsteen performed Ely’s “All Just to Get to You,” a 1995 track on which he contributed backing vocals.
Previous honorees Jackson Browne, Steve Van Zandt and Darlene Love were also in attendance, as was Nora Guthrie, granddaughter of Woody Guthrie.
The evening ended with a rousing up-tempo version of Woody Guthrie’s anthem ‘This Land is Your Land,’ including, in Morello’s words, “the last secret censored verse” — one of actually two verses omitted from recordings:
“There was a big high wall there that tried to stop me.
The sign was painted, said ‘Private Property.’
But on the backside, it didn’t say nothing.
This land was made for you and me.”
Said Morello, “When I give the signal, we’re all going to jump up and down in solidarity!”
