So reads the official announcement from the Rock & Roll Hall of Fame regarding this week’s huge anniversary concerts.

And, indeed the events in New York could very well be unforgettable for those fortunate enough to be in attendance over the next two nights.

As Joel Peresman, the Rock and Roll Hall of Fame Foundation’s president and chief executive told Glenn Gamboa in his Newsday feature, “There’s not too many shows where you can see Aretha Franklin and Metallica on the same stage.”

Peresman, Jann Wenner (co-founder of the rock hall and publisher of Rolling Stone magazine), and U2′s Bono are all quoted in Geoff Boucher’s preview of the shows in the Los Angeles Times. 

Boucher refers to this moment as “a tricky time for rock and for the rock hall itself,” but all associated with the show provide their thoughts on why the music (and the hall) will endure.

Among the artists expected to perform include the aforementioned Aretha Franklin, Metallica, and U2, along with Bruce Springsteen, Simon & Garfunkel, Stevie Wonder, Crosby, Stills & Nash, and a boatload of special collaborators. 

And for the 99.9% of the population that won’t be in attendance (including previously announced Eric Clapton, sidelined by gallstone surgery), HBO will condense the two nights into a 4-hour special scheduled to air on Sunday, November 29th.

Robert Hilburn of the Los Angeles Times was one of those journalists and, to this day, remains one of the best reads in the dynamic and evolving music world.

Yes, as Geoff Boucher (also of the Los Angeles Times) points out in his appreciation of Hilburn this week, he does too often “celebrate the four ‘Bs,’ which stood for Bruce, Bob Dylan, Bono and Bruce again”, but he was at the forefront of championing a diverse artist list including such legends as Gram Parsons and Tom Petty along with Rage Against The Machine and the White Stripes.

I have always enjoyed his work, and having left the Times a few years back to focus on other pursuits, Hilburn has re-surfaced with his new book “Corn Flakes with John Lennon: And Other Tales from a Rock ‘n’ Roll Life”, which promises to be a great addition to the collection of any rock music fan.

The Times, with whom he still maintains a working relationship, has provided three great excerpts (here, here, and here) which provide a taste of why author Charles Cross says that “this book captures the very essence of what it means to be someone who loves music.”

Robert Hilburn (center) was the only journalist to chronicle Johnny Cash's concert at Folsom State Prison, January 13, 1968

The inside tales of the life of Lennon and the poignant insight that artists such as Bono and Jack White offer helps make this material stand out far above your run-of-the-mill music magazine cover story.

Keep up with his blog at roberthilburnonline.com and you’ll see that Hilburn’s opinion still matters in well-written critiques of current music (and movie) releases.  But it’s the treasure chest of material from 35 years of work at the Times that keeps on giving.

Great stuff and with another book likely to follow, the name Robert Hilburn still resonates.  As even Dr. Dre (remembering Hilburn’s early interest in N.W.A.) says, “You tell old man Hilburn I said he’s all right.”

A look at the electric guitar and an exercise in collaboration between world-class guitarists Jimmy Page, Jack White, and U2′s The Edge, the reviews have been stellar. 

Now open in a scant seven theaters in New York and Southern California, those fortunate enough to catch this production on the big screen will vouch for the reviews written up by such critics as A.O. Scott of the New York Times, Betsy Sharkey of the Los Angeles Times, and Entertainment Weekly’s Owen Gleiberman.

Should you exist on terra firma somewhere outside the entertainment bubble, fret not.  The full list of theaters and opening dates nationwide can be found here.

And be sure to check out the official trailer in the meantime.  It’s probably wise to set aside any feelings you may have about the recorded output of Messrs. Page, White, & Edge and just enjoy this movie for what it is.  As Scott points out:

…“It Might Get Loud” is more than a narrowly focused fan artifact. It gives us a chance to linger in the presence of serious artists with formidable chops and big, if not always clearly expressed, ideas about what they do. And it will put you in the mood to listen.

And then came Ten. 

Pearl Jam‘s debut album (along with Nirvana‘s Nevermind, released four weeks later) would set the course for a new era of guitar-driven music that did not apologize for its varied sources of influence and inspiration.

As brilliantly chronicled in the documentary Hype!, the Seattle “grunge” scene quickly took on mythical (and laughable) “importance”, which (sadly) took the focus away from the incredible music that Pearl Jam, Nirvana, and Soundgarden, along with other under-the-radar bands (like The Melvins, Supersuckers, & Mudhoney) produced during that time.

But history has a way of clearing all of that up.  And let’s go back to Ten.  Here’s what All Music Guide has to say about that album:

Nirvana’s Nevermind may have been the album that broke grunge and alternative rock into the mainstream, but there’s no underestimating the role that Pearl Jam’s Ten played in keeping them there. Nirvana’s appeal may have been huge, but it wasn’t universal; rock radio still viewed them as too raw and punky, and some hard rock fans dismissed them as weird misfits. In retrospect, it’s easy to see why Pearl Jam clicked with a mass audience — they weren’t as metallic as Alice in Chains or Soundgarden, and of Seattle’s Big Four, their sound owed the greatest debt to classic rock. With its intricately arranged guitar textures and expansive harmonic vocabulary, Ten especially recalled Jimi Hendrix and Led Zeppelin. But those touchstones might not have been immediately apparent, since — aside from Mike McCready’s Clapton/Hendrix-style leads — every trace of blues influence has been completely stripped from the band’s sound. Though they rock hard, Pearl Jam is too anti-star to swagger, too self-aware to puncture the album’s air of gravity. Pearl Jam tackles weighty topics — abortion, homelessness, childhood traumas, gun violence, rigorous introspection — with an earnest zeal unmatched since mid-’80s U2, whose anthemic sound they frequently strive for. Similarly, Eddie Vedder’s impressionistic lyrics often make their greatest impact through the passionate commitment of his delivery rather than concrete meaning. His voice had a highly distinctive timbre that perfectly fit the album’s warm, rich sound, and that’s part of the key — no matter how cathartic Ten’s tersely titled songs got, they were never abrasive enough to affect the album’s accessibility. Ten also benefited from a long gestation period, during which the band honed the material into this tightly focused form; the result is a flawlessly crafted hard rock masterpiece.

The core members of the band (Eddie Vedder, Stone Gossard, Jeff Ament, & Mike McCready) have carved out an amazing legacy beyond their original debut, with seven additional studio albums, countless tours and live albums, solo projects, and a resume that’s a lock for the Rock and Roll Hall of Fame once they become eligible.

Currently recording their ninth full-length album, the band is taking some time to revisit the past with a deluxe reissue of Ten.  Available this week in four formats (including a Super Deluxe Edition that outdistances a collector’s wildest imagination), it provides a great opportunity to reflect on a band that does not need magazine covers or MTV exposure to validate its existence as one of the most essential (and eminently listenable) of our generation.

In honor of the four versions of the re-release, I’m offering up four links of equal relevance.  Sure, that’s a little gimmicky, but these links are worth your while, so I’m willing to do whatever it takes for you to click through.

The first of these provides a track-by-track review of the remixed versions of the songs on the Ten re-issue, along with the new (previously unreleased) material, as detailed by the Ottawa Sun.  Unsurprisingly, the package rates 5 stars out of 5.

Naturally, the band has been doing some press for the new edition, and the second link takes you to a Billboard Q&A with Pearl Jam bassist and co-founder Jeff Ament.  This is a well-done interview by the always insightful Jonathan Cohen.

The third link is an MSN Music interview with Ament, this time by the esteemed writer Alan Light.

And, finally the “reluctant rock star” Eddie Vedder agreed to an interview with Newsweek that helps humanize the oft-misunderstood Pearl Jam frontman.

Greatest American rock band ever?  Short answer – yes.  Relive Ten and catch yourself up on everything else you may have missed since then. 

And enjoy the ride as Pearl Jam continues its trek with a new album and tour later this year.

The first of these, out today, is Morrissey‘s ninth solo album.  Years of Refusal is providing Steven Patrick Morrissey with some of his best reviews in a decade and a half.  Hurtling towards a 50th birthday in May, the prolific rockster delivers a solid reminder of why we appreciated Moz in the first place.

Next up (and also available through US retailers today) is the latest Red Hot compilation, Dark Was The Night.  New material from My Morning Jacket, Spoon and Arcade Fire is enough to sell me.  Add in 28 other exclusive originals and covers by such artists as Jose Gonzalez, Bon Iver and The National and this becomes a must-own.  Contributing to charity is the cherry on top.

And finally, also providing a new compilation for a worthy charity is War Child: Heroes.  An all-cover affair, this one answers the question of what Beck would sound like covering Bob Dylan, Elbow covering U2, or Franz Ferdinand covering Blondie.  Can’t wait to hear these versions and 13 others.  Fortunately, the wait is a short one as this becomes available in the US next Tuesday, February 24th.

By the way, be sure to check out allmusic.com if you are ever in need of a comprehensive list of new and upcoming releases.  They’ll even send you an update in their new release newsletter.

But honestly, do these awards matter at all?  What are all of these categories anyway? 

I just wanted to call out the Album of the Year, Raising Sand by Robert Plant and Alison Krauss. 

Alison Krauss & Robert Plant

Critical acclaim has come slowly for Robert Plant.  The Grammys were not too interested in him 34 years ago when Led Zeppelin was at its peak. 

For those not familiar with Raising Sand, his latest collaboration (and raison d’être for pulling out of a potential Zeppelin reunion), check it out here.

But why would you be familiar with the album?  How many of the other Albums of the Year this decade are in your collection?:

2001 – Two Against Nature – Steely Dan
2002 – O Brother, Where Art Thou? Soundtrack – Various Artists (including the heretofore mentioned Alison Krauss)
2003 – Come Away With Me – Norah Jones
2004 – Speakerboxxx/The Love Below – OutKast
2005 – Genius Loves Company – Ray Charles and Various Artists
2006 – How to Dismantle an Atomic Bomb – U2
2007 – Taking The Long Way – Dixie Chicks
2008 – River: The Joni Letters – Herbie Hancock

Personally, I’ve been much more interested in the Shortlist Music Prize over the same period of time.  By the way, does anybody know what happened to the Shortlist in 2008?  I seriously have no idea.

Pompous, arrogant, but still relevant?

Get ready for a big dose of Bono and the boys from U2 this year.

Starting with their strategic appearance at the “Inauguaral Celebration” concert at the Lincoln Memorial on Sunday and continuing with a worldwide tour to accompany the March release of their new album, “No Line On The Horizon”, get ready for a full blast of the tireless Irish rockers in 2009.

The band is streaming their new single starting today, with full details on the album release included as well.

Personally, I can’t decide whether I really want to invest the time (or money) to follow this band anymore.  But it’s hard not to have respect for the body of work that U2 has put together over the years.  With only a few missteps along the way, they do continue to stand out as one of the few acts still worthy of the “superstar” tag.