Class of 2023 (East Coast)

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(Musician) Former drummer of the band Boston. Hashian is heard on Boston's self-titled debut album, as well as on the follow-up Don't Look Back. Hashian was of Armenian and Italian ancestry and lived in Lynnfield, Massachusetts[3] with his wife, Suzanne (née Jipp).[4] They had one son, Adam, and two daughters, songwriter Aja Hashian and singer-songwriter Lauren Hashian, 

Sib, the youngest of four children, was raised in Lynn and was a graduate of Lynn English High School, Class of 1967. After receiving his first drum pad as a child, music became his passion. Sib earned money drumming as a young teen to help support his family. While in his late teens he was playing seven sets a night, seven nights a week, in the club district of Boston honing his craft of drumming. Sib continued his education at Catholic University in Washington D.C. earning an Associate's Degree. But, with the Vietnam draft looming, he chose to enlist into the United States Army Officer's Candidate School. After successfully completing OCS, Sib served as a First Lieutenant in the Vietnam War. Less than two years after being Honorably discharged from the Army. There is a film on Sib's life called "Back Beat From Above" by Yellow Box Entertainment 

https://www.yellowboxentertainment.com/n-e-w-s-e-v-e-n-t-s and Sib's award presentation will be at the premier of this inspirational film. 

  Born June 12, 1951
Peabody, Massachusetts, U.S Brad was an American musician, best known as the original lead vocalist and rhythm guitarist of the rock band Boston. He joined Boston in 1970, in which he played and sang on the band's first three albums.  Brad was known for being kindhearted, and contributed to a number of charitable causes . 

• Boston (1976)
• Don't Look Back (1978)
• Third Stage (1986)
• Corporate America (2002)

• Barry Goudreau (1980)

• Orion the Hunter (1984)

• Return to Zero (1991)
• Lost (1998)
• Lost and Found (2004)

• Delp and Goudreau (2003)
• "Rockin' Away" (2007)

• Whatcha Gonna Do! (2008)

• Keith Emerson - Best Revenge - Playing For Keeps (1982)
• Bruce Arnold - Orpheus Again (2010

Goldie & the Gingerbreads (Influencer/ pioneer) was an all-female American rock band from 1962 to 1967.[1] They were the first all-female rock band signed to a major record label.[2]

Whereas most female bands were ignored by the big record labels and their live performances rarely attracted more than gimmick-seeking crowds, the quartet consisting of three musicians and a singer: Ginger Bianco, Margo Lewis, Carol MacDonald, and Genya "Goldie" Zelkowitz (later Genya Ravan), were among the first to break into a domain dominated by men. They were signed to Decca in 1963[3] and to Atlantic in 1964.

Singles

• Skinny Vinnie / Chew Chew Fee Fi Fum – (1964), SPOKANE 45-4005[21]
• That's Why I Love You / What Kind of Man Are You – (1965), ATCO 45-6354[21]
• Can't You Hear My Heartbeat / Little Boy – (1965), DECCA 12070[21]
• That's Why I Love You / The Skip – (1965), DECCA 12126[21]
• Sailor Boy / Please Please – (1966), DECCA 12199[21]
• Look For Me Baby – (1966), DECCA
• Think About The Good Times / Please Please – (1966), ATCO 45-6427[21]
• Walking in Different Circles / Song of the Moon – (1967), ATCO 45-6475[21]
• Think About the Good Times – FONTANA 693[21]

 Mach's a Boston-based singer with hard-rock groups like the JOE PERRY PROJECT (1982-84), THUNDERTRAIN (1974-1980) and most recently the MACH BELL EXPERIENCE (founded in 2022). Classically trained on the cello as a child, Mach switched to the electric guitar during the Swinging 60's and in the early 70's he switched again, this time to frontman & lead vocalist.

It was Joe Perry who gave Bell his nickname "Cowboy" during their time writing, recording and touring together in the JOE PERRY PROJECT (Once a Rocker Always a Rocker, MCA Universal/Geffen Records).

Mach is a lifelong diarist and his road journals are the basis for his memoirs Once a Rocker Always a Rocker: A Diary (2019) and I Gotta Rock (2021).

Cowboy continues to make news & write new music. He travels, appearing at concerts, book signings, media events and artist panels.

Next up: Another book and more rock! Leading the all-new, hard-driving MACH BELL EXPERIENCE.

When he's not writing or rocking, Cowboy's favorite pastimes include screenwriting, film-making, flower gardening, cooking and beach combing with his wife, Julia. Cowboy even dug himself a backyard frog pond, along with his sidekick, a Bombay cat named Lucky.

Follow Cowboy Mach Bell at OnceARocker.com

https://www.instagram.com/cowboybeeps/

https://www.facebook.com/MachBell

https://twitter.com/mach_bell

 (Musician/ Songwriter) Robin Lane is a songwriter and performer whose timeless recordings with her band, the Chartbusters, and more recently under her own name, are enduring proof of what is so good about contemporary music. From her thrilling rock chestnut "When Things Go Wrong," which dented Billboard's Hot 100 in 1980, to her heart-wrenching "Last One To Know" from 2003's Piece Of Mind to more recent gems including "It's Your World" and "Woman Like That," from 2022's Dirt Road To Heaven, Robin's songs are tough, brutally honest, and thoroughly engaging. And if that weren't enough, she has a great story. (Check out the credits on Neil Young's Everybody Know This Is Nowhere, just for starters.) Robin has endured, and gotten better, and her music makes it crystal clear that she's always done what she does not for fame and fortune but because that's who she is, and she loves what she does.

 New England all female band Lizzie Borden and the Axes began with the founder Lizzie Borden. Liz became friends with Joan Jett, and in the early 1980s helped get her a gig at the Rat in Kenmore Square. It was there that Borden met guitarist Rita Lavacchia, and soon it was Borden switching to bass, Lavacchia on guitar, Cyndie Barone on drums, and singer Daria Smith, who was chosen partly due to her two-tone black and blonde hair. Lizzie Borden & the Axes started playing as a quartet at Cantones, the Rat, the Space, eventually bringing in Kathy Perry on keyboards. Then Smith left, with Heather Rice taking her place at the microphone.

But it wasn’t easy being an all-female band at the time, and there were cases of the band members being beaten up. Borden recalls one night at the Rat when a security bouncer started squirting something at them that caused a stinging in her eye, and how her punk attitude came in handy. “All I remember is leaping off stage, onto the bouncer, grabbing a chair, trying to bash him over the head, with him hitting back.” Labels took an interest in their music, and they released one album apiece with Capitol and A&M. But major changes were made. The band was forced to soften their look, from hair to makeup to outfits, because they were told they weren’t -– Borden’s words — “girlie” enough. Then they were told to change their name to Mata Hari. A few videos were released, but Rice wasn’t happy with the new direction of the band, and quit, as did Barone.

Borden remembers: “We were in the studio recording, and I was miserable. Rita looked at me in the middle of the session, then put her guitar down and said, ‘That’s it. I’m done. This is not what I want to do.’ And she walked out. I knew I had to finish the recording but then I walked out, too.” The band’s final gigs were in 1990, but there have been a number of reunions over the years, with Lisa Addario on guitar. Lizzie and the Axes are featured in the New England Music museum  https://www.mmone.org/lizzie-borden-the-axes/

Kathy Auburn-Guitar

Amy Blaze-Drums

Denise Troy-Vocals/ Keyboards

Peepa Jean-Sax/Guitar/Vocals/

A ground breaking all female lesbian band. CT based Sister Funk have been around for 20 years. They have broken down many barriers and  had the privilege's of sharing national stages with acts like: Mellissa Etheridge, B52s, Foreigner, ZZ 

Did you say 20 years? Yes this group has been to therapy and back to keep their high energy show going all these years.

2022 brings their 6th full-length independent CD release to the masses. Tracks off this new CD Wings To Fly are eclectic, more raw then their pervious releases and include some solid country-rock tunes such as Ride With Me & Life On The Road and some funky-blues-rock tunes like Want What I Want and It Ain't You. There are some surprise genres on this compilation such as Frostbite (rock-metal) and One Small Step (electra-pop).

Sister Funk has been nominated for many awards and titles: Best Rock band- Advocate, Best Rock Song- New England Music and has had their song Gone featured on Sirius Out Q as #1 for 15 consecutive weeks. Sister Funk performances are known for being unpredictable, playing multiple instruments and performing medleys of their favorite cover songs with their own creative interpretation. Don't be fooled by the name this dynamic band has something for everyone. 

Website: https://www.sisterfunk.com/index.php

Composer Randy Edelman lives life boldly, conquering his own visions, creating his own destinies, muting public opinion to craft his own fate, and offering a musical legacy that will reign for eternity. He evaluates feelings, intuition and instincts and finds a melody for all of them. 

Raised in Teaneck, New Jersey, the keyboard couture was born with the ability to hear music and transcribe it onto the piano. After a brief quarrel with fate where Randy was temporally thrust into the pursuit of pre-med, he moved into full-time piano and composition study at the Cincinnati Music Conservatory where he was then able to follow his unquestionable destiny. He eventually procured an arranging assignment at James Brown’s King Records. In 1971 Randy relocated to New York to work as a staff writer at April Blackwood Music, while simultaneously playing piano in Broadway pit orchestras. Yet even then there was no possible way for anyone, even Randy, to realize that his constellation would lead to a unicorn marathon of celebrated careers that would touch the lives of so many. 

Like a seductive alchemist Randy began to write and record his own albums transforming the world’s anguish into a narrative of truth and granting him a thriving audience in the UK, with television spots on such British institutions as “Top of the Pops” as well as many others showcasing his solo hits like, “Uptown, Uptempo Woman” and “Concrete and Clay.” He also performed solo concerts at prestigious venues, including the London Palladium, Drury Lane Theatre, and Royal Festival Hall.

The original material from Randy’s songs via his solo albums began being covered and recorded by a myriad of artist including: Barry Manilow (A Weekend in New England), The Carpenters (I Can’t Make Music), Nelly (My Place), Patti LaBelle (Isn’t it a Shame), Willy Nelson (Down in the Everglades), Olivia Newton-John (If Love is Real), ABBA’s Agnetha Faltskog (Turn the World Around), Blood, Sweat, Tears (Blue Street) The Royal Philharmonic Orchestra (Grey), Dionne Warwick (The Laughter and the Tears) and a long list of others. He has performed in breathtaking arenas with Frank Zappa and The Mothers of Invention, The Association and The Carpenters, and with Olivia Newton-John at The Budokan in Japan. 

However back home in Hollywood Randy became interested in pursuing a new endeavor which was creating the life, blood, and essence of the movies, through music, and making even the plainest faces alive with promise. His individuality and originality only touches upon the core of his iconic acclamation and his dexterity and endowment for the creations of over 100 soundtracks both for motion picture and television. Embodied within his eclectic film catalogs are the mischievous comedies of “My Cousin Vinny”, “The Mask”, “Billy Madison” “Ghostbusters ll”, “Twins”, “Kindergarten Cop”, “Shanghai Noon”, his romantic satires such as “While You Were Sleeping”, “27 Dresses”, “Six Days Seven Nights” and his whimsical fantasies, “Dragonheart”, “Beethoven”, “Drop Dead Fred”, “The Chipmunk’s Adventure” and “The Indian in the Cupboard” Then there are those dark, haunting, and ominous thrillers, “XXX”, “Anaconda”, “Diabolique”, “Daylight”, and his most recent,  the intense and evocative  music of  “The Possession of Anne.” 

However like a chameleon he is of a very specialized and distinctive breed of musicians and has the  ability of shifting to different hues and degrees of emotions and brilliance as shown via his more serious and passionate films including “Gettysburg” (directed by Ronald F. Maxwell), “The Bruce Lee Story” (directed by Rob Cohen), “Come See Paradise” (directed by Alan Parker) and “Last of the Mohicans” (directed by Michael Mann).  Amongst the other legendary directors he has lent his talent to are the late Ivan Reitman, the iconic Ron Howard, and celebrated producer and visionary  Ted Turner.

Some of the television shows and series he has scored encompass : MacGyver, Mr. Sunshine, Backdraft 2 for Netflix, and Citizen X for HBO. These credits only touch the surface of his accomplishments. He has also created the music for “Dare Mighty Things” for NASA’s final Shuttle launch, “Wimbledon, Grand Slam Tennis Series” for ESPN, “ESPN Sports Century,” and even the NBC “on air” Olympic Theme, of which he has celebrated over 20 years of Olympic themed glory keeping the musical flame alive.

The multi-award winning serialist has received some of the most prestigious awards including BMI’s highest honor, the Richard Kirk Award for Outstanding Career Achievement, the Composer and Lyricist’s Guild Lifetime Achievement Award , an Emmy for the close of the NBC Olympic Broadcast, and an Honorary Doctorate of Fine Arts from the University of Cincinnati, which was received alongside the only other PhD recipient Coretta Scott King. In addition he was nominated for a Golden Globe Award and British Academy Award (BAFTA), for “Last of the Mohicans.” Furthermore, “Dragonheart” was nominated for the Saturn (Science Fiction) Award, and “Leap Year” was awarded the Gold Spirit Award (in honor of Jerry Goldsmith) for Best Comedy.

Besides recording and conducting all of his own scores in Los Angeles, New York, Salt Lake City, and London, he has lived their performances in film festivals in Ubeda Spain, in Lucerne, Switzerland (with the 21rst Century Orchestra), and at Fimucité The Tenerife International Film Music Festival in the Canary Islands. One is likely to hear an Edelman score piece on a regular basis throughout the country, on countless symphony programs, including the Boston Pops.  

Randy has for the past year or so treated sold out audiences in New York and London to his live solo performances entitled “A Life in 80 Minutes” (which spans for more like 2 hours). He has been performing on stage  a behind the scenes view of his outstanding career through his music and his touching and humorous stories. Rave reviews have continuously been generated from critics including Michael Musto, publications such as Hype, Louder Than War, NY Weekly Times and a vast array of other publications.

Always dancing on the rim of a volcano, Randy continues to compose and record,lighting up the world like fireworks plunging into the night sky and shattering the darkness. The illustrious  composer of modern and future times has recently released his post anthemic song of hope and inspiration titled “Comin’ Out the Other Side”, available via Tribeca Records. 

The never ending saga of Randy Edelman constantly endures and advances with his ongoing work on the score for his musical, “Short Cut,” telling of the construction of the Panama Canal, and his recently released Sony Masterworks album of Randy Edelman’s orchestral score to Ghostbusters II in all formats....Randy is currently working on his brand new album “Can’t Be Killed By Any Conventional Means.” 

Randy wrote the hit song "Weekend in New England"

 A Boston band unlike any other, Human Sexual Response broke onto the scene in 1977 as part of the punk/new wave explosion.  With three musicians (Rich Gilbert on guitar, Chris Maclachlan on bass, and Malcolm Travis on drums) and four singers (Larry Bangor, Dini Lamot, Casey Cameron and Windle Davis) HSR began their career crowding the stage at the legendary restaurant/music dive Cantone’s.  Soon the popularity of their local radio hit, “Jackie Onassis”, led to larger venues, and extensive touring throughout New England and New York.   In 1980, with the release of the band’s glowingly reviewed debut album, Fig. 14., featuring the dance hit “What Does Sex Mean to Me?” and the eerie “Anne Frank Story”, the Humans expanded their touring nationally and internationally.  In a Roman Mood, the band’s second and last album before their break-up in 1982, included the driving “Pound” and the visionary “Land of the Glass Pinecones”, which in some quarters has become a seasonal holiday staple.     Highlights of the band’s career include their Mother’s Day and Christmas shows at the Boston Film and Video Foundation; their Halloween shows in black body paint (in both Boston and Los Angeles, with Candy Samples and Elvira, Mistress of the Dark as co-hosts); and an all-covers Prom Night performance at Spit.   Despite its relatively short career and lack of mainstream success, Human Sexual Response continues to resonate with fans old and new.  Both of the Humans’ albums have been re-released (Fig. 14 twice, as Fig. 15).  Their infrequent reunion shows, as musically thrilling and visually arresting as ever, have drawn consistently sold-out crowds. 

Casey Cameron

Larry Bangor

Dini Lamot

Windle Davis

Malcolm Travis

Rich Gilbert

Chris Maclachlan

 The Atlantic's THE ATLANTICS 1976-1983

The Atlantics were formed in January 1976 by guitarist Tom Hauck and bass player Bruce Wilkinson, two students at Tufts University in Medford, Massachusetts, just outside Boston. A mutual friend introduced them to drummer Boby Bear and lead guitarist Jeff Lock. To complete the lineup Bruce recruited singer Bobby Marron, a friend from his hometown in New Jersey. 

The Atlantics played their first show in the spring of 1976 at The Rat in Kenmore Square. In May of 1976 they scored the opening slot for the Ramones, who were playing two nights at The Club in Central Square. The band made their first trips to New York in the summer of 1976, playing at CBGB and Max's Kansas City. The band quickly became an important and authentic part of the emerging punk/new wave movement. 

The following spring Ray Fernandes replaced Boby Bear on drums. In the summer of 1977 the band recorded its first independent 45 on Jukebox Records, “When You're Young” by Bruce Wilkinson, backed with “Where Would I Be Without Your Love,” by Jeff Lock. A thousand copies were pressed but never released, and the single is now considered a collector’s item. In the spring of 1978 Jeff Lock left the band and was replaced by Fred Pineau. That fall the band was signed to ABC Records, and in December the band recorded their album “Big City Rock” at the Hit Factory in New York. The record dropped in March 1979, but a few weeks before the release ABC Records was sold to MCA Records. Their new label, together with Premier Talent, put the Atlantics on a nationwide tour with Roxy Music, followed by a regional tour throughout New England. The band performed with artists including The Ramones, Cheap Trick, Boston, The Cars, Graham Parker, and many others. The single “One Last Night” by Bruce Wilkinson received regional and international airplay, and the album garnered a glowing review in Rolling Stone.

In the summer of 1979 Paul Caruso joined the group as drummer, and the band came back in 1980 with what was to become one of New England's biggest indy singles, “Lonelyhearts,” written by Tom Hauck. It was the flip side to “Can't Wait Forever,” a Motown-flavored song by Bruce Wilkinson. “Lonelyhearts” rocketed to the top of New England radio and dance charts and stayed for months.

During the next two years the Atlantics released several more songs on tape to Boston radio stations, including “Pop Shivers,” “Wrong Number” and “Weekend.”  In June 1983 the band played their final show at the Channel in Boston. 

“PowerPop” presents a collection of 17 previously unreleased or limited-release tracks recorded between 1978 and 1982. They include both sides of the classic Jukebox Records single “When You’re Young” b/w “Where Would I Be Without Your Love.” Other highlights include tracks recorded at Downtown Studios with producer/engineer Phil Adler, versions of tunes found on the “Big City Rock” LP, and some of the band’s early demos. 

“PowerPop” is the third Atlantics reissue, following the self-titled “Atlantics” and “Atlantics Live.” With Bobby Marron’s unforgettable vocals and classic songs by Bruce Wilkinson, Jeff Lock, and Tom Hauck, the Atlantics CD collection stands as an indispensable part of the punk/pop explosion that swept the music industry in the late 1970s and early 1980s, and whose descendants can be heard on alternative rock radio today.  

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  Jim Sullivan bio.  As a high school baseball player growing up in Maine, I used to pump myself up for games by playing Iggy & the Stooges Raw Power at full volume on my crappy bedroom stereo. The ultimate adrenaline rush. Or sometimes, Alice Cooper’s Killer, digging those hard-rocking, theatrical dark deeds. My friends and team mates didn't quite get it – they liked Chicago (the band) and whatever Top 40 stuff crossed their path. But that was OK: I was secure in my choices and my taste. And the punk rock revolution was around the corner. That's where my musical taste locked in with many others, all of us bored with corporate rock. That period was a time of extreme excitement (friction, joy, conflict) that helped inspire me to write about what I loved. And, it opened the doors to even more worlds, writing and otherwise.  I wrote for my college paper the Maine Campus and became a rock columnist and feature writer for Maine’s largest daily paper, the Bangor Daily News. My first rock interview was Slade in 1975, where, post-show, I asked Noddy Holder if he still got excited on stage. He exclaimed that he did – “My jeans are stiff as a board!” I was also writing for a music magazine, Sweet Potato, that started in Portland.  After graduating from the University of Maine, I moved to Boston in 1978. I continued writing for Sweet Potato – a new Boston edition opened - and began writing freelance music reviews and features for the Boston Globe the following year while attending Boston University, earning an M.S. in Journalism.  I also wrote for various national now-defunct music (The Record, Creem, Music-Sound Output, etc.) as well as doing a dozen or so pieces for the nascent USA Today – broadened my taste and sharpened my critical faculties. I found Boston most fascinating, the local rock scene and the many national and international bands that through. Maybe it wasn't New York or L.A., but most anything that hit those cities hit ours, too, and the diversity was most impressive. Name a genre on an any given night bands from that genre would be playing town. Difficult choices had to be made. Quality of the local scene: Never less than B+ and often in the A range.  I joined the Globe staff in 1988, writing for virtually every section of the paper at some point, but anchored in the Arts Section and specializing in pop music and culture. The landscape of coverage was immense – from Roy Orbison and Jerry Lee Lewis to Sex Pistols and Ramones, from Neil Young and Elvis Costello to Pink Floyd and Butthole Surfers, from Roxy Music and Sparks to Patti Smith and Tina Turner.  I left in the summer of 2005. Since, I've freelanced for, among others, the Boston Phoenix, the Boston Herald, the Christian Science Monitor, Best Classic Bands, WBUR’s ARTery, Rock and Roll Globe, The Hard Noise, the Cape Cod Times, and Playgirl (Yes, a ribald ride with Amanda Palmer and a profile of Lez Zeppelin). In 2022, it was time to combine things, to remake and remodel some of what I’d done over the years, add perspective and context, do some additional interviews to come up with Backstage & Beyond: 45 Years of Classic Rock Chats and Rants (Vol. 1), published July 21, 2023 and Backstage & Beyond: 45 Years of Modern Rock Chats and Rants (Vol. 2), to be published Oct. 19, 2023. The first volume of the anthology focuses on artists who came to prominence in the 1950s through the early 70s, but whose careers extended well beyond. Twenty-one of them are in the Rock and Roll Hall of Fame. Richard Thompon was kind enough to say, “These are wonderful stories across the whole range of popular music, by one of rock’s finest journalists. As history lengthens, and some of these legends move on. these become increasingly precious fragments of lives lived at the sharp edge of music.” The second volume deals with artists who took shape during the mid 70s, mostly the punk, post-punk, new wave eras. From Joy Division/New Order bassist-songwriter Peter Hook: “I have spoken to many journalists in my time, some good, some bad, some terrible. And it is lovely when you meet someone who is just like you - a huge music fan! Jim Sullivan is a music fan. I knew it very quickly after our first meeting in the early 80's. He is friendly, knowledgeable, forthright, and opinionated! An expert in his chosen field. Meeting him now is like meeting an old friend and one of the highlights of any American tour. He is no pushover. If you have faults or are resting on your laurels, he is the first to tell you off. I value his opinions highly and treasure his friendship even more.” Although much of the book revolves around things that took place in Boston, I didn’t want it to be an overly Boston-centric book. Hopefully, it’s for rock fans anywhere and everywhere. The five local-but-national acts I chose for the first two volumes: Aerosmith, the J. Geils Band, the Cars, Pixies and Mission of Burma. Jim lives in Brookline with his wife Roza and a trio of felines. If the season’s right and the weather’s nice, you may find him at Fenway Park at night -if not a rock club – and if it’s daytime, you may find him out on a golf course, forever trying to score in the 80s, succeeding enough to make him keep coming back. A summer 2023 highlight: Playing two 9-hole rounds in Newton with Alice Cooper, a smooth-swinging five-handicapper, who had some free time in Boston, prior to the Hollywood Vampires show at the Boch-Wang Theatre and tries to play every other day on tour. And, yeah, the 16-year-old me – if I knew this was in the future - woulda said, “That’s pretty cool!” And, frankly, so did the 66-year-old me: Alice telling rock stories, golf stories (and tips), showbiz stories, making a brief stop to pet the course border collie, Blush, and take a pic. All of us playing pretty damn good golf, too. One of those stories: Back in the day, Eddie Van Halen wanted to golf with Alice so they did and after the round he asked Alice how he did: “You are a great guitar player,” Alice said, politely. Yes, Eddie sucked, but the real reason he wanted to play with Alice was so that he’d introduce him to his friend Glen Campbell who was a fabulous guitarist and great golfer, as good as any pro from 60 yards in. Alice shot just a bit over par and they were two of my best rounds, too. It included a blind chip to the green over a hill on the sixth hole which landed two inches from the cup. Now, we do have “gimmes” in my little golf world, but not on a birdie putt. I walked up to the green without my putter before I remembered that, but Alice graciously handed me his putter for the polite tap-in. 

Steve Morse Music History and Liberal Arts and Music Theory, Harmony, and Ear Training Steve Morse was the senior rock music critic at the Boston Globe for three decades and continues to write for the paper on a freelance basis today. During his tenure, he interviewed legends such as the Rolling Stones, Bruce Springsteen, Bob Marley, Stevie Wonder, Joni Mitchell, Chrissie Hynde, U2, Pearl Jam, and Radiohead. He attended 250 concerts a year for 30 years, including frequent tour openings around the country as well as major events such as Live Aid and Farm Aid. Morse has contributed to Billboard and Rolling Stone magazines and served on the nominating committee of the Rock and Roll Hall of Fame for a seven-year term. He hosted a radio show, "Morse on Music,'' for Boston station WBOS-FM for two years and has aired "60 Second'' reviews on VH1. Morse has done many industry projects such as writing liner notes for album releases by Billy Joel and the Dave Matthews Band. He grew up around Boston and attended Brown University.