The R&B Hall and how it might affect the R&R Hall

In the much too long hiatus at the beginning of the year, a lot of drama has unfolded regarding the Rock And Roll Hall Of Fame, even as recent as this past week.  Among the biggest pieces of news, but not so fully explored, was the announcement of the departure of key people at the Rock And Hall Of Fame Foundation, including some members of the Nominating Committee.  Supposedly, these people left to focus on the development and execution of the new R&B Hall Of Fame.  The R&B Hall Of Fame announced its inaugural class shortly after the Rock And Roll Hall Of Fame announced its Class Of 2013.  Looking at the people behind and the charter inductees of this new establishment, it raises some questions and concerns about the direction of the Rock And Roll Hall Of Fame.  Some of the questions looming nigh deserve serious discussion.

First off, why the split in the first place?  It really does seem pointless for a couple reasons.  For starters, how much extra time and energy does it take to be a part of two halls of fame?  Admittedly, perhaps ignorance on the subject matter is coming through, but given how many years the Rock Hall existed without even having a museum, and given that NomCom members only meet to decide nominees, decide inductees in the categories outside of Performer, and to actually attend the ceremonies; it doesn’t seem like a heavy extra commitment on top of their regular jobs already, all of which are at the very least tangentially connected to the recording industry anyway.  Planning the ceremonies themselves are really the only seriously strenuous part of being involved in the process, outside of trying to convince other committee members that a certain nominee belongs on the ballot, even if at the expense of another candidate who may also be deserving.  Taking part in another hall of fame shouldn’t be that demanding.

Maybe this is being done in recognition of the changing of demographics in the United States.  As political pundits loved to repeatedly point out upon announcing Barack Obama’s re-election, Caucasians are rapidly, if not already, losing status as a majority, and may in fact soon not even comprise a plurality.  Shouldn’t there be a Hall Of Fame for a musical style that hasn’t been skewing more and more White over time (which is another blog entry itself for the future), to reflect that?  But if that were the case, why not also make plans to begin a Latin Music Hall Of Fame in the States, since that is the most rapidly growing demographic?  Or maybe it’s being done to reflect the extreme dominance of R&B and rap in the Pop charts and the programming of Contemporary Hits Radio stations.  Again, this is insufficient because it leaves danceable pop out of the picture, which has carved out its own strong presence with the likes of Katy Perry, Lady Gaga, etc.  Changing demographics as an explanation only raises more questions than it answers. 

On top of that, hasn’t the Rock And Roll Hall Of Fame pretty much acted like an R&B Hall Of Fame?  Not per se, but in the first eight years, at least half of the inducted Performers were African-Americans, none of who were renowned for playing rock and roll that leaned more heavily on the folk or country side.  And there have been only three years where none of the Performer inductees chosen from the ballot were Black, and one of those years had a blue-eyed soul act while another had a trio of White rappers (although one year did have a jazz artist in lieu of an R&B artist, and two more had reggae, which while still derived from R&B isn’t part of the traditional connotation of “R&B”).  Even as recent as 2008, Jann S. Wenner reminded the room how rock and roll is rooted in the “music of the Black man”, i.e. blues, jazz, gospel, and R&B.  There’s pretty much been representation of R&B of some sort in every year of inductions in the Rock And Roll Hall Of Fame.

Which again begs the question, why the impetus to cut bait now?  While the language of the resignations has all been very pleasant, one really need only look at what they’re creating upon leaving to get at potential ulterior motives.  On the surface, it would appear that the people who’ve split feel that R&B has been getting less than adequate representation, which as mentioned above is an odd attitude to take given the continual presence in the annual selections.  Even more incredible given the littering of lists one can find online of the most snubbed artists.  Most are either classic rock, metal, or early alternative scene acts, none of which appeal heavily in the R&B scene.  Still, a look at the artists who’ve been repeatedly nominated but have failed to get in reveals at present the likes of Chic, Chuck Willis, and Joe Tex as the top three, with 18 nominations between the three of them.

Looking even closer at what they’re creating, the inductees themselves also reveal another side to this split.  Some of the no-brainers are there, such as Aretha, Ray, Sam, James, and Berry Jr.  There are even a couple awesome surprises for charter induction like Johnnie Taylor and Martha And The Vandellas.  But what ultimately is telltale is the inclusion of inductees like the Spinners, the Marvelettes, Whitney Houston, and Don Cornelius.  No one is saying that these choices are less than deserving, but the Spinners missed out on the Class Of 2012, the Marvelettes on the Class Of 2013, Whitney Houston from nomination for the Class Of 2013, when many thought it was a certainty, and Don Cornelius not receiving a posthumous Ahmet Ertegun Award induction this year either.  Though these are but four of the forty-eight inductees, the fact that these four are noteworthy snubs from the past two years of Rock Hall inductions.indicates possible bitterness about these people getting snubbed, and possibly other artists they want to see nominated, but can’t make any headway in the process.  Mere speculation, but not to be entirely ruled out either.

Another possible factor is the rise of rap in the ranks of the Rock Hall.  NomCom member Toure, who is not listed among those splitting, has sworn to only nominate rap artists from here on out.  That may seem counterintuitive, but again, look at the inductees.  Whitney Houston and Luther Vandross are representing the ‘80s, but there are no rap artists, not even Grandmaster Flash And The Furious Five.  On the surface, it would seem no conflict should be present.  Grandmaster Flash And The Furious Five got in the same year as the Ronettes who, while part of the Spector sound did have R&B in that sound.  Run-D.M.C. was inducted the same year as doo-wop group Little Anthony And The Imperials and “Soul Preacher” Bobby Womack.  This year, Public Enemy is inducted alongside blues guitarist Albert King and disco queen Donna Summer.  Even 2012’s elected Performers were half “blue-eyed” R&B of sorts.  So rap doesn’t seem to be conflicting with other forms of R&B.  Nonetheless, looking to the future, the presence of non-rap R&B candidates may get thinner in terms of soon-to-be eligible, viable candidates.  Whitney Houston herself might still not even be part of the conversation if not for her famous passing away early last year.  Beyonce, Destiny’s Child, Usher, and maybe Mariah Carey are the strongest candidates right now, but what about the likes of Mary J. Blige, Boyz II Men, or Faith Evans?  Does Bruno Mars have a shot, assuming he maintains his current pace?  Another piece of evidence, though by no means concretely telling, is the Rock Hall Projected project on Future Rock Legends.  Non-rap R&B artists of the ‘80s and beyond are pretty scarce, and those that made it often took multiple nominations.  Again, the opinions of the people on FRL vary quite differently from those of the NonCom and the voting bloc, but the sentiment may not be confined either.  If not, maybe there is a need to branch out after all.

Whether or not these are good reasons is partially moot, since the split has been made already.  Which brings us to the next logical question: how will this shape the Rock And Roll Hall Of Fame classes in the future?  One obvious but perhaps erroneous conclusion is that the classes will get a lot more “Rock” oriented, meaning overwhelmingly heavy with guitar bands, a classic rock fan’s utopia.  This seems to be what would happen, since without a strong R&B presence, what’s left?  And the recent nominations of KISS, Bon Jovi, Deep Purple, and the recent inductions of the likes of Rush and Alice Cooper seem to point in that direction.  The problem with that logic is, of course, there are still a lot of NomCom members remaining in their seats of power who still don’t like those acts.  KISS and Bon Jovi have yet to return to the ballot, and it may be that Deep Purple will continue that trend. 

Those remaining members, in fact, may even serve to keep the Rock Hall continuing same as usual.  After all, how many members did the NomCom really lose?  Out of how many?  Ultimately future ballots and future classes will not only present the immediate answers, but also hint to the long-range possibilities.  And who knows: perhaps this split will wake up NomCom members and voters alike in favor of some of these overlooked artists?  Will the next time be magic for the Spinners or the Marveletees?  Will the Chi-Lites, Manhattans, and Dramatics finally be noticed for their impeccable smooth soul?  Will Johnnie Taylor, the Bar-Kays, or the Ohio Players serve to open eyes beyond the world of Pop chart sensibilities, and re-orient said eyes towards the R&B chart history?

Whatever happens, one thing seems sadly inevitable: the eventual closing up shop of the R&B Hall Of Fame.  Not to cast signs of doom and gloom, but things are already looking bad on the outset for this new creation.  Here are a few signs that may indicate repatriation to the Rock Hall by those who chose to split:

1. It seems to be done out of spite.  As stated earlier, some of the inductees seem like choices made to spite the Rock Hall for not getting them in sooner, while they had a chance to prevent any kind of fissure.

2. The quotas of eras.  Admittedly, not enough research has been done into this one, but offhand, quotas of eras do not bode well.  The Vocal Group Hall Of Fame did the same thing, and folded after a clean decade.  The same thing happened with the UK Music Hall Of Fame, which was even more short-lived and less restrictive than the Vocal Group Hall.  Meanwhile, the Rock And Roll, the Country Music, and the Baseball Halls Of Fame all require a minimum of time passage prior to eligibility.  Definitely more correlation than causation, but it’s still noteworthy.

3. Ridiculous pace at the outset.  Forty-eight inductees in their first class.  Maybe they’re trying to get things started with a bang, but this is more than twice the number of inductees than the Rock Hall has ever inducted in a single year.  Even if they do start including rap artists, there’s no way they’ll be able to maintain that kind of pace.  Like the Rock Hall has done, they’ll have to slow things way down to ensure long-term durability.

4. Significant omissions.  As mentioned earlier, some of the inductees are no-brainers.  Unfortunately, so are some missing names: Michael Jackson, Fats Domino, Chuck Berry, Little Richard, Stevie Wonder, the Temptations, etc.  Even worse, they seemed to have forgotten that R&B predates rock ‘n’ roll, as Ray Charles is the only inductee listed whose chart history predates 1955.  Where’s Louis Jordan And His Tympany Five?  The Ink Spots?  The Mills Brothers?  The Ravens?  Just some glaring omissions out of the gate, due possibly to the era quotas they seem to have in place.

5. Absurdity of some of the inductees.  Making judgment calls on the merits of particular inductees can certainly lead to heated arguments, but there are some questionable calls on this one.  It may not be about hits as much as musical excellence (similar to the Rock Hall’s apparent mission), but a charter class should be about those who are easily and undisputedly among the royalty.  To that end, Enchantment?  They only had a couple significant albums and less than a dozen hits across all the Billboard charts.  Or the Hesitations, a band with even less presence than Enchantment?  It would be an understandable statement to include acts that were huge on the R&B charts but largely unknown on the Pop scene, but they didn’t induct Millie Jackson, Fatback, or Chuck Jackson.  They went for the Hesitations and Enchantment.  Additionally, the inductions of places and record labels seem a bit ludicrous.  Was Motown absolutely pivotal in the evolution of R&B?  Absolutely.  But they’re simultaneously inducting Berry Gordy, Jr. and Motown Records.  Inducting a whole record label just seems ridiculous, especially when it makes more sense just to induct the people who made it monumental (and while the subject’s been broached, where’s Stax-Volt or Jim Stewart?)  Inducting exhibition locations?  Again, no one will downplay the importance of the Apollo, but that’s why exhibits are built spotlighting these locations, or why people petition the local council to name it a historic landmark.  But to induct a club is just a bit out there.  Lastly, Al Sharpton.  Seriously?  Being friend and mentor to James Brown does not merit induction into a music hall of fame.  By that logic, Perry Como should be inducted into the Rock And Roll Hall Of Fame because he was friend and source of strength for Elvis Presley during his Las Vegas stint, and helped keep the King going during the depressing post-Priscilla days.  But no one’s seriously mentioned the Man Who Invented Casual as a Rock Hall candidate.  Nor should Sharpton be in the R&B Hall.  The NAACP Hall Of Fame?  Unequivocally.  The R&B Hall Of Fame?  No.  Just no.

In conclusion, the R&B Hall Of Fame seems like a creation curious in its origins.  There is certainly an ample supply of acts to induct and honor, many of whom will likely never even be seriously considered by the Rock Hall’s NomCom, but the approach needs considerable re-alignment before they induct their second class.  Otherwise, it’ll go down as a footnote in the history of the Rock And Roll Hall Of Fame.

2013 Mid-Season Report

After a much too long hiatus, Rock Hall Monitors has returned.  Hopefully to be more frequent.  The ceremonies haven’t happened yet, and we still don’t even know who the presenter will be for Public Enemy or either of the Ahmet Ertegun Award recipients.  Nonetheless, it is March, which is six months away from September, which is about the time predictions appear for who will be on the ballot for the next year’s class.  Which means now is the appropriate time for a mid-season report.  What is the current reading on Rock Hall barometers everywhere?  These things are subject to change based on what happens during the year.  New albums, shocking deaths, and press statements are among several external factors that can influence members of the NomCom, and that doesn’t even include internal factors that go on in NomCom members’ lives.  Nevertheless, there is some consistency across the board, and here is a preliminary look at some names that might surface on the 2014 ballot.

Since mid-January, I’ve had a gnawing feeling of already being able to pick next year’s class.  Normally, I hate predicting a class without even knowing who the actual nominees are; however, certain indicators seem to point to six strong possibilities as the Class Of 2014.  It begins naturally with the glaringly obvious selection of Nirvana.  This one just couldn’t be any more obvious.  There was some discrepancy of when they are first eligible, but it currently holds that 2014 is their first year, and it’ll be their induction year. 

The second obvious selection is Whitney Houston.  Now, she was predicted as an obvious selection last year, too, only to not be nominated, but the omission is easily explained by the impetus to get Donna Summer inducted, and now that Summer is in, Houston is clearly next in line.

It gets a little hazier from there, but the next most obvious choice has to be Chic.  Their next nomination is their eighth.  There’s no official “automatic eight” rule that we know of, but no one other than Solomon Burke has needed more than eight.  And the powers that be are probably going to want to keep it that way.  Chic’s in next year. 

The path gets even hazier after that.  With Public Enemy as the fourth rap inductee, it’s obvious rap will be a staple in future classes.  Maybe not every year, but often enough.  At present, we have four hip-hop acts previously nominated that have not made it yet.  We know NomCom member Toure has sworn to nominate only hip-hoppers from now on, so who’ll be high on his list?  He may go for N.W.A. again, but I think he has assigned a higher priority to rap’s first solo superstar, LL Cool J.

The next pick is a dome-scratcher, but something keeps telling me that the Class Of 2014 will include Joan Jett And The Blackhearts.  It was surprising to see them nominated in the first place, and we did a double take when they garnered a second nod.  They may get the next year off from the ballot, but if they appear again in autumn, three consecutive nominations will show a persistence that was shown for Laura Nyro and also Donna Summer and will strengthen the bid for them in the Hall.

As has happened the past two years, I’m predicting a sixth entrant for 2014 in the Performer category.  And name-dropping by Jann S. Wenner earlier in 2013 was enough to get the Paul Butterfield Blues Band back on the ballot, and much like Darlene Love, two consecutive nominations after having been absent from the ballot for awhile should prove efficacious for this outfit.

So while I don’t normally engage in the practice, that’s my early inclination toward the Class Of 2014.  But the mid-season report doesn’t stop there.  Who else will be on the ballot?  The recent blog entry on the Rock And Roll Hall Of Fame’s official site about Patsy Cline may prove prescient towards her finally getting some recognition.  It may prove unpopular though, since country has seldom gotten serious recognition from the Rock Hall, for reasons both valid and curious. 

Another strong possibility for nomination will be De La Soul as they’ll be newly eligible this year alongside Nirvana, and also a pet rap act for Toure to nominate.  And they really are deserving, but not having too much limelight even at the height of their popularity will mean more than one nomination will be needed to get them in.

Returning names, aside from those already mentioned will likely include Procol Harum and Cat Stevens.  The NomCom has shown their hand on the former: Procol Harum is the next nominee from the ‘60s British Invasion that has to get in before they nominate any others.  As for Yusuf Islam, the second nomination of Randy Newman this past year shows the continuances of the two trends of bringing back past nominees that hadn’t been nominated in awhile and of commitment to the singer-songwriters.  Cat Stevens is the only remaining past nominee who is noted primarily as a singer-songwriter (though Lou Reed, Gram Parsons, and possibly even Steve Winwood would fit that bill).  Meanwhile, after being off the ballot last year, War could return, though once again, they’ll probably get lost in the shuffle.  The desire for more guitar representation could see either Bon Jovi or KISS getting a second nod (I don’t see Deep Purple making it onto the ballot two years in a row, sorry).  Aside from Whitney Houston, soul music may also be represented by Joe Tex, who hasn’t been on the ballot for a couple years.  He’s due to reappear.

Just like that, we’re up to 14.  One more likely slot, and normally I choose a left-field candidate.  But last year, Future Rock Legends made an interesting prediction with Junior Parker, noting their commitment to the blues.  While they may not want to divide the ballot against Butterfield, they may want to keep it going now that the King triumvirate is complete.  The trend right now is towards the guitarists, and so, while somewhat leftfield as well, a possible blues guitarist to keep in mind would be Albert Collins.

And with that, the mid-season report is concluded.  As stated earlier, there are many factors that could come into play that were ignored here, many events that could occur to change the direction of the ballot, and many other ways this could go.  September holds the answer.

My picks for 2013

After drawing this out for much too long, I now present my prediction for the Class of 2013.  I’ve given them all seed placements, but the only real advantage of doing so is that if, like last year, they do induct more than five, the sixth is automatically my sixth pick, so that I’m covered there.  And of course, I’ve been horribly wrong before, having in the past seen those I’ve seeded dead last end up being inducted.  It’s a tough call for the most part, and while I have been 100% in the past, I’ve also been 40% before.  Speaking of percentages, most of them are pretty much pulled out of thin air, and not some mathematical calculation.  So, time to put up or shut up.

 

1. Public Enemy

Landmark hip-hop group, known for politically charged lyrics.  Newly eligible, thus first-time nominee.

Why they might make it: Highly influential in the hip-hop community, and highly respected outside of it.  The political and social themes in a heavy amount of their songs make them the standout darlings.

Why they might not: This is the ninth consecutive ballot to have at least one hip-hop act on it, and so far, they’ve only been successful just over a third of the time.  It’s also worth noting the embarrassment that has been hype man Flavor Flav’s public profile over the past decade, and coupled with the scandal of Professor Griff’s anti-Semitic remarks of the past, there’s some bad energy working against them.

Whom they’d pave the way for: Hip-hop and rap are pretty much a given to be on any ballot in the future, so take your pick of any such star.  Most likely, you’ll see the future nomination of solo Chuck D, and maybe even cause some waves for the recognition of earlier acts like the Sugarhill Gang, or a renewed effort for Afrika Bambaataa, hopefully including the Soul Sonic Force this time.

Who’s their biggest threat: It’s obvious, fellow rap outfit and newly eligible N.W.A. are the cut and dry competition for this crew.

In the end: We’ll be hoping for recognition, if not now then down the line, for their Bomb Squad.  When Bruce Springsteen lists your work among those that makes the earth shake and spit fire, the sky to split apart and for God to pour out—all while inducting U2 into the Hall—you’re in, first ballot.  Induction chances: 95%

 

2. Donna Summer

One of the key figures of disco during the 70’s and early 80’s.  Fifth-time nominee.  Seeded dead last (#9) in 2008, and #6 in 2010, 2011, and 2012. 

Why she might make it: She’s royalty… the “Queen Of Disco.”  She’s got the longest list of hit singles than any of the artists on the ballot.  Very influential female singer, influencing the already-inducted Madonna, as well as other starlets of dance music.  There’s also an affirmative action side to consider, as there’s usually an effort to induct at least one racial minority, and one woman.  She fits both bills nicely and conveniently.

Why she might not: Don’t kid yourself, there’s a bias against disco, with the Bee Gees, ABBA, and Earth, Wind, And Fire representing the style—and even then some would claim ABBA and Earth, Wind, And Fire aren’t really all that disco either.  She’s missed out on tighter ballots before, too, ones that had fewer nominees.

Whom she’d pave the way for: The biggest and most obvious choice is the diva who also died this past year, Whitney Houston.  She’s a lock for nomination once Donna is in.  Janet Jackson is also a strong possibility, and Mariah Carey will be eligible within the next few years, too.

Who are her biggest threats: Chic is really the only direct competition against her this year, though Kraftwerk is also quite renowned for their influence upon the dance music of today.

In the end: She’s been deserving for years, and now that she’s passed away, they’re gonna induct her, saying we lost a superstar too soon, while bemoaning that they didn’t get her in sooner.  I’d say that sentiment will be the theme of her presenter’s induction speech too.  Induction chances: 80%

 

3. Randy Newman

Artistic singer/songwriter with a distinctive vocal delivery.  Second-time nominee, previously unseeded.

Why he might make it: The Hall loves the super artistic singer/songwriters, and he fits the bill.  His gift for irony and wordplay as well as conscience that pours through the pores of his music make him a treasure among the higher echelons of the Rock Hall.

Why he might not:  The last time he was nominated, he lost out to two first time eligibles, a superstar act from the ‘70s, a major blues figure, and an act from the ‘60s basically known for only one song.  Good thing there’s nothing like that on this year’s bal—oh snap.  Being serious now, to use a fishing analogy, Newman’s nets are strong, but they don’t cast very wide or far.  Newman’s appeal generally tends to be either hipster or Disney, niche either way you look at it.  I said it then, I’ll say it again: his biggest assets are also his biggest liabilities. 

Whom he’d pave the way for: Being a former one-and-done nominee and singer/songwriter, Cat Stevens seems to be the next in line, though they might try and induct Carole King as a Performer again one of these years.  There’s a chance for others like Jim Croce, Don McLean, Carly Simon, or even Buffy Saint-Marie, Phil Ochs, and Tim Hardin, to name a few.

Who are his biggest threats:  With no other nominees particularly esteemed as singer/songwriters, though many of them did write their own stuff, his biggest threats are ultimately his fellow former one-and-done nominees.  In this case, Kraftwerk, the Meters, and the Paul Butterfield Blues Band

In the end: Initially, I’d written him off as having no chance once again, but then I remembered 2009.  The first year the ceremonies were in Cleveland, and they inducted hometown hero Bobby Womack.  With the 2013 ceremonies set to happen in Los Angeles, it just seems a little too much of a call to come on home for the local lad.  In addition to the love of singer/songwriters of course.  Induction chances: 60%

 

4. Rush

Progressive and hard-rock trio.  First-time nominee.

Why they might make it: Hugely innovative, influential band with an impressive string of extremely well-selling albums and a fan following that borders on cultist, ranking among the likes of the Grateful Dead.

Why they might not: Because the casual fan’s opinion is not given the same weight and credence as the industry insider’s, and the industry insiders that have a vote in the proceedings are largely not fans of prog, and certainly not fans of Rush. Unless there’s a significant chunk of the voting bloc that are among the huge stock of fans, they’re relying on voting folks to put aside their personal tastes and vote for them (my sample ballot shows me failing to do this for Rush’s sake).

Whom they’d pave the way for: The Hall Of Fame does not discriminate or favor nationalities of origin (just nations they impact it seems), so anyone who says Rush opens the door for more Canadian acts is either an idiot or a Canadian exhibiting signs of stereotype.  The acts they would really pave the way for would include the likes of Uriah Heep, UFO, and X, as well as possibly prog bands like Emerson, Lake, And Palmer, or King Crimson.

Who are their biggest threats: The clear competitor is Deep Purple.  Other possible divisions would occur against the likes of Heart, Joan Jett And The Blackhearts, and even Kraftwerk,

In the end: When the band finally made the cover of Rolling Stone magazine a few years ago, it was a shock to much of the music world, since editor-in-chief Jann S. Wenner was suspected to be playing a role in keeping them out of the Hall.  Before the cover, they hadn’t even been seriously previously considered.  With them having finally been on the cover, some view it as Wenner giving his blessing for their induction, and Wenner’s word does carry weight with the voting bloc.  They’ve since been considered and are now a nominee, and I say the momentum’s enough to get them in.  Induction chances: 55%

 

5. N.W.A.

Pioneer gangsta rap group.  Newly eligible, thus first-time nominee.

Why they might make it:  They’re pioneers. Straight Outta Compton is a landmark rap album, and their subsequent albums, though few, were also hugely successful.  They were pioneers of gangsta rap, which almost completely obsolesced the older style hip-hop of the original hip-hop pioneers, as gangsta became synonymous with rap for a good portion of the ‘90s.  Also, as the launching point for the solo careers of Dr. Dre, Ice Cube, Eazy-E, and even MC Ren, and Yella, they could be considered rap’s first supergroup, or at the very least, the rap equivalent of the Yardbirds.

Why they might not:  Quick, ask someone who hates rap (or at least did in the ‘90s) why they hate(d) rap.  That laundry list that is their answer?  Most of that traces clearly back to N.W.A.  Even if they didn’t pioneer some of those aspects themselves, they did combine it all into a blend that is the main exhibit for hatred of rap: self-gratifying, gratuitous and prolific profanity; incredibly subversive lyrics that went beyond mere wake-up calls of socially conscious folk and rock, eschewing civil disobedience, opting instead for and glorifying bloody violence; self-aggrandizement that made “cockiness” look like “self-confidence”; plus the usual stock answers of how rap isn’t even music since what they’re doing doesn’t constitute singing.  And you don’t even have to be a stereotypical stuffy, White, conservative Christian to find that combination disturbing, or at the very least, inartistic.

Whom they’d pave the way for: The big ones are 2Pac and the Notorious B.I.G., the martyrs and symbols of rap-gang warfare, but also rappers like Ice-T and Snoop Doggy Dogg, plus the solo careers of most of the members of N.W.A. themselves.

Who’s their biggest threat: Public Enemy, being more artistically revered, more literate, and more favored on this ballot than any other act are the serious contenders to keep N.W.A. out.

In the end:  All those things that people hate about rap is ultimately not all that far removed from the bad boy antics and personae of rock ‘n’ rollers.  Chances are those things all ultimately serve to get the musicians laid, preying on the bad boy image that ladies presumably prefer.  And if there’s any year where two rap acts can both get in on their shared first year of eligibility, this is the year.  Induction chances:  51%

 

6. The Marvelettes

R&B girl group that gave the Motown empire its first number one hit single on the Hot 100.  First-time nominee.

Why they might make it: Anything Motown has a serious shot.  The Hall loves Motown, and really helping make Motown a household name is strong credibility.  Plus, in the history of the Hall, only one year was without a strong presence of the ‘60s (and even that did have an artist that recorded albums in the ‘60s).  The Marvelettes would be the best candidate for this slot.

Why they might not: The Hall loves Motown, but they sure can take their sweet time showing it: Marvin Gaye, Smokey Robinson, and the Four Tops all needed two nominations to get in, the Supremes and Martha And The Vandellas both needed three, the Jackson Five came up four times before getting in, Gladys Knight And The Pips took five, the Miracles needed a special subcommittee to convene and break precedent to get them in, not to mention twice nominated but still not inducted Mary Wells!  Only the Temptations and Stevie Wonder got in on their first nominations, both in 1989.  (Also the Isley Brothers and solo Michael Jackson, but both of whom are much better known for their post-Motown work)  Plus girl groups also generally need a few nominations to get in, 2005 inductees the Ronettes the lone exception.  Lastly, despite having a solid string of hits in the Top 40, they tend to be summed up with their major hit, “Please Mr. Postman”.

Whom they’d pave the way for: Getting the Marvelettes in might get the NomCom looking at Motown again, where we have Junior Walker And The All-Stars and Mary Wells as the last two major ‘60s acts for the family, plus a peek into the ‘70s shows the Commodores, solo Lionel Richie, and possibly even solo Diana Ross.  They also might lead the way for other girl groups like the Chantels, Crystals, Shangri-Las, even the Chiffons to get some consideration.

Who are their biggest threats: Donna Summer is actually the biggest threat, seeing as she represents both female presence, and non-rap R&B, and is practically a shoo-in.  Don’t forget about the other acts that were around in the ‘60s, like Procol Harum, the Meters, Albert King, the Paul Butterfield Blues Band, and even Deep Purple.

In the end: If we could be certain that they’d induct six again, instead of only five, I’d still be leery, but a little more confident in their chances.  And if they do, I think they’re a solid pick for the honored half-dozen.  Assuming they return to five though, I think they’ll miss out, but they’re strong enough to be the upset special this year.  Induction chances: 49%

 

7. Albert King

Highly influential blues singer/guitarist.  First-time nominee.

Why he might make it: Blues players generally fare well on the ballot: Buddy Guy, B.B. Kiug, John Lee Hooker, etc.  Plus he’s a highly respected man among the echelons of blues musicians, as well as highly influential.  Additionally, after seeing last year’s blues pick, Freddie King, get inducted as an Early Influence, there may be a concentrated effort to cast enough votes for him so that they don’t have to back door induct him as an Early Influence.

Why he might not: On the other hand, there’ll be those who figure that if they’re just going to induct him even if he doesn’t get enough votes, why bother voting for him, since his induction is assured.  Additionally, some voters would prefer to keep the focus on living musicians to make a good televised program out of the induction ceremonies.

Whom he’d pave the way for: Albert King is the first known Previously Considered blues musician to be nominated in awhile, so his induction would possibly start the cascade to clear that queue, meaning keep an eye out for Junior Parker (hey FRL, you had the right idea, just the wrong guy this time!), Junior Wells, and Slim Harpo.

Who’s his biggest threat: The Paul Butterfield Blues Band is the other major blues act on the ballot, but other sixties acts like the Meters and Marvelettes might block his path.

In the end: It would be an awfully bad choice if they did induct him as an Early Influence, but it’s a wild card possibility that sadly has the chance of fruition.  Induction chances: 50%; induction chances in the Performer category: 45%

 

8. Deep Purple

Highly influential hard rock band.  First-time nominee.

Why they might make it: This is a band that has been heavily demanded to get inducted, right up there with KISS and Rush, and nowhere more heavily than on Eddie Trunk’s “That Metal Show”, but even without Trunk, they’re a band that has been loudly touted as among the biggest omissions because of their huge range of influence.

Why they might not: The reason they’ve been omitted for so long is simply because the powers-that-be don’t hold them in very high esteem, and those people have sway with the voting bloc.  Whether it’s because they just don’t care for their style, or think of them as a one-trick pony for “Smoke On The Water”, getting them recognized this much has been a major struggle.

Whom they’d pave the way for: Other hard and classic rock acts like Motorhead, Thin Lizzy, and Ted Nugent could all benefit from Deep Purple finally getting in.

Who are their biggest threats: Rush is the clearest present danger, but don’t entirely rule out Heart or Joan Jett And The Blackhearts.

In the end: Alice Cooper getting in on their first nomination may be a key sign that I’m not paying enough attention to, but I feel that this will be an act like Aerosmith, Queen, or AC/DC—absolutely deserves to get in on their first nomination but somehow ended up needing two or three—or will be like Black Sabbath or Lynyrd Skynyrd needing nominations in the high single digits before finally getting approval.  Either way, this won’t be their year.  Induction chances: 40%

 

9. Kraftwerk

European progressive act that pioneered electronica.  Second time nominee, previously unseeded.

Why they might make it: A truly innovative group, they are partially responsible for a lot of electronica music today.  Especially in the European club scene.

Why they might not: While the Hall Of Fame doesn’t discriminate against acts from countries other than the US and UK, they do strongly favor acts that were very popular in the U.S.A., which Kraftwerk was not.  If a voting member isn’t too familiar with their stuff, and sees five other names they like, they won’t bother researching Kraftwerk further.

Whom they’d pave the way for: There’re a couple avenues to go here.  Fatboy Slim, Daft Punk, and many more famous electronica acts are still a few years off.  The Art Of Noise are a left-field possibility, though possibly too much of a novelty act to get in.  But Kraftwerk’s induction may help more acts who were huge, just not in the States, get some recognition, such as Cliff Richard And The Shadows, Status Quo, Johnny Hallyday, or Fela.  Both paths are a bit of a stretch, but if the road really dead-ended with Kraftwerk, they probably wouldn’t be worth inducting anyway.

Who are their biggest threats: Rush and Deep Purple are jockeying for the attention in experimental music, and Donna Summer is the clear choice among artists that influenced the world of dance music, and Chic is also in the mix too.  Other former one-and-done nominees, such as Randy Newman, the Meters, and the Paul Butterfield Blues Band may also detract.

In the end: It’s been ten years since they were last nominated, and they’ll need another turn or two before finally getting in.  Induction chances: 35%

 

10. Heart

Rock band from the late ‘70s and ‘80s led by sisters Ann and Nancy Wilson.  Second-time nominee, seeded #8 in 2012.

Why they might make it: They’ve got significant name recognition and a string of hit records that still get played on classic rock and retro-music stations.  They also fall very neatly into the “classic rock” category that public outcry claims gets significantly snubbed.

Why they might not:  Their later material consists heavily of power ballads, which doesn’t strongly favor them.  It’s hard to say: the value of power ballads is relatively untested waters, but all current indicators point toward liability status.  Also, the stadium-rocker kind of candidate has mixed success getting inducted.

Whom they’d pave the way for:  Pat Benatar is someone who might get consideration in the wake of their induction, but you could also go for stadium-rock acts with lighter later works like Foreigner, Styx, and Journey.

Their biggest threats: Joan Jett And The Blackhearts are the biggest threat, but Deep Purple and Rush are also candidates to hurt their chances.

In the end: Heart may pull a Donovan on me (who was seeded #10 last time and got in), and it wouldn’t be a bad thing if they did, but then again, I was shocked when Donovan missed his first time in 2011; I wasn’t shocked when Heart missed last year, and I won’t be if they miss again.  Induction chances: 33.3%

 

11. Procol Harum

British invasion group that first appeared in America in the late ‘60s, considered a progenitor of prog-rock.

Why they might make it: Prog rock has slowly been making progress in getting recognition, and as one of the originating bands to regularly combine classical and baroque themes into rock and roll, Procol Harum would be a great act to use to build momentum for it.  Another reason is because the Hall loves the British invasion of the ‘60s.  The past five classes have had four such acts inducted.  Lastly, Robin Trower is a venerated name in some guitarist circles.

Why they might not: Of all the acts on this ballot that might qualify, they are the most rightly accused of being a one-trick pony.  While they did have other revered songs like “A Salty Dog” and “Conquistador”, so much of their credibility still comes back to “A Whiter Shade Of Pale”.  Also, for proto-prog British acts, the outcry has been far greater for the Moody Blues.

Whom they’d pave the way for: The Moody Blues are the biggest act waiting in the wings, as are both other British invasion acts such as Manfred Mann, the Zombies, the Spencer Davis Group, and even possibly Herman’s Hermits; and also prog rock acts like Yes and Jethro Tull.

Who are their biggest threats: Rush and Kraftwerk both threaten their prog prestige this year, while the Marvelettes are the biggest competition from the ‘60s, as well as others like the Paul Butterfield Blues Band and the Meters.

In the end: If the Hall thinks inducting Procol Harum will placate the prog crowd, they’re crazy, especially if they think it’d make them forget about the Moody Blues.  Either way, the pattern for British acts recently has been one act needing multiple nominations, then one gets in on their first, then multiple, then first… this time should mean this group misses out.  Induction chances: 30%

 

12. Chic

R&B/disco group fronted by a crackerjack production team.  This is their seventh appearance on the ballot, not seeded their first two times, seeded dead last (#9) in 2007, #7 in 2008, #5 in 2010, and #10 in 2011.

Why they might make it: Their records were sampled far and wide back in the early days of hip-hop, so the influence factor is definitely in their favor.  From a musical standpoint, their bass and guitar lines are considered very tough to imitate or duplicate. The men in the group were all production geniuses.  Also, Nile Rodgers was on the Nominating Committee back when the Rock And Roll Hall Of Fame was first founded, so politically, this an attempt to repay the favor to him.  Lastly, we know of Nile Rodgers’ struggle with cancer; they may try to get him inducted before it becomes another posthumous induction that will be rued for not having happened sooner.

Why they might not: We Rock Hall Monitors have a term we call “Chic Syndrome,” which is used to describe a musically proficient act that many are turned off from by the cerebrally detoured lyrics, which you see in Chic songs, though they are hardly the worst offenders.  It’s simply called “Chic Syndrome” because aside from the near alliteration, Chic’s the group that’s been repeatedly nominated and denied.  “Le Freak,” “I Want Your Love,” and “Dance, Dance, Dance (Yowzah, Yowzah, Yowzah)” wouldn’t make any list of “Best Lyrics”, even if that list went to one million.  And as we see with Donna Summer, disco isn’t popular with the voting bloc.

Whom they’d pave the way for: Other disco groups waiting in the wings include the GAP Band, KC And The Sunshine Band, and maybe even the Ohio Players.  It could even lead to inducting more soul-funk groups like the Bar-Kays, the Average White Band, and Charles Wright And The Watts 103^rd Street (Rhythm) Band.

Who are their biggest threats: This isn’t the first time that Donna Summer and Chic have appeared on the ballot together and both fell short of the mark.  Donna’s the biggest threat, practically being a shoo-in.  Kraftwerk factors in as well, for reasons explained above.

In the end: If Donna were still alive, I’d say it’d be lucky seven for them.  As such, Chic will be the sole, current leader of acts with the most nominations, but still not in.  Induction chances: 25%

 

13. The Meters

Funk band that did much session work, rooted firmly in New Orleans.  Second-time nominee, previously unseeded.

Why they might make it: The Hall loves the sound of New Orleans.  In 2011, they inducted Dr. John, and in 2012, they inducted Cosimo Matassa, an engineer who helped record and shape the New Orleans sound.  Additionally, the Neville Brothers have been starting to get some consideration as well, and two of those brothers were one-time members of the Meters.  This group might be able to ride those waves into the Hall this year.

Why they might not:  They’re one of the more obscure names on this ballot, never really breaking through the glass ceiling, commercially speaking.  No real signature tune that they’re instantly linked to by John Q. Public.  Also, this is the act on this ballot that has the greatest time elapsed between nominations.  They just seem a little out of the blue.

Whom they’d pave the way for: The sound of New Orleans could be carried on in the future with the Neville Brothers, Buckwheat Zydeco, and even Virginian Gary U.S. Bonds, whose sound drew big from the New Orleans style.  Beyond New Orleans, the Bar-Kays would be another great instrumental group that also did session work.

Who are they’re biggest threats: They’re one of four former one-and-done acts on this ballot, and they’ll all be vying for attention, so consider Randy Newman, Kraftwerk, and the Paul Butterfield Blues Band the closest threats, as well as the ‘60s R&B act the Marvelettes.

In the end: When you bring back a nominee that has gone more than five years since their last nomination, getting them in this time doesn’t usually happen.  ABBA managed to do it after a seven year absence, getting inducted in 2010, and with four such acts on this ballot, one of them is bound to break through, but I’m betting that will be Randy Newman, not the Meters.  Induction chances: 20%

 

14. The Paul Butterfield Blues Band

Blues-rock band from the mid-‘60s.  Second-time nominee, previously unseeded.

Why they might make it: They’re a formative blues-rock act.  Their sound is considered to be a pioneer sound.  A few of its past members have some amount of fame to their own names.  Also, they were name dropped by none other than Jann S. Wenner as an act he’d like to see get in.  If you don’t think that means something, you don’t know the Hall. 

Why they might not: They’re arguably the most obscure name on this ballot, having no hit singles and no album making the top quarter of the Billboard 200.

Whom they’d pave the way for:  I’m operating on the assumption that they want to get as many important blues and blues-rock names inducted before they go after the big draws of Stevie Ray Vaughn And Double Trouble, and possibly even George Thorogood And The Destroyers.  The best bet for next in line in this vein would be Johnny Winter.

Who are their biggest threats: Albert King is the bigger blues name this time around, and as I’ve said three other times already, Randy Newman, the Meters, and Kraftwerk are threats for reasons I’ve stated enough times already.

In the end: As much clout as Jann S. Wenner has, I think he’ll have to continue to call this group an act he still wants to see in, because it ain’t happening this time.  Induction chances: 15%

 

15. Joan Jett And The Blackhearts

Harder-rock-but-not-quite-metal band from the ‘80s.  Second-time nominee, seeded #13 last year.

Why they might make it:  They’re good time, fun rock and roll, and who doesn’t appreciate that?  And when an artist has an anthemic rock and roll song, the artist has a tendency to get recognized, and if they have a few hits aside of that, so much the better. 

Why they might not:  They made very little waves besides their one major hit, “I Love Rock ‘N Roll”, and what they did have was largely covers (including said major hit).  The Hall Of Fame usually prefers to honor originality.

Whom they’d pave the way for:  As well as the obvious Pat Benatar, they might also clear the path for more classic rock acts with just a few, but well-remembered songs.  Maybe Thin Lizzy or Blue Oyster Cult?  And it’s way too soon, but Jett may quite be the precedent for a future induction of P!nk.  Or even Jett’s previous band, the Runaways.

Their biggest threats: The most obvious one is Heart, but don’t overlook the roles of Deep Purple and Rush either.

In the end:  Being good time rock and roll will always make them popular on your party playlists, but it won’t get them into the Hall.  Not this time, at least.  Induction chances:  10%

 

So after much procrastination, I finally have my picks put up.  Some picks may be unpopular, but I’m going to stand by them.  And I’ll probably fall hilariously facedown with these picks, since I haven’t averaged better than 2/5 since 2009.  Time to wait and see.

The subcommittees' picks for 2013

Most Rock Hall Monitors have already made their predictions for the Class of 2013’s Performer inductees.  A few of us haven’t.  I myself am having a particularly tough time solidifying my final five.  Nonetheless, the Performers aren’t the only inductees, and if the year was 2010, they weren’t even the majority of the inductees.  And if the year was 2012, the additional Performer inductees were almost as big a story to us hardcore followers as the elected six, or the pigeonholing of Freddie King (Axl’s antics kept the spotlight, of course).

Before I post my Performer predictions, I like to analyze who the top candidates are for the other categories.  In some ways, particularly in the case of 2010’s Ahmet Ertegun Award recipients, or 2000’s announcement of the Sideman category’s creation, announcing the other categories’ selections can be as much of a correction of injustice as finally getting Black Sabbath, Lynyrd Skynyrd, and the Sex Pistols inducted.  Some of us even have queues and pet picks for the Ahmet Ertegun Award (Non-Performer), Early Influence, or Award For Musical Excellence (Sideman… we think) inductions.  Some are almost whispered as loudly among us hardcore followers as prog and metal acts are shouted.  Either way, they’re a part of the celebration as well, and we should also be trying to predict them.  Unlike the Performers, though, there is no nominee list that gets made public and we don’t know who the strongly contended names are for these other illustrious awards.  So trying to predict them is like hunting at night: unless you’ve got some infrared inside information, you’re lucky to hit the target.

Nevertheless, we do venture guesses, and for the Ahmet Ertegun Award, a.k.a. the Non-Performer category, the biggest odds go to Don Cornelius.  The man behind Soul Train passed away sometime between the induction announcements for 2012 and the induction ceremonies, and when big names like that die, they become the bouncing ball to follow for induction.  It worked for Don Kirshner last year, although not as much for the songwriting duo of Ashford And Simpson, whose substantial career as recording artists may be the key hindrance in that regard.  There’s still the outside chance that the Fox News prediction of Doug Morris will also come true, though Fox News predicted that would happen in 2011, and it still hasn’t happened.  Still, they nailed David Geffen correctly for 2010, so Morris’s name will loom as a possibility semi-ominously for several years.  Nonetheless, Cornelius is likely the only serious candidate this year.

After inducting Freddie King as an Early Influence last year, the Foundation caused some eyebrows to arch pretty severely when the NomCom named Albert King as a nominee, and with good cause, as subcommittee members are also on the NomCom.  Was it just Wanda Jackson, you could call it a fluke.  Freddie King, they’re pressing their luck.  Albert King?  Now you’ve definitely established a pattern of just shoehorning them in when they don’t get enough votes, and it badly besmirches the Foundation’s credibility.  Meanwhile, the two big outcries for this category, Sister Rosetta Tharpe and the Ravens are constantly pressed up against the glass of our Monitor minds.  It all depends on whether or not Albert gets enough votes to be called a Performer this year.  The field’s pretty strong, and he’s not the only blues presence on the ballot.  Meanwhile, it would likely be less fraudulent while simultaneously opening up a whole other can of worms if they did induct him in this category, but dropped the “Early” from the category’s name.  They’ve renamed the other two categories, what’s keeping them away from this one?

Which brings us to the other major category… we think.  To be honest, we’re not quite one hundred percent certain whether or not the Award For Musical Excellence really is a renaming of the Sideman category.  You’d think so if you read this category’s inductees’ bios from the past two years, but we’re just really not sure still.  Leon Russell was indeed a high-demand studio musician during the sixties, but he’s also quite revered for his status as a performer as well.  And you’re getting into philosophy when you talk about engineers being like musicians, and big, frustrated kudos to Robbie Robertson for his such philosophical speech likening the engineers’ abilities to manipulate and control sound just as if the mixing board were an electrophonic instrument itself, a speech that sufficiently keeps us in the dark as to what the Hall’s intentions are with this category.  Needless to say, it’s just as intelligent to shrug your shoulders and say “Uhono” as it is to actually try and predict this category.  I’ll do both.  I’m without clue, but I still maintain the best candidate to induct and still maintain this perpetually perplexing puzzle, this unnerving, annoying enigma would be Ry Cooder.  It’s like this category is a hybrid of Sideman and Lifetime Achievement, even though Lifetime Achievement has always been used almost as a subset of the Non-Performer category.  Sidebar, I’d also like to see DJ Hurricane and Mix Master Mike eventually get some love in this category.

Thus having briefly addressed the possibility of Lifetime Achievement inductees, we’re left with the final sub-category of sorts, and one we only address now because of what happened last year: will any other of the “left behind” groups be inducted this year as Performers by selection of special subcommittee?  Last year, the Hall treated seven cases of Front Man Fever, six of them by this means (the seventh being the induction of Faces, which at the time I’d called a mild case, due to Stewart’s staggering solo career).  Currently the hottest rock-era fever still untreated is the Wailers, who’d be excellent inductees, and also open the door for Peter Tosh to be a Clyde McPhatter Clubber.  There’s also the ever-present murmuring of inducting the E Street Band this way, since Little Steven and Jon Landau are both NomCom members who might also be on this subcommittee, and with the big man, Clarence Clemons gone, they may want to do it before losing another cog from this pristine rock and roll machine.  Other similar veins expose the possibilities of Crazy Horse and the Mothers Of Invention getting this side door Performer induction.  However, none of these seem likely when you consider that all the acts from last year that this happened to were from the early years of rock ‘n’ roll.  If you’re going this route, this is where to look.  You might get the Jordanaires, Ray Charles’ orchestra or Rae-letts, the Tennessee Two, or the Gliders.  Still, the biggest name draw would be the Belmonts, which would be a bad call because unlike Smokey Robinson, Dion’s eligibility as a solo artist was definite, and his solo career lasted longer, which gave us more hits.  Still, the only Dion song inducted as a song that shaped rock ‘n’ roll is “A Teenager In Love” which was with the Belmonts.  However, the best route in this case would be to nominate Dion And The Belmonts in the future and make Dion a double inductee, but with the backlog of harder rock that gets bigger every year, nominating them would irritate a lot of fans and followers, and thus probably won’t happen.  Hence, it is ultimately most likely that there’ll be no inclusions in this category this year.

Which means all that’s left is the Performer nominees, and picking the inductees from that list.  We’ll see if I can finally pick my five.

No accounting for taste on this ballot

As promised in the last blog, I will now rank the 15 nominees for the Class of 2013 by my personal tastes.  I do this for a couple reasons: one, I do it to show that when I rank artists by objective merits, I really am trying to be objective (last year, I ranked the Red Hot Chili Peppers most objectively deserving and worst to my ears); two, if I got a ballot where my vote was one vote and not one minute fraction of a vote, I’d like to think that my choices wouldn’t simply be one scale or another, but a combination of factors; three, in some ways, I have a sick predisposition for ranking, but I suspect I’m not alone in this regard either.  Since there wouldn’t be much here if it was just my tastes, I’m also going to add in the ranks of the previous blog and see which sets of top five averages would be the most accurate representation of how I would likely vote.  Since my fiancé doesn’t feel she’s familiar enough with a majority of the nominees, she declined to rank them by personal taste.  So when you see “taste” below, it’s mine.  Feel free to comment with your personal tastes on this ballot, as well as any other thoughts you may have.

1. Joan Jett And The Blackhearts: Who doesn’t love good time rock ‘n’ roll?  And honestly, this is why they stand a chance of induction any given year now, now that they’ve been nominated twice.  I gave them lowest merits, while the fiancé had them at seven.

Average of both merits: 11

Average of hers and taste: 4
Average of all me: 7.5
Average of all three: 7.67

2. Albert King: I’m not a major blues aficionado, but there’s something about the way Albert plays the blues for me like he promised that just sounds so good.  My merits placed him smack dab in the middle at eight, while she gave him a lowly thirteen.

Average of both merits: 10.5

Average of hers and taste: 7.5
Average of all me: 5
Average of all three: 7.67

3. Public Enemy: Masterful production.  While I’m not a huge fan of rap altogether, their style just works for me, whether it’s “Welcome To The Terrordome”, “Fight The Power”, “911 Is A Joke”, or the more mellow “He Got Game” with Stephen Stills.  Top merits from me and six from the missus-to-be.

Average of both merits: 3.5

Average of hers and taste: 4.5
Average of all me: 2
Average of all three: 3.33

4. Deep Purple: The hooky riff from “Smoke On The Water” is powerful indeed, but let’s not forget “Hush” and “Woman From Tokyo”, or any other that you’re yelling at me via your computer screen for omitting.  Rank of two from both parties of the engaged couple makes them shoo-ins to be voted for no matter which set of averages used.

Average of both merits: 2

Average of hers and taste: 3
Average of all me: 3
Average of all three: 2.67

5. The Marvelettes: As I said on the Future Rock Legends forum, I’m ecstatic about the Marvelettes finally getting the nomination, but I also said that I’m not even that huge of fans of theirs, really.  Knowing that, seeing them fifth on this list should give you understanding why this ballot didn’t really thrill me too greatly, despite elating many others, who’d likely vote all hard rock and prog..  Still, I enjoy their ‘60s style.  The fiancé felt they were most deserving, while I put them seventh.

Average of both merits: 4

Average of hers and taste: 3
Average of all me: 6
Average of all three: 4.33

6. The Meters: I guess when you get down to it, the sound of New Orleans is hit or miss for me.  Don’t care for Dr. John or Buckwheat Zydeco, but I love Fats Domino, and also get a kick out of the Meters, as well as a number of Neville Brothers songs.  Eleven and twelve from the merit ranks:

Average of both merits: 11.5

Average of hers and taste: 9
Average of all me: 8.5
Average of all three: 9.67

7. Randy Newman: I don’t feel fully or even adequately researched on his stuff, but what I do know is why some do consider him a credit to the singer/songwriter trend of the ‘70s.  But merit-wise, he sank like a rock, coming in fourteen and fifteen for me and my gal, respectively.

Average of both merits: 14.5

Average of hers and taste: 11
Average of all me: 10.5

Average of all three: 12

 

8. Heart: As I said last year, the voices of the Wilson sisters just don’t do it for me.  Their guitar work is great, but when the vocals lay in, I’m not too thrilled.  A few songs I do love though.  The fiancé likes them, and she ranked them four, while I went ten.

Average of both merits: 7

Average of hers and taste: 6
Average of all me: 9
Average of all three: 7.33

9. Donna Summer: Again, it should tell you why this ballot leaves me lukewarm, considering Donna Summer has jumped up five places in taste (last year, she was fourteenth out of fifteen) when my feelings about her music haven’t changed.  I placed her fifth, third from my fiancé.

Average of both merits: 4

Average of hers and taste: 6
Average of all me: 7
Average of all three: 5.67

10. Chic: Their rhythms are infectious, and I do like “Good Times”, but some of the lyrics just make the songs less than enjoyable, particularly the “yowzah, yowzah, yowzah” on “Dance, Dance, Dance (Yowzah, Yowzah, Yowzah)”.  I mean, why?  Rank of nine from the soon-to-be-married couple.

Average of both merits: 9

Average of hers and taste: 9.5
Average of all me: 9.5
Average of all three: 9.33

11. The Paul Butterfield Blues Band: Another act I want to spend more time getting to know better, but as much as I love blues-rock, there’s kind of a reason why the first go at something is often referred to as the “rough draft”.  The harmonica playing is a bit caustic at times, but the rhythms are steady, and Butterfield is an exciting front man.  I put them at lucky thirteen, while the fiancé went one step below that.

Average of both merits: 13.5

Average of hers and taste: 12.5
Average of all me: 12
Average of all three:  12.67

12. N.W.A.  You’re probably asking yourself, how could they be so distant on the taste list from Public Enemy when they’re both rap?  A good part of the answer is the same reason they got higher credentials in innovation: the lyrics.  It’s not that I find it all that offensive, just that it gets to be monotonous.  After a continuous string of obscenity that became obvious awhile ago wasn’t really for any other reason than its own sake, it just got to be boring.  It’s ennui, and it’s the exact reason why “Express Yourself” is my favorite track off Straight Outta Compton.  Three from me, and my betrothed ranked them fifth.

Average of both merits: 4
Average of hers and taste: 8.5
Average of all me: 7.5
Average of all three:  6.67

13. Kraftwerk: And here’s where the rockists and Europeans get pissed at me.  If there’s anything you’ve noticed about me, it’s that the voice is the most important instrument to me.  Many of the artists I don’t care for, it’s because of their singing voices.  In the case of Kraftwerk, some of the instrumentation doesn’t strike a chord with me either, but the emotionless singing really turns me off.  It’s the same reason I don’t like Joy Division or New Order, or for that matter the Thompson Twins, and especially not Cake.  I ranked them at four; she slotted them at eleven.

Average of both merits: 7.5

Average of hers and taste: 12
Average of all me: 8.5
Average of all three:  9.33

14. Procol Harum:  “Conquistador” is actually an exciting song, and I do like “A Whiter Shade Of Pale”, but only because I’ve listened to it enough times that I can make it all the way through.  Listening to Procol Harum’s other work… well, it just bores me.  I get it: it’s experimental and that’s why it’s hailed so exultantly.  But I need to down a 5-Hour Energy shot before listening to them in larger doses.  The woman in my life placed them at ten, I put them at twelve.

Average of both merits: 11

Average of hers and taste: 12
Average of all me:  13
Average of all three: 12

15. Rush:  And here’s where I piss off the rockists and the entire nation of Canada.  I’m sorry, but it all comes down to the voice again.  Geddy Lee’s piercing vocals just hurt.  He kind of reminds me of Pinky from Animaniacs (and the spinoff Pinky And The Brain).  Seriously, I’d love for Rob Paulsen to do an entire album of Rush covers using the Pinky voice.  “Fly by night, NARF!”  I gave them a six, she gave them an eight.

Average of both merits: 7

Average of hers and taste: 11.5
Average of all me: 10.5
Average of all three: 9.67

With all those ranks and averages now in place, we can now draw some composite sketch of how my official ballot might look.

So the five highest average ranks of both merits only:

Deep Purple

Public Enemy
The Marvelettes
N.W.A.
Donna Summer

Five highest averages of her ranks and my personal taste:

Deep Purple

The Marvelettes
Joan Jett And The Blackhearts
Public Enemy
tie between Heart and Donna Summer

Five highest averages of my ranks and tastes, excluding the fiancé’s input:

Public Enemy

Deep Purple
Albert King
The Marvelettes

Donna Summer

Five highest averages of all three metrics taken into account:

Deep Purple

Public Enemy
The Marvelettes
Donna Summer
N.W.A.

As is evident, there is a strong consistency among the averages’ lists.  Deep Purple, the Marvelettes, and Public Enemy are solidly on all four, while Donna Summer makes three of the four, and the fourth in a tie for the fifth slot, so she’d probably win the tie-breaker against Heart.  The fifth spot shows two counts of N.W.A. making the cut, one of Albert King, and one of Joan Jett And The Blackhearts.  Even though they didn’t make the cut on any averages’ list, I’m tempted to say the fifth slot might still go to Kraftwerk since I ranked them at number four in merits, and to give the ballot a little more balance.  But for the sake of this entry, it’s going to go by the numbers, and my vote would probably go for Deep Purple, the Marvelettes, N.W.A., Public Enemy, and Donna Summer.  That’d make a good class for sure.  Not that that’s how it’ll turn out though.