Songs Of Proof: The Class Of 1993

1993 is the year that the Rock And Roll Hall of Fame inducted its eighth class.  That might not seem like it's of any consequence; however, for a long time, the Hall had a mythology of the "automatic eight," meaning that once an inductee has been nominated seven times, they automatically go in after their eighth.  The theory is that this was never a formal thing... until Solomon Burke needed ten to get in, where it was decided that eight was automatic after that.  The theory was fully disproved though after Chic failed to get in on their eighth nomination, and their ninth, and their tenth, and their eleventh, when they just decided to induct Nile Rodgers.  It matters because this year we have our first eight-time nominee finally being inducted.  This is also the year that we get our second Clyde McPhatter Club member, who would eventually be inducted a third time.  Arguably the biggest name in Non-Performers is inducted this year, as well as an interracial funk act.  This is a pretty diverse class, and they are saluted with the following, and hopefully fitting songs:


Ruth Brown:  We start off with an inductee who could have been inducted as a Performer or as an Early Influence.  As a singer, she goes back to 1949, and throughout the '50's, she was known as "Miss Rhythm."  Since she was inducted in the Performer category, I chose a song from the late '50's with a great bouncing feel to it.  It's a song that was written by Bobby Darin, and is a great testament to how you could rock and roll and still be a responsible person at the same time.  "This Little Girl's Gone Rockin'" is a fantastic number to represent this leading lady.

Dick Clark:  A professional hero of mine, a man who was always the epitome of class, even when hosting a show about bloopers and practical jokes.  There's a terrific story for the song I first used, but later switched out.  In addition to "American Bandstand" and "Where The Action Is," Dick Clark promoted rock and roll with his Caravan Of Stars tours.  One year, that tour included Paul And Paula, who had a huge smash with "Hey Paula."  However, the singers, whose real names were Ray and Jill, absolutely loathed each other.  They could not stand being around each other, and in the middle of the tour they were on, Ray up and quit and went home.  The consummate professional who knew the show must go on, Dick stepped up to the mic and sang the duet with Jill for the duration of the tour.  So, I was using "Hey Paula" to salute his professionalism.  The problem is, I hate that song.  Like, REALLY hate that song.  And besides which, the Caravan Of Stars tours, his New Year's Eve specials, and much of everything that came his way was built upon the amazing job he did as the host of "American Bandstand," and years later when he hosted the syndicated radio show, "Rock, Roll, And Remember," he frequently used his old TV theme coming out of the commercial break, at the start of a new segment.  He'll forever be identified by "Bandstand Boogie," which was performed by Les Elgart And His Orchestra, and I bring it back here to salute this gentleman.

Cream:  On the level, not an act I would have chosen.  Often regarded as but another stepping stone toward's Clapton's lustrous solo career.  Sure, they recorded much more than just the two songs; that said, the legacy is usually reduced to the two songs.  But after Hendrix, when it comes to psychedelic blues rock from the '60's, this is probably the act you think of most, which is not inconsequential.  And without turning it into a tribute to Hendrix, I chose "Sunshine Of Your Love" to represent this trio.

Creedence Clearwater Revival:  The great thing about CCR is that if you ask a hundred different people to name their three favorite songs from this band, you'll get a hundred different three-song combinations, and nobody will have anything bad to say about anyone else's choices.  Only once have I ever heard someone say they didn't like Creedence Clearwater Revival, and that was only because he was sick of hearing the same songs on the radio eight times a day, which is another issue entirely, really.  That's how universal their music is.  I once described their music as causing the well water that courses through my veins to reverberate.  Ceasing the poetic waxing, I'll just say that my favorite three are in no order "Wrote A Song For Everyone," "It Came Out Of The Sky," and the song I'm using here.  It's a song that technically is a Billboard hit... as a tagalong B-side, what with how Billboard changed their methodology in '69 and stopped letting popular B-sides chart independently for awhile.  How high it would have charted on its own is anyone's guess, except to say it would not have hit #1.  I once played this song on repeat at work to see how long it would be before anyone would notice.  It took twemty minutes before anyone noticed that we were listening to "Hey Tonight" on a continuous loop.

The Doors:  The Lizard King and company.  Though they are not my favorite group by any stretch, the only song of theirs I don't care for, that I can think of offhand, is "L.A. Woman," and that's just because I'm sick of hearing it.  A lot of really good songs, and while Morrison was no Walt Whitman, he certainly had the soul of a poet.  The song I chose has the added bonus of being overtly sexual, much like Jim Morrison, while also having some psychedelia to it, but was chosen mainly because the keyboard riff that opens the song and runs throughout it is based on the opening guitar riff from the Four Seasons' "C'mon Marianne."  Sometimes I'm just a little less than objective.  But "Touch Me" is still a solid choice to use.

Milt Gabler:  The lesser known of the Non-Performer inductees from this class, but no less deserving, Milt Gabler was a producer.  He was more than a producer though, also a songwriter and even record label executive.  He's the reason we know Billie Holiday's "Strange Fruit," and why Louis Jordan became such a humongous figure.  He produced a lot of Early Influence inductees at some point, including this year's inductee, Sister Rosetta Tharpe.  He wrote Brenda Lee's touching "I'm Sorry" and helped shape the sound of early rock and roll.  Fun point of trivia, he's an uncle to Billy Crystal.  But if you still don't get why this man was inducted into the Rock And Roll Hall Of Fame, I'll spell it out for you: "R-O-C-K" by Bill Haley And His Comets.

Etta James:  Though she's most famous for the ballad "At Last," that song alone simply could not have propelled her into the Hall.  Her legacy as an R&B singer goes way back to the raunchy "Roll With Me Henry" back at the dawn of rock and roll, and she released a lot of R&B records, both ballads and otherwise.  The song I chose is "Tell Mama," a song I fell in love with the first time I heard it on the syndicated "Super Gold" program back in the '90's.  It's still a great jam, and I highly urge you to listen to it, even if you know it forwards and backwards.  Listen to it again.  Do it now.  This blog will still be waiting for you when you get back from YouTube.

Frankie Lymon And The Teenagers:  This was the very first act that needed eight nominations to get inducted.  They were nominated every year until they finally broke through.  They were so much more than just the one hit.  Listen to some of the other songs they had success with.  They combated the notion of rock 'n' roll corrupting the youth with "I'm Not A Juvenile Delinquent," as well as gave us the rock and roll version of "'A' You're Adorable" with the incredibly catchy "The ABC's Of Love."  So, their legacy is so much more than "Why Do Fools Fall In Love;" however, that song in particular is one of the absolute pillars of '50's rock and roll, and so I relented and did in fact use the obvious choice.  (Vocal Group Hall Of Fame Song Of Proof: "Goody Goody")

Van Morrison:  The quirky inductee from this class.  It might be a stretch to call him an individualist, but he is certainly a singular figure that there is really none other like.  He just does what he does as he does it, and it covers a large area of the map.  From "Wild Night" to "Tupelo Honey," from "Brown Eyed Girl" to "Domino," from "Moondance" to "Jackie Wilson Said (I'm In Heaven When You Smile)," his style is completely unique, as further evidenced by my choice for Song Of Proof, which is none of the ones already mentioned.  A lesser known hit for the man, but very unique, much like him, the song is "Blue Money."

Sly And The Family Stone:  Pioneers of funk, and an interracial band to boot.  I think one of the things I like about this group so much is that with songs like "Dance To The Music" and "I Want To Take You Higher," they showed that funk music doesn't always have to be gritty, though it certainly can be.  It can also be bright and cheery.  Or socially conscious, or just plain expressive.  As a group that sort of embodied a "family of man" ethos, I felt it best fitting to honor them with "Family Affair," a song that as well as being a solid jam, also marked a turn of style for them, as they led on through the '70's.  (Vocal Group Hall Of Fame Song Of Proof: "Hot Fun In The Summertime")

Dinah Washington: Alphabetically, this class began with a Black woman singer who was active from the late '40's through the early '60's, and we end with another one here.  A beacon for femininity in her own right, she sadly met with a tragic end trying to maintain an industry-conforming image behind the scenes.  Still, the songs from this year's sole Early Influence inductee last on and shine forth.  A personal favorite of mine is "Joy Juice," which probably wouldn't go over so well in today's social and political climate.  A song of hers, however, that absolutely would, and the song I've chosen here, is "Baby, Get Lost," which speaks about a woman not letting a man run her life, realizing her own worth, and shows that even if what she wants is to be a domestic goddess, she'll do it on her own terms and not his.  Fantastic record that is sadly but beautifully still relevant today.


And with that, we have completed our profile look at the Class Of 1993.  I hope you've enjoyed reading it and have been given some food for thought.  If you have any thoughts that you'd care to share, including songs you'd use, the Comments section waits below.  Have fun, and to give you the recap:

Ruth Brown: "This Little Girl's Gone Rockin'"
Dick Clark: "Bandstand Boogie" by Les Elgart And His Orchestra
Cream: "Sunshine Of Your Love"
Creedence Clearwater Revival: "Hey Tonight"
The Doors: "Touch Me"
Milt Gabler: "R-O-C-K" by Bill Haley And His Comets
Etta James: "Tell Mama"
Frankie Lymon And The Teenagers: "Why Do Fools Fall In Love"
Van Morrison: "Blue Money"
Sly And The Family Stone: "Family Affair"
Dinah Washington: "Baby, Get Lost"

Songs Of Proof: The Class Of 1992

Continuing headlong in the project now, we come to the Class Of 1992.  It's a class with a dozen solid inductees, including some slightly less than obvious choices.  A couple big ones, and the second instance of inducting an artist in a different category after failing to get them inducted as a Performer.  Sadly, not the last time we would see it happen, but as often happens, there is something of an argument to be made for what they did.  Classic rock is represented, but in no way does it dominate the story here.  There's blues, country, acid, soul, and more.  With all that said, what songs would you choose to honor the inductees?

Bobby "Blue" Bland:  Bobby "Blue" Bland is one of those surprisingly good calls by the Rock And Roll Hall Of Fame.  A name that many probably wouldn't think of right away, which may have something to do with why it took so many nominations to get him in.  But despite being such a blues artist, beginning with his Beale Streeter days, he also cut a lot of great commercially friendly R&B.  He's in a league among some other great artists like Solomon Burke.  His is a catalog that people need to spend more time getting to know, myself included.  Meanwhile, some great songs like "Ain't Nothing You Can Do," and the song I chose for him, "Turn On Your Love Light," are fantastic introductions to his work.

Booker T. And The M.G.'s:  When the Future Rock Legends community started their "Revisited/Projected" project, they inducted this outfit in the Sideman category for their work as the house band for the Stax/Volt family.  That's a valid argument right there, but their catalog of their own material is pretty incredible too.  Their "In The Christmas Spirit" album is mandatory listening for me every December.  "Soul Limbo" is one of the most fantastically festive songs ever.  And of course, their signature song, which introduced them in their own right to the music listening public, and really helped shape a lot of their songs to come afterwards, "Green Onions," is a quintessential song to understanding rock and roll in the '60's, which is why it is the chosen song for this interracial band.

Johnny Cash:  It's been said that Johnny Cash is absolutely universal.  Nobody doesn't like Johnny Cash.  There are people who hate Elvis, others who hate the Beatles, and amazingly, even some who don't like Nickelback.  But nobody doesn't like Johnny Cash.  At least, so I've heard.  I have yet to meet anyone who doesn't like the Man In Black, at least.  So, it's no surprise that even though he's more of a country legend, that his early recordings which skew toward rockabilly, as well as his overall influence, would vault him into the Rock And Roll Hall Of Fame after only three nominations.  I didn't choose one of his early rockabilly songs though.  As proof that he was important no matter what he did, I stuck with one of his all-time classics, "Ring Of Fire," to salute the man and his legacy.

Leo Fender:  There is an ongoing battle in rock and roll.  The Hall itself sends a mixed message regarding rock and roll with respect to the guitar.  No one would say that Jerry Lee Lewis, Elton John, Billy Joel, and Ray Charles aren't rock and rollers in their own right, and yet from their logo, to the design of their museum, they seem to be saying that the guitar is the end-all, be-all for what defines rock and roll.  Another log in that fire is that Leo Fender is the only instrument pioneer inducted, and not, for example, Dr. Robert Moog or Adolphe Sax.  That said, no one would deny the importance of Fender guitars and the players who electrified audiences with them.  I love my choice for this one too, because in terms of eligibility, I chose a song from an artist who wouldn't become eligible for induction for another sixteen years, and even then, not inducted for another seven years beyond that.  It's such a disconnect, but that's how far reaching the influence of Fender's designs are.  To honor Leo Fender, we have "Crossfire" by Stevie Ray Vaughan And Double Trouble.

Bill Graham:  Like Leo Fender above, Bill Graham died in 1991 and was inducted in 1992.  It's inductions like this that give rise and popularity to the "Death Fairy" mythos.  As a concert promoter, he was big enough a name to give credence to events by putting his name on them.  He also managed a few bands too.  He is best remembered for promoting events at the Fillmore, and I chose the studio version of a song from a band who did indeed have a live album from the Fillmore.  The song, however, wasn't recorded until two years after that album.  Still, overall, I feel it's a good choice to pay tribute to Bill Graham.  "Oye Como Va" by Santana fits the bill here.

The Jimi Hendrix Experience:  If you know anyone who doesn't consider anything pre-Beatles to be "truly rock and roll," who have a very limited definition of what rock and roll is, then Jimi Hendrix is probably the only African-American they can name that they think belongs in the Hall.  It's sad, but there are people like that out there.  When originally trying to promote this idea for a radio broadcast, I was all but forced to select "All Along The Watchtower" for this band; however, having a little more freedom now, I quite comfortably made the switch to the more venerated and quintessential "Purple Haze."  As a P.S., kudos to the Hall for inducting all three members of this group and not letting this one fall victim to Front Man Fever.

The Isley Brothers:  Another act that doesn't always roll off the tongue right away when discussing the big names, the Isley Brothers are a more than deserving group for their versatility as much as the messages in their music.  They've been in the Billboard Hot 100 for six consecutive decades (in some form), and have a diverse catalog that includes jumping '50's R&B, Motown, funk, protest, and beyond.  They've been all over, and doing it all well.  That's just their thing.  And that's why "It's Your Thing" too.  (Vocal Group Hall Of Fame Song Of Proof: "Twist And Shout")

Elmore James:  Nominated for the Performer category the previous year, he was inducted as an Early Influence after that failed attempt.  It's one of those thorny gray areas.  He broke through in the early 1950's, and had a posthumous Bubbling Under The Hot 100 hit in 1965, with one of his many recorded renditions of "It Hurts Me Too."  It's actually interesting though, that he was inducted as "Elmore James" rather than "Elmo James" which is how he was billed on his early records... you know, the ones that get him credited as an Early Influence inductee.  In any event, the King Of The Slide Guitar certainly had more than enough influence from that breakout record, "Dust My Broom," that he maybe could have even gotten in for that song alone.  Maybe not.  Either way, it's in the playlist for him.

Doc Pomus:  And now for the reason why the songwriting teams and production teams are broken up when it comes to the Non-Performer category.  Doc Pomus was inducted in 1992, possibly because, like the other two Non-Performers from this year, he also died the year before he was inducted.  It wouldn't be for another twenty years that his partner, Mort Shuman, would be properly and also posthumously recognized as well.  Meanwhile, to give this half his due, I chose a song with a special story attached to it.  Doc Pomus was a wheelchair-bound man (or on crutches), due to polio as a child.  His wife, however, loved to go out dancing.  He wrote this song as a love song for his wife, reminding her that he still loved her very much, despite being unable to be her dancing partner, and pleaded with her, even if only metaphorically, to "Save The Last Dance For Me," which the Drifters made a pure gold classic, giving voice and emotions to the words Pomus wrote and the love in his heart for his wife.  Truly no better song to use for the man.

Professor Longhair:  Jazz and blues come together with this man's music.  He's one of the musicians who helped influence and define the sound of New Orleans as we know it today, whether it was with songs like "Tipitina," or fun bits of raunchiness like "Bald Head," or with the eponymous song that I chose to use for him, wherein he sings about himself a bit.  I gotta admit, I'm a bit hit-or-miss on how much I like listening to his music, but songs like "Professor Longhair Blues" are great records to throw on every once in awhile.

Sam And Dave:  Another great Stax/Volt act.  Of all the acts from this year's class, this one is probably my favorite.  The story of how they came together to be an amazing soul duo is kind of a funny one though.  But their music is no joke.  This is a case where fate proved to be a better decider than me.  I wanted to use "Hold On, I'm Comin'" because it is such an awesome song.  But at the time, I couldn't download a decent copy of it.  Going to Plan B, I went with the song they are best known for, and sadly one that has been co-opted by the semi-fictitious Blues Brothers.  It really is an amazing song that crosses the social gap, just not the one I originally wanted.  Ultimately, it probably is best that I use "Soul Man" to prove the merits of Sam And Dave.  (Vocal Group Hall Of Fame Song Of Proof: "When Something Is Wrong With My Baby")

The Yardbirds:  Well, we can't ignore the British Invasion outright, now can we?  The Yardbirds are something of a strange case, though.  They're ultimately better remembered for the guitarists that cut their teeth in that band than for the music that they recorded as a band.  And yet, when you listen to those records, there's more than enough musical excellence and experimentation to give them the green light here.  For their Song Of Proof, I chose a song that is somewhat psychedelic in its guitar-work, but also beautifully expresses the anguish of the lyrics that Keith Relf conveys so well.  Yes indeed, we go from "Soul Man" above to "Heart Full Of Soul" here.

And I'm afraid that's gonna put a bow on it for this installment.  I hope you've enjoyed reading about my selections for each of these inductees and why I've chosen them.  It's never too late to get in on the fun.  Even if you've never commented on my blog ever, you're more than welcome to weigh in on these inductees, and tell me what songs you'd use to honor them.  The Comments section below awaits you.  Recapping:

Bobby "Blue" Bland:  "Turn On Your Love Light"
Booker T. And The M.G.'s:  "Green Onions"
Johnny Cash:  "Ring Of Fire"
Leo Fender:  "Crossfire" by Stevie Ray Vaughan And Double Trouble
Bill Graham:  "Oye Como Va" by Santana
the Jimi Hendrix Experience:  "Purple Haze"
the Isley Brothers:  "It's Your Thing"
Elmore James:  "Dust My Broom"
Doc Pomus:  "Save The Last Dance For Me" by the Drifters
Professor Longhair:  "Professor Longhair Blues"
Sam And Dave:  "Soul Man"
the Yardbirds:  "Heart Full Of Soul"

Songs Of Proof: The Class Of 1991

We now plunge headlong into the '90's for the Rock And Roll Hall Of Fame.  The previous year saw the biggest class we would see for another full decade.  The sizes of the classes would hold pretty steady for the next decade, holding steadily near the double digit threshold.  Some a titch higher, some a mite lower, some dead on the ten-mark itself.  But class size isn't the only thing that's been consistent.  The quality of the classes themselves maintained a certain level.  A good, high level.  While the classic rock backlog is still a few years from becoming a problem, it's also nothing anybody is worrying about.  In fact, right now, the focus is on unclogging the backlog of great '50's artists, something we'll see almost every year of induction classes this coming decade.  But the Rock Hall is humming along pretty smoothly right now, and we're gonna honor this class with some great songs of theirs.

LaVern Baker:  We start with "Little Miss Sharecropper."  Like many hit-churning R&B acts from this era, she is sadly relegated to a couple of songs that she's remembered for.  And while the omission of the Gliders (also known as the Cues) isn't the biggest omission, they were behind her on her biggest hits, in consistent lineup, so at some point, they probably should be honored for the energy their rhythmic vocals provided.  If you want a hilarious example of musicians having fun, check out the "X-Rated" version of "Think Twice," her duet with Jackie Wilson where you hear F-bombs, C-words, and both of them laughing by the end of the record.  Keeping in line with the aim of this project though, "Jim Dandy" is a landmark standard of rock and roll, and is a terrific salute to this leading lady of rock and roll.

Dave Bartholomew:  Inducted as a Non-Performer, primarily as the songwriting partner of Fats Domino, Dave Bartholomew both proves that many great Non-Performers are respectable musicians in their own right and gives credence to those outraged at the continued omission of Bernie Taupin.  Of course, the oldest living inductee did more than just write songs with the Fat Man, he worked with a lot of R&B and teen idol stars.  But as I mentioned, he also was a musician, and to give you an idea of his sound, and why it clicked so well with what would become Fats Domino's trademark sound, give a listen to his sole hit on the R&B charts, "Country Boy."

Ralph Bass:  The Class Of 1991 marks the turn in the Non-Performer category toward names that aren't as well-known in their own right.  In the entire first five classes of the Rock Hall, John Hammond and Ahmet Ertegun were the only two I hadn't heard of before finding out about the existence of the Rock And Roll Hall Of Fame.  Getting into this decade though, the names aren't as well-known.  Dick Clark, whom we'll honor in a couple years' time, is of course a household name, and I knew who George Martin and Johnny Otis were, and had even heard the name Allen Toussaint, and could infer from the surname Fender who Leo was.  Point being though, these aren't as big of names, but they are no less deserving.  In the case of Ralph Bass, based on the career timeline of John Hammond, it's something of a wonder he wasn't also inducted as a Lifetime Achievement inductee.  Working with some of the big names that are considered pre-rock, it's also quite noteworthy that he worked with some of the biggest names in '50's R&B to bring them to a wider audience.  Among those whose careers he helped launch was James Brown And The Famous Flames, and with that, I've honored Ralph Bass with "Please, Please, Please."

The Byrds:  Folk-rock.  The signature sound of the 12-string guitar.  Those impeccable harmonies.  They're the only act on this list that a rockist would approve of.  Originally, going with as many songs about rock and roll as I could, I intended to salute the Byrds with "So You Want To Be A Rock 'N' Roll Star," but it just couldn't stand up to my own scrutiny.  I had to go with a song that really captures their whole brand of folk-rock, and maybe all of folk-rock.  Based on the first eleven verses of the third chapter from the Book Of Ecclesiastes, it's "Turn! Turn! Turn! (To Everything There Is A Season)."  (Vocal Group Hall Of Fame Song Of Proof:  "My Back Pages")

Nesuhi Ertegun:  This one has been a frustrating case.  I'll tell you that right now.  All the research regarding him highly touts him as a jazz producer.  So how did he end up inducted into the Rock And Roll Hall Of Fame, let alone a Lifetime Achievement inductee?  Occam's Razor would tell you nepotism.  Fortunately, having worked with Ruth Brown, Ray Charles, and Bobby Darin, there's just enough rock and roll material there as well to justify an induction of his own.  Keep in mind that I first undertook this project back when "Google" wasn't a verb yet.  Whatever search engine you used, you still weren't guaranteed to get any satisfying results, and trying to find records that Nesuhi produced or had SOMETHING to do with was not easy, and still isn't easy as neither his rockhall.com nor his Wikipedia page by themselves actually list landmark songs or albums that he produced.  Simply put, this is one I have to change next time I get around to burning the CDs again.  Knowing that he came to Atlantic in the '50's, and worked with Ray Charles, I chose to honor him with "I Got A Woman" for want of better information.  As I look over his actual credits now, I have swapped it out for Bobby Darin's "Beyond The Sea."  Sometimes we all hit a bump in the road.

John Lee Hooker:  Because there is no cut and dry start date for rock and roll music, the confusion between the categories of Performer and Early Influence is a problem that occasionally has to be wrestled with.  The Class Of 1991 is of particular interest to that debacle because they inducted this prolific bluesman, with a career going back to the early '40's, whose early records were much more primitive to the point of not even being able to be called "proto-rock-and-roll," as a Performer.  I suspect this mainly has to do with his later collaborations with musicians who would eventually become some of the higher muckety-mucks of the Rock And Roll Hall Of Fame Foundation.  So, in keeping with some sense of consistency, I chose a great bluesy record that was his only hit on the pop charts during the "rock era" as it is traditionally regarded.  It's a fun song, give "Boom Boom" a listen, and then go back to his early catalog to ponder this conundrum.

Howlin' Wolf:  On the other side of the coin from the previous entry, we find an Early Influence inductee whose first release was in 1952, in that epoch that some argue should be considered part of the rock era, and whose biggest contribution was the song "Smokestack Lightning," from 1956.  Mysterious are the ways of the Rock Hall sometimes, especially when one of the Performer nominees from this ballot ended up being inducted the next year as an Early Influence.  Anyway, since this is an Early Influence inductee, I went back as far as I could, and found a song that may have even served to give the man his stage name.  Like a howling wolf, "Moanin' At Midnight" sets the tone for the man's career.

The Impressions:  If the seeming switcheroo of the previous two inductees weren't enough, we have an instance here of the Hall going bigger to keep it smaller.  Despite departing after the first big hit, Jerry Butler was inducted as a member of the Impressions, presumably so there wouldn't be a need to induct him a second time, as a soloist.  This is especially hilarious and tragic when you remember Chad Channing's omission from Nirvana's induction, and Denny Laine's near omission from the Moody Blues' induction later this year, just to name a couple.  Sadly, it seems to have worked.  Jerry Butler's name has seemingly never even been officially considered at Nominating Committee meetings since.  Still, I'll keep "Only The Strong Survive" saved up just in case they decide to do the right thing and make him a double inductee.  As for the Impressions, their unique brand of soul, with a breezy feel and tight harmonies, is extremely well exemplified in "It's All Right."  (Vocal Group Hall Of Fame Song Of Proof:  "People Get Ready")

Wilson Pickett:  The Wicked Pickett.  Or Wicked Wilson.  It works either way.  A great R&B singer with so many good records.  I was a little less than objective on this one.  I didn't really want to use some of the more obvious choices that you most easily recognize, and had I been a little more objective while still refusing to be obvious, I probably would've used "She's Looking Good."  However, I chose a great soul record with an amazing feel to it that is still fun listening to.  Think there are better choices to use than this one?  Well.... "Don't Let The Green Grass Fool You."

Jimmy Reed:  One of those blues players that's easy to take for granted because he got inducted relatively early in the Rock Hall's history.  Several blues classics that have been covered by the likes of Elvis Presley and Bob Dylan, just to name two.  As much as I love his big hit, the bluesy ballad, "Honest I Do," the best song to honor him is his classic, "Big Boss Man."

Ike And Tina Turner:  Admittedly, this is an act I haven't spent nearly as much time researching as I should have.  I love Phil Spector's productions, I love soul music, this is one I feel like would be one of my favorites if I could find a decent compilation on all their work, both together and apart.  Although, I am a little more familiar with Tina Turner's solo work.  Honestly, if not Carole King, I want Tina Turner to be the first female member of the Clyde McPhatter Club.  As for this effort, it didn't take much effort to find their version of "Proud Mary," which has some great horn work, frenetic vocals from Tina, and I understand even some rare vocals from Ike.  It's a big yes all the way around, just means I can't use CCR's version for them when they come up in two years.

And that will do it for this year.  The inductees aren't always gonna be so obvious from here on out, though they will contain several no-brainers.  Hope you've been stimulated by this list.  Now's your turn to do the same for me and share your thoughts in the Comments below.  Recapping:

LaVern Baker: "Jim Dandy"
Dave Bartholomew:  "Country Boy"
Ralph Bass:  "Please, Please, Please" by James Brown And The Famous Flames
the Byrds:  "Turn! Turn! Turn! (To Everything There Is A Season)"
Nesuhi Ertegun:  "Beyond The Sea" by Bobby Darin
John Lee Hooker:  "Boom Boom"
Howlin' Wolf:  "Moanin' At Midnight"
the Impressions:  "It's All Right"
Wilson Pickett:  "Don't Let The Green Grass Fool You"
Jimmy Reed:  "Big Boss Man"
Ike And Tina Turner:  "Proud Mary"

Songs Of Proof: The Class Of 1990

Welcome to the nineties.  Or the last year of the eighties.  Yeah, I know, but there are those who think of decades from 1-0 or 10, rather than 0-9.  Either way, we're coming to one of the biggest induction classes for the Rock And Roll Hall Of Fame.  This is the year that the British Invasion acts that took America by storm really started to become eligible, and we see that twice here.  Groups with vocal harmonies are big this year too, as three groups (four if you count duos) and the front man from another are all inducted, along with a perceived teen idol who turned out to have more musical chops and savvy than people gave him credit for.  Two songwriting teams were our Non-Performers, and as I enforce the Mort Shuman rule here, what probably should only amount to two songs here becomes five, as Gerry Goffin And Carole King each get their own song, as do each of three men of Holland-Dozier-Holland.  Speaking of songwriters, my two all-time favorite songwriters are in the class too (in the Performer category, that is).  The Early Influences show a massive legend, a blues pioneer, and the weirdest case of Front Man Fever to date.  This is a fantastic class, rife with acts I both love and respect.  So, how do we honor them?  With these songs:

Louis Armstrong:  The great Satchmo.  Arguably the biggest jazz legend of all time.  His Hot Five/Seven were not included with him, but that's the way it goes sometimes.  He was an Early Influence inductee, so it wouldn't be proper to select "Hello, Dolly" or "What A Wonderful World," even if the former has the distinct honor of being the first non-Beatles song to knock the Beatles out of the #1 spot on the Billboard Hot 100.  No, the proper thing to do is to actually research his legendary work prior to rock and roll.  Armstrong's rise to fame predates Jackie Robinson's breaking the color barrier in baseball, Jesse Owens' run to Berlin, and the vast majority of inductees in this Hall, though not all.  For him to be popular with his style of music is no small feat and carried no small amount of influence.  For this set, he is honored with his smash hit version of "All Of Me."

Hank Ballard:  After Smokey Robinson, this is the biggest case of Front Man Fever in the Performer category.  While Ballard did have a separate solo career, it didn't happen soon enough for him to be eligible as a soloist for the Hall by the time he was inducted, and even on his two solo hit records, there was a backup group credited with him.  So, I assume with that, there's no dispute about me using a song credited to "Hank Ballard And The Midnighters," and I chose "Finger-Poppin' Time," which while not the most revered record from this outfit, did go a long way in introducing the wider audience to his style of R&B, which Ballard himself always insisted was tinged with country influences too.

Charlie Christian:  In the past two decades, the Rock And Roll Hall Of Fame has almost seemed to make a point of being controversial and otherwise weird about their inductions.  For my money, however, this is the most bizarre of all.  Charlie Christian wasn't the leader of a band, he was a hired hand.  He was a guitarist with the Benny Goodman Orchestra for a couple years before he died.  He probably could have gone on to a fabulous solo career or leader of his own combo.  We'll never know, and so, we have to work with what we have.  There are two songs that Christian is featured on that are most heralded as influential and impacting.  "Seven Come Eleven" is a fine song, but Charlie's guitar work is pretty heavily mixed with the aerophonic back and forth between Goodman and other players.  No, it is truly "Solo Flight" that really features Charlie Christian in a starring role, and thus is rightly used as the song for him here.

Bobby Darin:  Probably the most maligned of the inductees in this class.  The songs most clearly identified as rock and roll are written off as teen idol pop pap, and the more mature and finely crafted songs are dismissed as not being rock and roll.  It's all Bobby Darin's fault, really.  If he hadn't lived such a clean-cut life, trying to get the most out of his life because he knew he didn't have long to live with his heart condition, and had just been more of a horrible person, he would be regarded as a rocker through and through.  I mean, according to Dick Clark, Bobby even taught the other stars on the Caravan Of Stars tours how to do their own taxes!  The nerve of the guy!  Being serious now, those who put down the music of this man are those who simply either have a terrible working definition of what constitutes of rock and roll, or simply haven't taken the time to listen to his body of music at large.  It's excellent stuff, and one tune which is still a fun rocker, though a bit lyrically dated, is the solidly rolling rocker "Queen Of The Hop."

Lamont Dozier:  And this is where we start breaking up the songwriting teams.  It's actually pretty hilarious that for the three songs for the members for this songwriting trio, only one of them is actually a Motown song.  The truth is, when I first compiled this list, I was trying to use hit songs by Non-Performer inductees as much as possible.  And when I got to the Invictus stuff released by Holland-Dozier, and Lamont Dozier's work on ABC, I knew I wasn't going to use the Motown songs that made them such famous songwriters.  Maybe I did that wrong.  But they wrote the stuff they themselves recorded for the most part, and once you hear Lamont's "Tryin' To Hold Onto My Woman," you might not judge my choices too sharply.

The Four Seasons:  This one was pure executive privilege, through and through.  Not even gonna apologize for it.  They may have had three of their five #1 hits in the early goings, but in terms of quality, the Vee-Jay years are vastly inferior to their opuses on the Phillips label.  So, no, I did not use "Sherry," "Big Girls Don't Cry," or "Walk Like A Man."  And I seriously hope none of you do either.  Their music got amazing beginning with "Dawn (Go Away)," and 1964 was an amazing year for them with such incredible songs like "Ronnie," "Rag Doll," and "Save It For Me."  But in fact, the song I chose for them is my favorite song.  It's a lesser-known song, but cracked the Top Ten, is a rarity for this group, in that it's the guy telling the girl that she's the one who's no good instead of him being worthless, and has an amazing arrangement.  When I first heard it, I thought the instrument simulating a thunderclap was a cello!  Turns out it was actually a keyboard, but wow, what a great song.  I'm not backing down.  I won't change it to a better known or bigger hit song.  "Tell It To The Rain" it is.  (Vocal Group Hall Of Fame Song Of Proof: "I've Got You Under My Skin")

The Four Tops:  Truth be told, I've never liked the Four Tops all that much, at least not their Motown stuff.  Part of it is Levi Stubbs' voice, which I always thought sounded a little syrupy and saccharine, especially on "I Can't Help Myself (Sugar Pie Honey Bunch)," which is even weirder because I do like "It's The Same Old Song."  I guess the arrangement is just different enough, and Levi's vocals aren't as sugary sweet.  That said, I chose a song that was their other number one hit, my favorite song overall by them, and just a great song with a straightforward message and fantastic arrangement that evokes a mental image of actually trying to reach out and find a way out of the darkness.  "Reach Out (I'll Be There)" is for the Four Tops.  (Vocal Group Hall Of Fame Song Of Proof: "Walk Away Renee")

Gerry Goffin:  The "Oh yeah, them too" half of the songwriting duo.  Together they wrote some amazing songs covered by a myriad of artists.  So many great songs, writing a lot for the girl groups of the early sixties, I nevertheless deviated and went with a song that when you pay attention to the lyrics, probably could have been a girl group song with a little tweaking, but is not.  Since we're honoring the male half of the duo, let's go with a song sung by dudes.  The Animals, to be specific, and the life they brought to "Don't Bring Me Down." 

Brian Holland:  I'm not entirely sure what special thing each member of the trio brought to their songwriting, but considering they literally punched the clock and sat down together to write, it's a pretty safe bet all three of them coded every word and every initial piece of instrumentation to their arrangements.  This of course, continued when the left Motown and started the Invictus/Hot Wax family.  And Brian's vocals are beautifully heard on Holland-Dozier's "Don't Leave Me Starvin' For Your Love."

Eddie Holland:  Part of what made the trio such great songwriters is that each of them were very musically inclined singers in their own right.  Before the trio became a household name, Eddie himself had a few solo hit records on the Motown label.  He probably could have been a much bigger R&B singer if he didn't sound so much like Jackie Wilson, or been trying to copy Jackie Wilson.  That said, when you hear "Jamie," you get an idea of the songwriting style that Holland-Dozier-Holland would become legendary for.

Carole King:  The first woman inducted in the Non-Performer category, and the only one for twenty years.  It wasn't until Ellie Greenwich and Cynthia Weil joined her in 2010 that there was another woman inducted in this category, and the only one before the category was renamed the Ahmet Ertegun Award.  And the first White woman inducted period, the only one until Donna Godchaux was inducted as a member of the Grateful Dead in 1994.  But those statistics don't matter.  What matters is that she is an amazing songwriter who wrote and co-wrote many great songs.  I still hold out hope for her to be inducted as a Performer for her fantastic work.  In the meanwhile, I salute her with her debut record as a solo artist, which still has a very Brill Building style and feel to it, "It Might As Well Rain Until September."

The Kinks:  Among the big snubs, I'm pretty upset at how the Rock And Roll Hall Of Fame has ignored the Cameo-Parkway legacy, both ignoring founders Bernie Lowe and Kal Mann, and also at the very least Chubby Checker, with possibilities of Bobby Rydell, Dee Dee Sharp, and the Orlons in the distant future.  So far, the Hall has only inducted two artists that were ever affiliated with Cameo Records.  One of them is the Kinks.  The Kinks had their first distribution deals in the States with Cameo Records, including such huge smashes as "You Do Something To Me," "You Still Want Me," and their cover of "Long Tall Sally."  Yeah...  Anyway, onto the music that they're actually famous for.  I'm both proud and embarrassed about this selection.  Ray Davies is my all-time favorite songwriter.  I love his wit, his keen observations of humanity, and his turn of phrase.  UK Jive is an absolutely fantastic album, brilliant.  The song I've used, however, is utterly lyrically simplistic, both in subject matter, and in its total void of anything resembling a rhyme scheme.  But I'm also proud to use this song because it's so raunchy in its instrumentation.  Not just Dave Davies' roaring guitars, but the drums, and even the unbridled drive in Ray's voice as he sings.  This was a song that announced to the United States that the British were coming, and things weren't going to be the same.  So, to honor the Kinks, I selected "You Really Got Me."

The Platters:  When I checked out a doo-wop box set from the local library a few years ago, and perused the liner notes, I read a comment about how when people think of doo-wop music, the Platters never spring to mind for anyone.  I think part of it is because they were so big, that they kind of rise above being classified with other groups, but perhaps also because doo-wop is usually thought of as an upbeat style, and the Platters made their money primarily in slow ballads.  This may mean that "doo-wop" is a misnomer, and that sticking with the original categorization, "vocal R&B" is more accurate.  That said, the Platters did have some great upbeat songs, from "I Wanna;" "Bark, Battle, And Ball," which is a female response song to "Shake, Rattle, And Roll," featuring Zola Taylor singing lead; to "With This Ring," their comeback hit in the late '60s with the snubbed Sonny Turner out front.  The song I've chosen to honor the Platters is a lesser known Top 40 hit, that showcases Tony Williams' amazing voice in all its gymnastic excellence and artistic panache, while also having a slight backbeat to it, to solidly identify it as R&B.  "It Isn't Right" is the right choice for me here.  (Vocal Group Hall Of Fame Song Of Proof: "Twilight Time")

Ma Rainey:  A very old-time blues legend, so old-time, we're not even entirely certain where or when she was born, because American racism in the first decade after Reconstruction included makeshift torches instead of tiki torches from Home Depot and Lowe's.  As one of the first Black women to be recorded, she quickly built up a catalog that included a lot of songs that are now standards, including "See See Rider Blues," which I've used here.

Simon And Garfunkel:  One of the all-time greats that sometimes gets overlooked because they only put out five albums in just five or so years, Simon And Garfunkel is a name that's easy to overlook, but thankfully has not been.  I love all five of their studio albums, their hit in the mid-'70's, "My Little Town," and their reunion concert.  I even enjoy their album they recorded as "Tom And Jerry."  I have to admit, I briefly considered using "A Hazy Shade Of Winter," but decided to use something slightly more well-known, but not overtly obvious.  "I Am A Rock" is a solid piece of folk-rock with great lyrics and metaphor from Paul Simon, my second-favorite songwriter of all-time.  (Vocal Group Hall Of Fame Song Of Proof: "Scarborough Fair/Canticle")

The Who:  If the early years of the Rock Hall were governed primarily by Oldies stations' playlists, the Who probably wouldn't have been inducted in their first year of eligibility  However, there is no denying the importance of the Who to rock and roll music overall.  And you'll be pissed to know I did not use "Who Are You," "Behind Blue Eyes," "Baba O'Riley," or even "Pinball Wizard."  No!  Again, going back to the special programming origins of this whole project, we are saluting the Rock And Roll Hall Of Fame, which is essentially also honoring rock and roll music itself at large.  "Long Live Rock" ... be it dead or alive!

And that draws this year to a close.  The next time we'll encounter a class this large will be 2000, when the Sideman category is introduced.  Start thinking about your selections for 1991, while you're sharing your 1990 playlists in the Comments below.  Recapping this year:

Louis Armstrong:  "All Of Me"

Hank Ballard:  "Finger-Poppin' Time"

Charlie Christian:  "Solo Flight" by the Benny Goodman Orchestra

Bobby Darin:  "Queen Of The Hop"

Lamont Dozier:  "Tryin' To Hold Onto My Woman"

the Four Seasons:  "Tell It To The Rain"

the Four Tops:  "Reach Out (I'll Be There)"

Gerry Goffin:  "Don't Bring Me Down" by the Animals

Brian Holland:  "Don't Leave Me Starvin' For Your Love" by Holland-Dozier featuring Brian Holland

Eddie Holland:  "Jamie"

Carole King:  "It Might As Well Rain Until September"

the Kinks:  "You Really Got Me"

the Platters:  "It Isn't Right"

Ma Rainey:  "See See Rider Blues"

Simon And Garfunkel:  "I Am A Rock"

the Who:  "Long Live Rock"