Monday, March 26, 2018

Songs Of Proof: The Class Of 1997

The Rock And Roll Hall Of Fame inducted ten entities in 1997, and among the Performer inductees, the clearest theme is that we're definitely tunneling headlong into the '70's.  Most of the Performers inducted hit their stride and found their greatest commercial success during the '70's, and though there have been a few superstars of that decade already inducted, we're firmly in territory where acts that debuted in the '70's are now eligible for induction.  Gauging from this class alone, it looks like the Hall isn't shying away from those years.  Of course, this is speaking strictly at the time. Ironic, because all of these inductees were eligible for a few years at least, too.  Also, for the first time in five years, we have two Early Influence inductees too, and very different ones at that.  Our Non-Performer selection is a bit more obscure, but that's why the selection is done by a subcommittee.  Another interesting bit of trivia, until the Paul Butterfield Blues Band was inducted in 2015, all acts that got inducted on their fourth nomination were from this class.  Some needed more, some needed fewer, but until 2015, if it was the fourth nomination, it was this class.  (And then a year after Butterfield and company, N.W.A. got in on their fourth nomination, as well.)  As for musical selections for these artists, I suppose it plays out a little bit like this:


The Bee Gees:  There's a great distance between what they're best known for, and how they started out.  Their brand of vocal pop is primarily what landed them in the Vocal Group Hall Of Fame in 2001, but they are of course best known for being the kings of disco.  Nine #1 hits, and all but one of them from their reign over the domain of the discotheque.  You couldn't really describe their contribution without choosing a song from that era.  And every once in awhile, I do go for the cliche.  Though I love "You Should Be Dancing" and "Tragedy," it's really "Stayin' Alive" that capitalizes their contributions.  So much so, that even though it was only #1 for four weeks, while "Night Fever" was #1 for eight weeks, "Stayin' Alive" is still credited as the trio's biggest hit of all, which is saying something, since most methodologies go by weeks at #1.  (Vocal Group Hall Of Fame Song Of Proof: "New York Mining Disaster 1941 (Have You Seen My Wife Mr. Jones)")

The Buffalo Springfield:  It's widely agreed that Percy Sledge is the least deserving inductee into the Hall ever.  But who is the second-least deserving?  For my money, it's this group right here.  This is a group that's really known more for the talent that was launched from this group, than for their music itself.  Maybe that's why they needed four nominations.  They did have a few hits and some classics, but like Percy Sledge, they're ultimately remember for one tremendous anthem of a song.  "For What It's Worth (Stop, Hey What's That Sound)" is a song that is identified with the '60's, but really stands the test of time, as it is sadly always applicable to some segment of some society, somewhere, sometime.

Crosby, Stills, And Nash:  To start things off, since it was the trio that was inducted, the song chosen had to be sans Neil Young.  Sorry Neil, but you already got your second induction with the Buffalo Springfield.  This is the second one for David Crosby, and the first, but not the last for Graham Nash.  It's also the second for Stephen Stills, which is interesting because he was also inducted in the aforementioned Buffalo Springfield, making him the first, and so far only, person to be inducted into the Rock And Roll Hall Of Fame twice in the same year.  Will it happen again?  No one knows, though it seems unlikely at this point.  Most of the viable candidates for multiple inductions have already been inducted once.  But because Neil wasn't included in this one, "Ohio" and "Woodstock" and the like are automatically disqualified.  Though, it is as a quartet that they were inducted into the Vocal Group Hall Of Fame.  Either way, the group is known for their lush harmonies and melodies to match.  So, it's a bit of a deviation that I use "Marrakesh Express" to represent them here.  I felt it was a decent choice, given that it's one of their more upbeat songs, to keep with the "rocking" idea.  Plus, while trying to pitch the radio program, that was the song that the station already had in its library, and it just stuck.  (Vocal Group Hall Of Fame Song Of Proof for Crosby, Stills, Nash, And Young: "Teach Your Children")

Mahalia Jackson:  The woman who claimed that rock and roll was stolen right out of the sanctified church.  While others were calling rock and roll "the devil's music," Jackson heard the influences of what she was doing in early rock and roll pioneers.  Her spiritual message and gospel styling was also loved much by the likes of Dr. Martin Luther King, Jr., no less.  Widely influential, a gospel legend, she is saluted with "Move On Up A Little Higher."

The Jackson Five:  First off, anyone who needs to have it explained why I chose their Vocal Group Hall Of Fame Song Of Proof needs to be smacked with a mackerel.  This group was the fresh blood that Motown needed to continue to remain competitive in an industry that thrived on youth culture.  And lead singer Michael was certainly a youngster!  With four consecutive #1 hits out of the gate, it's hard to go wrong with much of anything they put out.  Everyone's pretty hip to "ABC" or maybe "I Want You Back," but it's actually their third #1, "The Love You Save," that I especially love to jam to and have selected to represent them in this project.  (Vocal Group Hall Of Fame Song Of Proof: "I'll Be There")

Joni Mitchell:  Not the first Canadian inductee, but a very well-loved one, even if she only got famous after moving to Detroit.  A woman of incredible conscience, surpassed only by her artistry.  She delivered many messages, and ran the gamut in doing so.  She raised the profile of women in music as well as multiple causes.  Among them was environmentalism, and despite the clowning around with the low voice at the end of "Big Yellow Taxi," it speaks well to her message about loving and respecting nature.  It stands in for her here.

Bill Monroe:  The Rock And Roll Hall Of Fame is sometimes critiqued for not honoring the country side of things enough.  However, they did remember to induct the Father of Bluegrass.  Modest about his accomplishments, Monroe had a lot of influence upon rock and roll as well, notably the musicians known for their affiliation with Sun Records.  His Blue Grass Boys should probably be included at some point.  Meanwhile, the most famous contribution of his to rock and roll is probably his original version of "Blue Moon Of Kentucky" which Elvis Presley later covered.  It's a fantastic song, and it serves as his homage.

Syd Nathan:  As with a lot of Non-Performer inductees who aren't songwriters or producers, Syd Nathan's name is a little bit on the obscure side.  He founded King Records, and had several labels in that family.  His empire was a harbor for R&B artists.  His biggest diamond was none other than James Brown, who made King his home during the '60's.  The biggest years of Brown's career, James himself credited Syd Nathan for his success.  So, it seems fitting to use a classic James Brown record from the '60's to honor this man, and with that, let's spin "Papa's Got A Brand New Bag."

Parliament/Funkadelic:  Since they were essentially the same group that hopped between labels, it never occurred to me to try and choose a song to stand for that sentiment.  If I had, I definitely would have gone with "One Nation Under A Groove."  As it is, I simply went with "Flashlight" because it's a fantastic jam with a great feel and really sums up the kind of funk they were laying down.  Great effects, simplistic and fun all around.

The (Young) Rascals:  I'll level with you on two things here.  I never include the "Young" part when I discuss them.  They're just the Rascals to me.  Secondly, I've never considered them "blue-eyed soul."  The term "blue-eyed soul" generally means people thought they were Black upon first listen.  Maybe the fact that they called themselves the Young Rascals at first tipped their hand, but I never imagined an R&B singer belting out "It's A Beautiful Morning."  The only group in my experience that that applies to is the Soul Survivors, with their big hit, "Expressway To Your Heart."  The lead singer sounds like Dave Prater of Sam And Dave.  Getting back to the Rascals, though... to me, they were always just plain old rock and roll.  Whether it was their cover of "Good Lovin'," or "People Got To Be Free," or "I've Been Lonely Too Long," the Rascals were just great rock and roll.  So glad that they got inducted.  Since this is a group I really like, I went a bit more obscure for the song to salute them.  One of their lesser known Top 40 hits is "Carry Me Back," which has a really fun sound that's hard to describe.  It has a little bit of gospel influence, some country, and some old-tyme saloon-type honky-tonk, plus a great horn line as well.  Really great to listen to. (Vocal Group Hall Of Fame Song Of Proof: "A Girl Like You")

Ten up, ten down, the Class Of 1997 is complete.  What are your thoughts?  What songs would you have chosen?  The Comments section is always open.  And to recap this class:

the Bee Gees: "Stayin' Alive"
the Buffalo Springfield: "For What It's Worth (Stop, Hey What's That Sound)"
Crosby, Stills, And Nash: "Marrakesh Express"
Mahalia Jackson: "Move On Up A Little Higher"
the Jackson Five: "The Love You Save"
Joni Mitchell: "Big Yellow Taxi"
Bill Monroe: "Blue Moon Of Kentucky"
Syd Nathan: "Papa's Got A Brand New Bag" by James Brown
Parliament/Funkadelic: "Flashlight"
the (Young) Rascals: "Carry Me Back"

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