And why stop? We've reached 2000, a year that, much like this one, included the creation of a new category. The marked difference, of course, is that this category works to enshrine key players (some of them players of the keys, no less) that didn't have a proper place until the new millennium. The Sideman category was an extremely welcome addition to the Hall's canon, and one that many would like to see revived, as it has egregiously slacked off since the first few years of its implementation. This is also the first, and to date only, occurrence of a person being inducted a third time into the Rock And Roll Hall Of Fame. This is also the first time the Rock And Roll Hall Of Fame took a lead from the Vocal Group Hall Of Fame to induct a group. We also see the beginning of what was for a long time, a very reliable trend when predicting inductees, in the form of the '70's singer/songwriters. Sadly, though we don't know it at this time, this is also the last year so far that the Early Influence category has been used without controversy. It's also almost as big a story who didn't make it this year, but we'll address that next week. For now, the Sideman category is pretty much the lead story, as there were almost as many of those inductees as there were Performer inductees. From my standpoint, this is where reserving some of the more obvious choices comes in handy, because when a Sideman played on a landmark record, it's usually a pretty good choice to use a more obvious record than an obscure ingot of musical gold. You'll see it a few more times in the upcoming years. It's also a good opportunity to use songs by artists that still haven't been enshrined, just as I have done a few times with the Non-Performer category, including this year. It's the largest class we'd see until 2010, and it goes a little something like this:
Hal Blaine: When you talk about worthy Sideman candidates, this is almost certainly the first name on everyone's lips, at least everyone who knows something about the history of rock and roll. The man's name is practically synonymous with American rock and roll during the 1960's. From Elvis Presley to the Mamas And The Papas, this man had been the go-to session drummer for an entire decade and beyond. Dick Clark once made Hal Blaine the subject of the special artist profile on an episode of Rock, Roll, And Remember and almost literally filled the entire four-hour program with songs that Hal Blaine played drums on, including a lot of the "wall of sound" records Phil Spector famously produced. According to Blaine himself, when Phil Spector was in the control room and giving cues, notes, and direction to every other musician in the studio, including the singers, he would eventually turn to Hal and simply say, "You know what to do." If that doesn't say something about the man's instincts and skill, I don't know what does: even Phil Spector didn't think he had to micromanage Hal Blaine. Just let him do his thing at it will sound superb. To salute his work, I've chosen "He's A Rebel" by the Crystals, in name only. It's a song that really isn't fair to use to salute the Crystals if they ever get in, nor should be used for Darlene Love, but it is perfect to salute any of the session players of Phil Spector's bullpen, especially Hal Blaine.
Eric Clapton: So far, the only person inducted three times in the Hall. And maybe more to come. Blind Faith has been considered, and some would even want to induct Derek And The Dominoes as well. I personally don't wish to go that far, nor did I use "Layla" for Eric Clapton, not even the acoustic version that is in fact credited to him. There were a lot of songs that could have been used, really, but going back to the original intent for this playlist, I started with and stuck with "After Midnight," which is a fine example of roots music, and really rocks out in a fun way.
Nat "King" Cole: Like Charles Brown, this Early Influence is largely remembered for one Christmas classic. But the man was a jazz legend, with his old King Cole Trio. He was a hit maker throughout the '40's and '50's with many beautiful standards, such as "Answer Me, My Love," "Mona Lisa," "Ramblin' Rose," and even took a stab at identifying with the youth culture in "Those Lazy-Hazy-Crazy Days Of Summer." The choice to salute him comes from his King Cole Trio days, as it probably should have been that entity inducted. It's a song I actually first heard when covered by children's artist Norman Foote, and is an excellent example of how Cole's brand of jazz influenced the likes of Ruth Brown and even Ricky Nelson. The song is none other than "Straighten Up And Fly Right."
Clive Davis: Though he founded Arista Records, a record label that was home to some of rock and roll's best, he also did quite a lot in his work prior to that at Columbia Records, where he was instrumental in bringing the likes of Billy Joel, Aerosmith, Bruce Springsteen, etc. into that fold. Among those artists are some that still have not been inducted, and may never be at this point. One such act is Blood, Sweat, And Tears, whose style was unique and influential, and their "And When I Die" has just the right style to be worthwhile as an homage for Clive Davis.
Earth, Wind, And Fire: Funk, disco, soul.. what couldn't they do? The White brothers, Philip Bailey.. the whole lineup to dominate both with albums and singles and to continue on into the '80's. Team up with Kenny G to cover an Outkast song? They did that. Many memorable songs, including "Boogie Wonderland," "September," and the song that has been selected to represent them here, the song that topped both the pop and the R&B charts, "Shining Star.." (Vocal Group Hall Of Fame Song Of Proof: "Serpentine Fire")
Billie Holiday: To share something kind of weird here, I know that Billie Holiday was described as a woman whose appearance and whose voice oozed with beauty and sex. I have to admit, I don't find her voice to be that sexy. However!, there is a very specific reason for this. Her voice when she sings is very reminiscent of my maternal grandmother's voice when she talked. Not exactly alike, mind you, but the tone colors between the two are eerily similar. My grandmother, like Lady Day, is long since deceased, but when I first heard Billie singing "God Bless The Child," which is the song I've chosen to represent her, I was struck by the similarity to Grandma's voice in how it sounded. "God Bless The Child" is one of Billie Holiday's most famous compositions, and it serves very well here. And to answer your question, I could not bring myself to use "Strange Fruit." That song is just haunting. Not hauntingly beautiful, but terrifying in an "I'm afraid to go to bed after hearing that song, because when I close my eyes, I'll have nightmares" kind of haunting. That's how you know it's great art, but for a CD set that probably I'm only ever going to listen to... nope.
James Jamerson: Ah, the bass. It's sometimes hard to appreciate, because no matter what style it is, as a rhythm instrument, it's one you don't always notice what it does, because it can get lost under the higher pitched instruments, be it the voice, saxophone, lead guitar, organ, horns, or harmonica. And yet, you notice when a song is lacking in it. It's almost something you can feel more than hear, sometimes. And that's what made James Jamerson such a key player in the Motown family. With his smooth bass work, he helped make Motown records feel great to listen to. The song chosen for him is one such example, "I Was Made To Love Her" by Stevie Wonder, which while much of the credit goes to Stevie's stellar musicianship, Jamerson's bass playing gives it a really good flow to complement Stevie's harmonica playing and singing.
King Curtis: It's something of a tragedy that King Curtis couldn't get inducted as a Performer in the six attempts made to do so. The first six ballots, his name was on, never making the cut. The foremost rock and roll saxophone player, especially if you wanted your song to have an R&B flavor to it. Whether it was tricky intonation and tonguing, fast fingers, or just filling the record with an extra layer of sound, he could and did do it. Even though he was inducted as a Sideman, I still wanted to and did use his own signature record, "Soul Twist" to represent him. If Adolphe Sax were ever to be inducted, this is the song most of you would want to use, but I think the smooth beauty of it belongs as the tribute to King Curtis.
The Lovin' Spoonful: I'll admit, when it comes to good time rock and roll bands from the '60's, this is not one of my first picks. I do enjoy the Lovin' Spoonful quite a bit, but I would have chosen the Grass Roots, Paul Revere And The Raiders, Tommy James And The Shondells, and several other groups still not in before these guys. But they do have a certain cache to them, with their jug band roots, their connections with other bands already in, and don't forget the melodies. Between "Rain On The Roof" and "You Didn't Have To Be So Nice," it's easy to see how they clear the bar for "unquestionable musical excellence." My choice to salute them, though, is simply their big breakout hit, which has all their influences coming together in a euphonious creation to sing about love of music and romantic love, and even a love of life, all while simply asking the question, "Do You Believe In Magic." (Vocal Group Hall Of Fame Song Of Proof: "Nashville Cats")
The Moonglows: Before there was Nile Rodgers, there was Harvey Fuqua. By that, I'm referring to how big the main man behind the group can be so much of why they were considered worthy of nomination. At a time when the recording industry seemed hellbent on robbing their African-American talents, Harvey Fuqua was a man who held his own, as a songwriter, producer, talent scout, and oh yeah, lead singer for this amazing group. Naysayers against this legendary R&B group could probably call it a political move, finding a way to honor Harvey Fuqua (this being before the Award For Musical Excellence came about), but if you actually listen to the music of the Moonglows, you will be so surprised. Everyone knows "Sincerely," which should have been enough, and since I used it to honor Alan Freed, it is not used again. They also had an amazing Christmas song called "Hey, Santa Clause"--yes, spelled with the E at the end, and gave us so many amazing but sadly forgotten gems, such as the original version of "The Ten Commandments Of Love." The Vocal Group Hall Of Fame inducted these guys before the Rock Hall did, so I'm hoping that the earlier induction maybe shamed the Rock Hall into finally giving them proper credit. Choosing a more upbeat, rocking song, I went with the catchy and fun to sing along with "See Saw" to pay tribute to this amazing R&B group that was a foundation group for rock and roll. (Vocal Group Hall Of Fame Song Of Proof: "Please Send Me Someone To Love")
Scotty Moore: The guitarist for so many early Elvis Presley records. Whether it was slow and melodic on "I Want You, I Need You, I Love You," bouncy on songs like "Paralyzed," or all out on songs like "Hound Dog," Moore's licks are unmistakable and were hugely influential on future guitar players. Perhaps the crowning masterpiece that so wonderfully featured Scotty's guitar was the title track from Elvis's third movie, and one of his most famous. A huge hit to boot, spending seven weeks at #1, it's none other than "Jailhouse Rock."
Earl Palmer: Hal Blaine of course wasn't the only major rock and roll drummer. In fact, before Blaine, there was Earl Palmer. Much like Hal, Earl has played on thousand of records, and for some of the biggest names. It was Little Richard who called Earl Palmer the greatest session drummer ever. That's pretty high praise from one of the true architects of rock and roll. Though steeped in jazz, his backbeat is heard on so many rock and roll records, even by some artists who haven't made the Hall, yet. Such was my decision here, as his work on the skins is tight, undeniable, and excellent on the Monkees' "Pleasant Valley Sunday."
Bonnie Raitt: The bluesy mama. Acclaimed for her activism almost as much as her music. You can really hear her roots in the blues in her cover of Del Shannon's "Runaway," and for a time, I was using that song for her. However, I felt that didn't give enough respect to her songwriting abilities. But I didn't really want to use "Something To Talk About" either. The choice for her ended up being the title track from her breakthrough album after she signed with Columbia records, an album which garnered her a handful of Grammys, and features a title track that was a modest hit. "Nick Of Time" is the chosen selection for this set.
James Taylor: This class concludes with Sweet Baby James. An amazing tale of his stardom at odds with his personal life and mental health. That alone is worthy of a biopic, more so than some of the ones we've been getting lately. And that's not even considering that I'm only a moderate fan of him. I don't hate his songs by any stretch, but I don't relate to them quite as much as some people. I enjoy both takes of "Carolina In My Mind," his cover of "How Sweet It Is," and his album with the Flying Machine, but overall, his music doesn't resonate quite as deeply as other artists' works do. That said, I have a ton of respect for the impact and influence he's had. Reminiscent of folk singers, but not a folk musician, but still somehow evolving that sound into the style of singer/songwriters that we identify so strongly with the 1970's and still carries on in coffeehouses today. Eschewing the obvious selection for now, I chose to go with "Your Smiling Face" to show an upbeat, rocking side with good guitar, good rhythm, and beautiful vocals.
And that puts the bow on the Class Of 2000. Any thoughts or choices you would have made instead? Feel free to let me know. Recapping:
Hal Blaine: "He's A Rebel" by the Crystals
Eric Clapton: "After Midnight"
Nat "King" Cole: "Straighten Up And Fly Right"
Clive Davis: "And When I Die" by Blood, Sweat, And Tears
Earth, Wind, And Fire: "Shining Star"
Billie Holiday: "God Bless The Child"
James Jamerson: "I Was Made To Love Her" by Stevie Wonder
King Curtis: "Soul Twist"
the Lovin' Spoonful: "Do You Believe In Magic"
the Moonglows: "See Saw"
Scotty Moore: "Jailhouse Rock" by Elvis Presley
Earl Palmer: "Pleasant Valley Sunday" by the Monkees
Bonnie Raitt: "Nick Of Time"
James Taylor: "Your Smiling Face"
And for those interested, the playlist from the Vocal Group Hall Of Fame, Class Of 2000
the Bangles: "Eternal Flame"
Dion And The Belmonts: "I Wonder Why"
the Dixie Hummingbirds: "Bedside Of A Neighbor"
the Drifters (Five Crowns): "Please Stay"
the Flamingos: "Nobody Loves Me Like You"
the Kingston Trio: "A Worried Man"
Frankie Lymon And The Teenagers: "Goody Goody"
the Mamas And The Papas: "Twelve-Thirty (Young Girls Are Coming To The Canyon)"
the Soul Stirrers: "The Last Mile Of The Way"
the Skylarks: "I Had The Craziest Dream"
Three Dog Night: "Celebrate"
Eric Clapton: So far, the only person inducted three times in the Hall. And maybe more to come. Blind Faith has been considered, and some would even want to induct Derek And The Dominoes as well. I personally don't wish to go that far, nor did I use "Layla" for Eric Clapton, not even the acoustic version that is in fact credited to him. There were a lot of songs that could have been used, really, but going back to the original intent for this playlist, I started with and stuck with "After Midnight," which is a fine example of roots music, and really rocks out in a fun way.
Nat "King" Cole: Like Charles Brown, this Early Influence is largely remembered for one Christmas classic. But the man was a jazz legend, with his old King Cole Trio. He was a hit maker throughout the '40's and '50's with many beautiful standards, such as "Answer Me, My Love," "Mona Lisa," "Ramblin' Rose," and even took a stab at identifying with the youth culture in "Those Lazy-Hazy-Crazy Days Of Summer." The choice to salute him comes from his King Cole Trio days, as it probably should have been that entity inducted. It's a song I actually first heard when covered by children's artist Norman Foote, and is an excellent example of how Cole's brand of jazz influenced the likes of Ruth Brown and even Ricky Nelson. The song is none other than "Straighten Up And Fly Right."
Clive Davis: Though he founded Arista Records, a record label that was home to some of rock and roll's best, he also did quite a lot in his work prior to that at Columbia Records, where he was instrumental in bringing the likes of Billy Joel, Aerosmith, Bruce Springsteen, etc. into that fold. Among those artists are some that still have not been inducted, and may never be at this point. One such act is Blood, Sweat, And Tears, whose style was unique and influential, and their "And When I Die" has just the right style to be worthwhile as an homage for Clive Davis.
Earth, Wind, And Fire: Funk, disco, soul.. what couldn't they do? The White brothers, Philip Bailey.. the whole lineup to dominate both with albums and singles and to continue on into the '80's. Team up with Kenny G to cover an Outkast song? They did that. Many memorable songs, including "Boogie Wonderland," "September," and the song that has been selected to represent them here, the song that topped both the pop and the R&B charts, "Shining Star.." (Vocal Group Hall Of Fame Song Of Proof: "Serpentine Fire")
Billie Holiday: To share something kind of weird here, I know that Billie Holiday was described as a woman whose appearance and whose voice oozed with beauty and sex. I have to admit, I don't find her voice to be that sexy. However!, there is a very specific reason for this. Her voice when she sings is very reminiscent of my maternal grandmother's voice when she talked. Not exactly alike, mind you, but the tone colors between the two are eerily similar. My grandmother, like Lady Day, is long since deceased, but when I first heard Billie singing "God Bless The Child," which is the song I've chosen to represent her, I was struck by the similarity to Grandma's voice in how it sounded. "God Bless The Child" is one of Billie Holiday's most famous compositions, and it serves very well here. And to answer your question, I could not bring myself to use "Strange Fruit." That song is just haunting. Not hauntingly beautiful, but terrifying in an "I'm afraid to go to bed after hearing that song, because when I close my eyes, I'll have nightmares" kind of haunting. That's how you know it's great art, but for a CD set that probably I'm only ever going to listen to... nope.
James Jamerson: Ah, the bass. It's sometimes hard to appreciate, because no matter what style it is, as a rhythm instrument, it's one you don't always notice what it does, because it can get lost under the higher pitched instruments, be it the voice, saxophone, lead guitar, organ, horns, or harmonica. And yet, you notice when a song is lacking in it. It's almost something you can feel more than hear, sometimes. And that's what made James Jamerson such a key player in the Motown family. With his smooth bass work, he helped make Motown records feel great to listen to. The song chosen for him is one such example, "I Was Made To Love Her" by Stevie Wonder, which while much of the credit goes to Stevie's stellar musicianship, Jamerson's bass playing gives it a really good flow to complement Stevie's harmonica playing and singing.
King Curtis: It's something of a tragedy that King Curtis couldn't get inducted as a Performer in the six attempts made to do so. The first six ballots, his name was on, never making the cut. The foremost rock and roll saxophone player, especially if you wanted your song to have an R&B flavor to it. Whether it was tricky intonation and tonguing, fast fingers, or just filling the record with an extra layer of sound, he could and did do it. Even though he was inducted as a Sideman, I still wanted to and did use his own signature record, "Soul Twist" to represent him. If Adolphe Sax were ever to be inducted, this is the song most of you would want to use, but I think the smooth beauty of it belongs as the tribute to King Curtis.
The Lovin' Spoonful: I'll admit, when it comes to good time rock and roll bands from the '60's, this is not one of my first picks. I do enjoy the Lovin' Spoonful quite a bit, but I would have chosen the Grass Roots, Paul Revere And The Raiders, Tommy James And The Shondells, and several other groups still not in before these guys. But they do have a certain cache to them, with their jug band roots, their connections with other bands already in, and don't forget the melodies. Between "Rain On The Roof" and "You Didn't Have To Be So Nice," it's easy to see how they clear the bar for "unquestionable musical excellence." My choice to salute them, though, is simply their big breakout hit, which has all their influences coming together in a euphonious creation to sing about love of music and romantic love, and even a love of life, all while simply asking the question, "Do You Believe In Magic." (Vocal Group Hall Of Fame Song Of Proof: "Nashville Cats")
The Moonglows: Before there was Nile Rodgers, there was Harvey Fuqua. By that, I'm referring to how big the main man behind the group can be so much of why they were considered worthy of nomination. At a time when the recording industry seemed hellbent on robbing their African-American talents, Harvey Fuqua was a man who held his own, as a songwriter, producer, talent scout, and oh yeah, lead singer for this amazing group. Naysayers against this legendary R&B group could probably call it a political move, finding a way to honor Harvey Fuqua (this being before the Award For Musical Excellence came about), but if you actually listen to the music of the Moonglows, you will be so surprised. Everyone knows "Sincerely," which should have been enough, and since I used it to honor Alan Freed, it is not used again. They also had an amazing Christmas song called "Hey, Santa Clause"--yes, spelled with the E at the end, and gave us so many amazing but sadly forgotten gems, such as the original version of "The Ten Commandments Of Love." The Vocal Group Hall Of Fame inducted these guys before the Rock Hall did, so I'm hoping that the earlier induction maybe shamed the Rock Hall into finally giving them proper credit. Choosing a more upbeat, rocking song, I went with the catchy and fun to sing along with "See Saw" to pay tribute to this amazing R&B group that was a foundation group for rock and roll. (Vocal Group Hall Of Fame Song Of Proof: "Please Send Me Someone To Love")
Scotty Moore: The guitarist for so many early Elvis Presley records. Whether it was slow and melodic on "I Want You, I Need You, I Love You," bouncy on songs like "Paralyzed," or all out on songs like "Hound Dog," Moore's licks are unmistakable and were hugely influential on future guitar players. Perhaps the crowning masterpiece that so wonderfully featured Scotty's guitar was the title track from Elvis's third movie, and one of his most famous. A huge hit to boot, spending seven weeks at #1, it's none other than "Jailhouse Rock."
Earl Palmer: Hal Blaine of course wasn't the only major rock and roll drummer. In fact, before Blaine, there was Earl Palmer. Much like Hal, Earl has played on thousand of records, and for some of the biggest names. It was Little Richard who called Earl Palmer the greatest session drummer ever. That's pretty high praise from one of the true architects of rock and roll. Though steeped in jazz, his backbeat is heard on so many rock and roll records, even by some artists who haven't made the Hall, yet. Such was my decision here, as his work on the skins is tight, undeniable, and excellent on the Monkees' "Pleasant Valley Sunday."
Bonnie Raitt: The bluesy mama. Acclaimed for her activism almost as much as her music. You can really hear her roots in the blues in her cover of Del Shannon's "Runaway," and for a time, I was using that song for her. However, I felt that didn't give enough respect to her songwriting abilities. But I didn't really want to use "Something To Talk About" either. The choice for her ended up being the title track from her breakthrough album after she signed with Columbia records, an album which garnered her a handful of Grammys, and features a title track that was a modest hit. "Nick Of Time" is the chosen selection for this set.
James Taylor: This class concludes with Sweet Baby James. An amazing tale of his stardom at odds with his personal life and mental health. That alone is worthy of a biopic, more so than some of the ones we've been getting lately. And that's not even considering that I'm only a moderate fan of him. I don't hate his songs by any stretch, but I don't relate to them quite as much as some people. I enjoy both takes of "Carolina In My Mind," his cover of "How Sweet It Is," and his album with the Flying Machine, but overall, his music doesn't resonate quite as deeply as other artists' works do. That said, I have a ton of respect for the impact and influence he's had. Reminiscent of folk singers, but not a folk musician, but still somehow evolving that sound into the style of singer/songwriters that we identify so strongly with the 1970's and still carries on in coffeehouses today. Eschewing the obvious selection for now, I chose to go with "Your Smiling Face" to show an upbeat, rocking side with good guitar, good rhythm, and beautiful vocals.
And that puts the bow on the Class Of 2000. Any thoughts or choices you would have made instead? Feel free to let me know. Recapping:
Hal Blaine: "He's A Rebel" by the Crystals
Eric Clapton: "After Midnight"
Nat "King" Cole: "Straighten Up And Fly Right"
Clive Davis: "And When I Die" by Blood, Sweat, And Tears
Earth, Wind, And Fire: "Shining Star"
Billie Holiday: "God Bless The Child"
James Jamerson: "I Was Made To Love Her" by Stevie Wonder
King Curtis: "Soul Twist"
the Lovin' Spoonful: "Do You Believe In Magic"
the Moonglows: "See Saw"
Scotty Moore: "Jailhouse Rock" by Elvis Presley
Earl Palmer: "Pleasant Valley Sunday" by the Monkees
Bonnie Raitt: "Nick Of Time"
James Taylor: "Your Smiling Face"
And for those interested, the playlist from the Vocal Group Hall Of Fame, Class Of 2000
the Bangles: "Eternal Flame"
Dion And The Belmonts: "I Wonder Why"
the Dixie Hummingbirds: "Bedside Of A Neighbor"
the Drifters (Five Crowns): "Please Stay"
the Flamingos: "Nobody Loves Me Like You"
the Kingston Trio: "A Worried Man"
Frankie Lymon And The Teenagers: "Goody Goody"
the Mamas And The Papas: "Twelve-Thirty (Young Girls Are Coming To The Canyon)"
the Soul Stirrers: "The Last Mile Of The Way"
the Skylarks: "I Had The Craziest Dream"
Three Dog Night: "Celebrate"
At this pace, we won't finish the trek until August. Are you seriously going to wait until late August to talk about the 2018 Ceremony?
ReplyDeleteWe'll see. Haven't decided for certain yet. But I want to stay on course as long as possible.
DeleteI disagree with the Clapton pick since (like Raitt, as you mentioned) he was a brilliant songwriter as well as a great singer/guitarist and "After Midnight", being a cover, of course doesn't show that. I think "Let It Rain", also from his self-titled album, would have been a better pick but I myself would have gone with "Lay Down Sally" or "It's in the Way That You Use It".
ReplyDeleteThat's a fair enough point. As I said, originally this whole project was supposed to be a special feature program for an Oldies station, and "After Midnight" was the only Clapton song they had in their library that was within the bounds of the format, as determined by the program director. After the idea fell through, not being a huge Clapton fan, I never really felt the need to change it.
Delete