Songs Of Proof: The Class Of 2015

Time marches on, and we have reached the Class Of 2015 for the Rock And Roll Hall Of Fame.  There is a strange feeling tied to this one, but it’s hard to put a finger on or a name to.  Perhaps it's the two seeming side-door inductions.  We have the final Beatle inducted for the second time, but it’s under rather suspect circumstances.  We have an Early Influence inductee that had been nominated as a Performer years ago.  We also have six Performers inducted.  There’s a blues-rock outfit that was a pet project for some of the higher-ups among the big names at the Foundation, but it’s not a bad inductee by any means either.  We have the man who has been nicknamed “the Godfather of Punk” being inducted for the second time, but it’s bittersweet as the induction is posthumous.  There’s the newly eligible act who keeps us facing forward, but not many agree was among the most deserving candidates from the ballot.  We have a female-fronted, few-frills rock band that many like, but also largely regard as a cover band.  There’s a second blues-rock band that was originally called a solo artist’s nomination, until fans took to social media and called on the Hall to right the wrong.  Lastly, there’s a soul singer/songwriter that had never been nominated, and as far as we knew, had never even been considered, yet manages to jump the unofficial queue and go straight in.

Though it is entirely a matter of hindsight, this is also the year before the classic rock format really storms the gate and begins to dominate.  In all fairness, there was almost always a possibility for it to be that way.  When you look at the ballots for every year since the turn of the millennium, it has usually been mathematically possible to have a class that was predominantly acts that still have at least one song getting played on classic rock stations.  Not every year, but most, especially those that had more than nine nominees.  This year, though, we managed to keep a somewhat diverse class, though classic rock is at least half the class this year, so it kind of feels like the beginning in hindsight.  Perhaps it's a feeling of missed potential.  Fellow hobbyists called this class a mediocre class from a great ballot.  You can't please everyone, and there's probably at least one naysayer for every inductee on this list, as well as one person who is happy.  Put it all together, and you have a class that, if nothing else, did put out some great music, regardless of what criteria you may value more highly when considering nominees.  Feel free to jam out to the following songs.

The Paul Butterfield Blues Band:  Most fellow hobbyists rated this act as being fairly deserving, but would often have trouble rising to the top.  Well, they didn't in 2015.  Others have noted that this is a band that was a pet cause for Jann S. Wenner to get inducted.  As the name suggests, they were firmly rooted in the blues of the older tradition.  However, they are considered among the first of the younger generation to pick up on the blues.  They proved you didn't have to be middle-aged or older to be world-weary.  That world-weariness packed into a short lifespan is most evident in their classic "Born In Chicago," the song that I'm using for them.  If nothing else, this induction is another one of those that is about elevating amazing musicians that may not have been fully appreciated in their day.  Given the diversity of talent in the band, and the other musicians that those members went on to back up, "underappreciated" might even be called an understatement. 

The "5" Royales:  As far as categorization goes, I file this group under the letter "F," just to make sure that's clear.  In a previous entry, I expanded at great length about the debacle surrounding the Early Influence induction of the "5" Royales, and the broader practice of taking previous nominees and inducting them as Early Influence inductees, as well as the issues surrounding the Rock And Roll Hall Of Fame's treatment of the Early Influence category.  Commenting on that even further would be pretty redundant.  In any event, as they were inducted in the Early Influence category, it behooves me to pick an earlier song of theirs.  As a precursor to the music we now call soul, "Baby, Don't Do It" is a wonderful example of the influence of the "5" Royales: their harmonies, their passion, the way the song flows--it all blends together to create an early '50's R&B masterpiece that served as a template for the rock and roll that was to come.

Green Day:  The story is that this band almost didn't get put on the ballot for 2015, because everyone there had pet causes and was sure that somebody else would nominate them.  That's what happens when an act seems so obvious, they hide in plain sight.  As one of the biggest names in alternative rock during the '90's, as well as an act of decidedly (American) liberal principles, and having been available for the Hall at previous ceremonies, Green Day was a sweetheart for the Nominating Committee.  The hobbyist community was slightly less impressed.  That said, Green Day almost won the fan vote this year, making it the first time, and really the only time, that the fan vote was truly that competitive.  They lost the lead in the final weeks, but having held onto it for as long as they did, it speaks very highly of their popular appeal, even amongst a crowd of nostalgic favorites.  The song I chose for them is "Basket Case," one of their earliest efforts.  The song speaks pretty solidly to Green Day's overall identity.  They felt they had a lot to complain about, and wanted to vent, but they also were riddled with a fair amount of self-doubt and self-loathing.  Rage and a modicum of fragility set to punk influences, Green Day speak somewhat ably for the younger generation, which may explain why some people hate Green Day, and some people hate the generation that grew up listening to them.

Joan Jett And The Blackhearts:  Joan Jett And The Blackhearts are a perfect example of an act that I like, but would have never carried the banner for, even more so than ABBA.  Always on a ballot of fifteen nominees, I never ranked them higher in merits than thirteenth.  However, they never ranked lower than fourth in terms of my personal taste.  That may have been the key to their induction.  Members of the voting bloc may have decided to use one of their five votes for an act that they just purely enjoy listening to, and voila, Joyce DeWitt's doppelganger becomes an inductee!  Many dismissed her and her band as a cover band that really brought nothing new to the table, but they were still great to listen to, Jett herself is still a paragon and example for women who want to rock out.  Besides which, her version of a particular song did indeed become an anthem.  It's an anthem for how people discover their love of rock and roll, it's an anthem for stadium rock in general, and it's an anthem for what we do here, and why we care about the Rock And Roll Hall Of Fame: because we love it.  And naturally, it's being used here.  "I Love Rock 'N Roll," and do we ever say that.

Lou Reed:  He is often known as the Godfather Of Punk.  The former leader of the Velvet Underground, his solo career hasn't had a very difficult time becoming critically respected, but it has had a much harder time being loved by the public.  Little wonder when one album is just a continuous running of a feedback loop.  I once read an article stating that Lou Reed only wrote two types of songs: songs about drugs, and songs about transvestites.  I'm pretty sure the latter is how they justify the existence of "Walk On The Wild Side," which also does mention drug use.  Even though his best-known solo songs don't sound either like Velvet Underground songs, nor do they sound very punk-like, his influence also includes his keen songwriting skills  And as much as I love songs like "Perfect Day" and "Satellite Of Love," it is that aforementioned "Walk On The Wild Side" that is used to pay tribute to Reed as a soloist, because of its deceptive simplicity, tackling of taboo subject matter, and how he made look it effortless.

Ringo Starr:  In another entry, I talked at great length about Ringo Starr's music as a soloist and what it means to me, what higher artistic purpose it serves, and why it's wrong to take it for granted.  What makes the side door induction of Ringo Starr even more infuriating, though, is that they never even tried nominating him, before deciding to shoehorn him in this manner.  It's like looking at a fresh chess board and laying your king down before making any other move.  Since this side door induction of Ringo is nonsense, in my opinion, I'm simply using to use the song I had chosen for him when he was on the Previously Considered list.  I didn't choose a Beatles' song, nor did I choose a '70's song by another artist that Ringo drummed on.  I chose one of his own hits as a solo artist.  I noted before how the idea of musical therapy is a theme in a few songs of Ringo's.  I chose "Oh My My" because it not only sings about the boogie-woogie remedy, but it's also about that place of feeling lowdown that we've all felt, it's about everyday love, and it's about the love of life.  That is Ringo through and through, and that's why I chose that particular song to represent him.

Stevie Ray Vaughn And Double Trouble:  This act was the biggest snub on my list until 2015.  And I was pretty upset at first when they were originally planning on just inducting Stevie Ray Vaughn as a solo act, before the fans took to social media to demand the inclusion of the rest of the band.  Perhaps the biggest thrill of all was when this band managed to just squeak ahead of Green Day within the last few days and win the fan poll.  This jumping band helped repopularize, rejuvenate, and revitalize the blues, breathing new life into its bars.  Another important thing to note about this band is that they're one of the first inductees to have limited success on the pop charts, in this case none, though the Vaughn Brothers did chart with "Tick Tock;" but to have substantial popularity on the Album Tracks chart, which eventually evolved into the Mainstream Rock chart.  It was a new outlet that finally served to recognize rock's increasing preference for the album format, rather than being thought of in terms of singles.  While it still broke down chart entries as songs, the requirement for release as a 45 RPM single was gone with this chart.  "Crossfire" is not up for consideration, as it was used to salute Leo Fender.  With the way that Stevie Ray Vaughn And Double Trouble made the blues jump up in the public consciousness again, it may be said that they got the house a-rockin', and so it seems most fitting to use the song "The House Is Rockin'."  So obvious.

Bill Withers:  As I've said multiple times before, I  was rather surprised when there was so much initial buzz surrounding him even before the Nominating Committee had met.  I didn't believe his nomination seemed likely at all.  And then he was on the ballot.  It took a bit of coming around, but I did eventually predict him to make the Hall, mainly because......?  I guess I just got caught up in the hysteria for him, and I benefited from it this time.  Not that there was anything wrong with him, I just didn't really see how it would be possible, but I just deferred to what others were saying and went with it.  I chose to use "Lean On Me" to represent him, even though it's pretty atypical of his general sound.  "Grandma's Hands," "Use Me," or "Ain't No Sunshine" would probably have served as a better example of his general sound, but I chose this song for a very special reason.  When I evaluated the nominees from this ballot on their merits, I commented that "Lean On Me" was the artistic equal to songs like "Blowing In The Wind," and that needed to be recognized.  For anyone who ever said R&B was incapable of the same level of artistry as "rock," as it is commonly understood, this song should be absolutely sufficient in shutting them up completely.  It's a wonderful song besides, having been covered by an '80's synth pop band, and even by Christian rap/rock/soul trio DC Talk.  It's a timeless song, like all great rock and roll, and that's why it is used here.

And with that, our look at the Class Of 2015 is complete.  For those who want a reminder, I went 4/6 predicting this ballot.  Do you agree with the song selection?  What songs would you have chosen?  Mention them in the Comments below.  Recapping:

the Paul Butterfield Blues Band: "Born In Chicago"
the "5" Royales: "Baby, Don't Do It"
Green Day: "Basket Case"
Joan Jett And The Blackhearts: "I Love Rock 'N Roll"
Lou Reed: "Walk On The Wild Side"
Ringo Starr: "Oh My My"
Stevie Ray Vaughn And Double Trouble: "The House Is Rockin'"
Bill Withers: "Lean On Me"

Songs Of Proof: The Class Of 2014

We're inside the final five, folks.  We've now come to the Rock And Roll Hall Of Fame's Class Of 2014.  The winds are definitely blowing, indicating a shift.  To what, we're not sure.  And we can't really tell by this class.  Diversity is sadly lacking, aside from two women and one Black man who was already deceased at the time of induction, it's all White men again.  The act that was hailed as the epitome of the '90's got in on its first year of eligibility; meanwhile, an act that epitomized theatricality is getting in after being passed over for years, including a previous nomination.  We've also got the most commercially successful duo of all time, a double inductee who attends his second induction after missing his first, a Southern rock pioneer, and a '70's singer/songwriter.  We're also seeing for the first time, inductees whose primary achievements were as managers.  There have been managers inducted before, but their inductions were primarily about other things they did, whether it was record label founding, songwriting, or producing.  This time, it's about being a manager.  Throw in a legendary ensemble, and you have a nine-inductee class with nine songs to pay tribute to them.  The songs themselves include one or two you might not have thought to use, but don't go too far into left field, except maybe one of them.  I hope you've made your lists ahead of time, because it's time to compare notes and see how they measure up.


The E Street Band:  Something of a cataloger's choice here.  While "P" is indeed before "S," I decided the space was the true second character, and chose to file this outfit ahead of Brian Epstein.  With ten members inducted, the number of people inducted from this outfit would have been half the people inducted this year if KISS had somehow missed out again.  As the backing band for Bruce Springsteen, some feel that maybe they should have been inducted in the Performer category.  Songs like "Dancing In The Dark," "Cover Me," and "Glory Days" wouldn't have been the same without those members working together as a single unit.  Bruce Springsteen himself discussed it in his induction speech in 1999.  The ultimate ruling was that because they didn't receive label credit on the singles, they wouldn't be inducted with the Boss.  It's a sensible call, overall.  There have been some records that credit the E Street Band, but those are largely live albums.  The induction of the E Street Band as a single entity was also big because they were the first ensemble inducted in the Award For Musical Excellence category, built from the ashes of the Sideman category.  There was never a group inducted in the Sideman category: they've inducted select members of the Wrecking Crew and the Funk Brothers, rather than the wholes.  In the cases of the Funk Brothers and the Wrecking Crew, it's my hope that they continue to honor the individual members, since they've already started doing that, and work their way through all the worthy members of those outfits over the years.  Otherwise, I do believe ensemble inductions in this category are a good thing.  The E Street Band should hopefully provide the pattern for similar outfits like Crazy Horse and the Mothers Of Invention, both whom were on-again-off-again for label credit with Neil Young and Frank Zappa, respectively.  Hopefully, it will also lead to the induction of the Jordanaires, as well.  It's also hopeful because with the inclusion of Patti Scialfa, the Hall finally inducts a woman in this category.  For the E Street Band, I chose the live rendition of "Trapped," which charted on the Album Tracks chart in the '80's, was credited to Bruce and the band, and has audible contributions, including prominent backing vocals, reminding you of everything they did to elevate Springsteen, and what he did to elevate them.

Brian Epstein:  The song that I chose for Brian Epstein is "I Want To Hold Your Hand," making it the second proper appearance by a Beatles' song in this project.  Passing away in 1967, it would be a bit inappropriate to use any of their later records to honor the man.  This particular song was chosen because of what he did for the Beatles, and thus the rest of the world.  The story goes that before Brian Epstein became their manager, the Beatles were a rather undisciplined bar band.  Sure, they were competent, but rather unruly.  Their onstage and offstage behaviors were rather reminiscent of a punk band, before there was punk of course.  With this kind of attitude, how Epstein got signed on as their manager may be one of the more overshadowed miracles of rock and roll.  Epstein cleaned them up, in stage presence, in appearance, and got them ready for the world to love.  Beatlemania would not have happened without Brian Epstein, which even John Lennon knew when the Beatles were bestowed their Member of the British Empire awards, and he joked that the "MBE" should stand for "Mr. Brian Epstein."  Epstein's work in creating the very image of "lovable lads from Liverpool" is why the world knows who they are, why they had massive commercial success, which provided them the security to experiment later on, and why the Beatles are still influential today.  The Beatles started without Brian Epstein, but Beatlemania started because of him, and so he is honored with the song that truly got Beatlemania kicked off.  Yes, "Love Me Do" is the official first recording of the four Beatles together (though Andy White was on drums and Ringo on tambourine), and "From Me To You" charted in 1963 in the Bubbling Under The Hot 100 chart, but the real beginning of the fruits of their labors, of Beatlemania, of the British Invasion, and of the rewriting of our whole understanding of what defines rock and roll began with "I Want To Hold Your Hand."  It's a fitting tribute to the man.

Peter Gabriel:  The Rock And Roll Hall Of Fame delights in honoring and enshrining artists that elevated rock and roll as a form of art; so it's somewhat a mystery why it took so long to induct Peter Gabriel.  Then again, as a member of Genesis, a notable prog-rock band, it makes some sense considering the Hall has long been considered against prog.  I can't speak too authoritatively to it, but it seems to me that in some way, Peter Gabriel is a unique bridge between prog-rock and art-rock, another sub-genre that the Hall has dragged its feet on recognizing to any great extent throughout the years.  From his multiple eponymous albums, to the allegories of his personal life, to the embracing of non-Western conventions of music, Gabriel saw validity in expression, resilience in his own spirit, and experiences as chances to learn.  His grappling with his own fame is best expressed in the idea of being in that world, but not of it, like a tourist.  His imagery ranged from the everyday to the oblique, and whether he was being commercial or not, it was his choice.  The song I'm using for Peter Gabriel is "Solsbury Hill," one of his earlier hits, but not one of the songs that people immediately recall when they think of him.  Despite the unusual story, it's a song that isn't too much of one thing about Gabriel, but seems to hint at everything that would come later, a foreshadowing that maybe even he didn't see coming.

Daryl Hall And John Oates:  First of all, their records were almost always credited to their full names, Daryl Hall and John Oates.  Though they are commonly known and referred to as "Hall And Oates," even on the Rock And Roll Hall Of Fame's website, that's almost never been how they were credited on their records.  In fact, the word "And" didn't usually appear.  It was often "Daryl Hall John Oates" or "Daryl Hall: John Oates," with a colon.  In fact, it's something of a bugaboo for John Oates, who said that referring to them by just their last names makes them sound like a two-headed monster.  Somehow, I doubt Simon And Garfunkel would concur with that sentiment, but such as it is.  At their induction, ?uestlove was eager to tout their commercial accomplishments as the biggest-selling duo of all-time, surpassing the Everly Brothers.  It may have been a simple matter of that commercial success that got them in.  Not only were they the most commercially successful duo of all time, but among all acts that weren't soloists, they were the most commercially successful act of the entire decade of the 1980's.  As far as their style goes, I'm reminded of a person I once knew.  He was a punk enthusiast, knowing punk acts that even musicologists probably haven't heard of.  He also really hated U2.  I once asked him about it, since U2 were very heavily influenced by punk rock, particularly the Clash.  He responded by saying something to the effect that even though they may have been influenced by punk, they themselves were not punk, and didn't really sound like punk was among their influences.  Well, I think on Boy, you can hear the punk-rock influences, but that aside, I feel like that sentiment applies to Daryl Hall And John Oates with respect to soul music.  They may have been influenced by soul music, and I'll join their sides to fight for more Philly soul in the Hall, but they are not soul.  They're not even blue-eyed soul.  They're dinky, cheesy, White, synth pop.  They're not soulful.  Nope.  Don't hear it, won't acknowledge it.  As for the selected song, I chose "Did It In A Minute," because it's one of the songs I hate least by them.  I can tolerate it pretty well.

KISS:  And here's the can of worms.  Those who read the Future Rock Legends forum have read a few comments here and there I've made about KISS.  There's no denying their influence, though.  They're right up there with Led Zeppelin and the Velvet Underground in terms of bands that encouraged people to pick up guitars and start playing.  The only downside to their induction is that Gene Simmons' toxicity has gained traction and influence.  Still, KISS was more than just Gene Simmons' soapbox.  The infectious licks of the guitars, the steadiness of the drumming, and of course the theatrics.  I don't hail the accomplishments of a theatrical stage show too highly; in fact, that was the rebuttal I had to Tom Morello on my side of the television screen as I watched.  I'm reminded of the Broadway song, "Razzle Dazzle," with the lyrics "Give them an act with lots of flash in it / And the reaction will be passionate," and "Long as you keep them way off-balance / How can they spot you've got no talents?"  That's a bit of an exaggeration for KISS, but that's what the critics in the Nominating Committee have largely had to say about them, especially former committee member Dave Marsh.  And it somewhat drove my choice for their song.  As the winner of the fan vote for 2014, they are an act that has largely depended on the fans to get them in the Hall.  So, a live song seemed appropriate.  And in fact, it's their quintessential song, "Rock And Roll All Nite," the live version of course.  The live recording is much more exciting to listen to than the studio.  In fact, the studio version is extremely unimpressive and quite honestly, goes on far too long.  The live version, though, speaks better to their legacy, and perhaps helped give the band more direction for songs like "Detroit Rock City," "Heaven's On Fire," and "Let's Put The X In Sex." 

Nirvana:  The obvious choice for this class, it's actually kind of funny that they were inducted in the same class as KISS.  The arrival of Nevermind really laid waste to the musical landscape at the time.  They put an end to reign of popularity for classmates KISS and Daryl Hall And John Oates.  They took over the lead of being the most prominently influential band from KISS.  Their sound is still largely the template for the modern rock sound, though modern rock has moved in several different directions.  I remember that I wasn't a fan of alternative music back in the '90's.  I thought it all sounded the same.  Turns out the songs I remember most were all pretty much Nirvana songs, but I never cared to delve into them that deeply.  That's the pattern for me, getting into things long after they're done.  Didn't start watching "Friends" until 2010, and I'm still working on "Parks And Recreation."  Anyway, the song choice for Nirvana is the all-too-obvious "Smells Like Teen Spirit."  It really is one of those songs that would have put Nirvana in the Hall even if they never recorded another song.  That song single-handedly decimated hair metal, and even temporarily derailed other forms of metal.  It didn't even crack the top five of the Hot 100, but it's still considered the most important song of the entire decade of the 1990's.  It had to be that song.

Andrew Loog Oldham:  The other manager inducted this year.  Andrew Loog Oldham was the longtime manager for the Rolling Stones.  He managed other acts of course, just as surely as Brian Epstein managed more talent than the Beatles, but the Stones were Oldham's biggest client.  Just as Brian Epstein crafted the Beatles' image of Liverpool lads, Oldham created the "bad boys" persona for the Rolling Stones.   That was purely intentional, too.  Oldham wanted to clearly juxtapose the Rolling Stones as the alternative to the Beatles.  The Rolling Stones' first records still had that naughty edge that the blues often contained, but they still could have been a bluesy-sounding band with a clean cut image, and they probably would have been another band like the Animals or the Yardbirds.  Oldham heard the bad boy cry in Mick Jagger's voice and Keith Richards' axe, and worked it to absolute perfection, making them the tantalizing bad boys that might steal and corrupt the daughters of the world.  He's the reason the Rolling Stones were known as "the bad boys of rock and roll" at the time.  While you might think that the perfect song to honor Andrew Loog Oldham, therefore, might be "Let's Spend The Night Together," the bad boy image really became first fully realized in "(I Can't Get No) Satisfaction," and it continued on to give us songs like "Start Me Up," "Get Off My Cloud," and the aforementioned  B-side of "Ruby Tuesday."  And so, the all-time classic becomes the obvious choice for the Stones' former manager, Andrew Loog Oldham.

Linda Ronstadt:  Often dismissed as a cover artist, Linda Ronstadt proved that even in a post-Beatles era, you didn't have to prolifically write your own material to be worthy.  Though she did indeed cover many songs, the fact is it was the way she performed them that makes her a worthy inductee.  Her music took the lead in formulating Southern rock, the lead that the Big Bopper dropped when he was killed nearly ten years earlier.  In a way, the Eagles were for Linda Ronstadt what the Band was for Bob Dylan.  That should say quite a bit.  As a powerful female with a powerful voice, she also touted quite a large load of influence.  That kind of innovation and influence more than make up for the lack of originality of her catalog.  Throw in the stylistic diversity over the years, and her talent can only be describe as undeniable.  The choice of song for her, I do believe, reflects all that.  She took an R&B record that was about ten years old at the time, gave it some country licks without completely losing the R&B DNA of the song, gave a powerful vocal performance and had a monstrous hit with it.  And lyrically, it works as a feminist anthem when sung either by her, or in the moody original by Betty Everett.  But this is Linda Ronstadt we're talking about, and with her induction, it no longer measures up to denounce her by simply telling her "You're No Good."  She is, and the song is.

Cat Stevens:  If there's one downside to this project of going through each class individually, it's that reaching these later classes creates a bit of awkwardness.  I've blogged about these artists in terms of their merits and how much I enjoy their catalogs, and have said some pretty strong things, both positive and negative, and now having to write about these acts as inductees is a little awkward when it comes to artists that I wasn't too enthusiastic about.  Enter Cat Stevens.  Ranked dead last in merits and taste on the ballot this class came from, Cat Stevens is someone I didn't even consider being all that worthy.  I believe the descriptor "third-rate singer/songwriter" escaped my fingertips a time or four.  But he is in, and there had to be a reason.  When I recall the induction of Genesis, I recall Trey Anastasio hailing them as the "quiet rebels of rock and roll."  In his own way, I think the same might be said of Cat Stevens, only it wasn't so much "quiet" as it was "gentle."  Recently, a clip from "Mister Rogers' Neighborhood" has been making the rounds on Facebook, showing Fred Rogers soaking his feet with a Black person, and drying both pairs of feet himself with a towel, which was considered very revolutionary at the time, showing different races as equal, and doing it calmly, lovingly, gently, and without chastising those who didn't share his views.  Cat Stevens' songs have a very similar spirit.  They are primarily calm, positive, and while they acknowledge the imperfections of our world, they don't rebuke those imperfections harshly.  It's that kind of positive spirit that made icons of Fred Rogers and Bob Ross, and also Cat Stevens.  The song chosen for him is "Peace Train," which very much captures all those qualities of Cat Stevens' music, but also doesn't come off as sounding like it was being sung by a creepy dude, as "Weird Al" Yankovic so accurately pegged and lampooned in his "Jackson Park Express."

And that brings us to the end of the Class Of 2014.  At present, this is the last class that has been burned to CD.  My desktop computer went on the fritz shortly thereafter.  The files are all safe and secure, but I need to transfer them to a new desktop to begin burning again.  For now, the last tangible disc of inductees is the one with the Classes Of 2013 and 2014, but our celebration will go on.  The playlist is an ongoing commitment, with or without actual discs.  They can be created in digital playlists now, though I do indeed intend to burn more CD's in the future.  Follow the link provided, and you'll see that I went 3/6 predicting the inductees this time.  Meanwhile, start thinking about the Class Of 2015, as we will continue through the current class.  Recapping:

the E Street Band: "Trapped" (live)
Brian Epstein: "I Want To Hold Your Hand" by the Beatles
Peter Gabriel: "Solsbury Hill"
Daryl Hall And John Oates: "Did It In A Minute"
KISS: "Rock And Roll All Nite" (live)
Nirvana: "Smells Like Teen Spirit"
Andrew Loog Oldham: "(I Can't Get No) Satisfaction" by the Rolling Stones
Linda Ronstadt: "You're No Good"
Cat Stevens: "Peace Train"

Songs Of Proof: The Class Of 2013

And now we are at the Class Of 2013.  After the special subcommittee's election of the six groups from the year before, there's a renewed sense of optimism regarding the Rock And Roll Hall Of Fame.  There's also a bit of skepticism, though, because for the second time, they did a side door induction of a Performer nominee into the Early Influence category.  We've also experienced confusion regarding the Award For Musical Excellence category, as they inducted three engineers that could just as easily have been considered Non-Performer inductees.   So, we're all eager to find out what's next, but we're also wary.

Fortunately, the Class Of 2013 was about as straightforward as could be.  The inductees included two Non-Performers who were clearly most deserving of that slot.  One could have been nominated as a Performer, or could have really shaken up the Award For Musical Excellence category, having just about done it all.  The other one is a well-known, established producer who was even mentioned by name in a Simon And Garfunkel song.  The Performer category is pretty awesome this time too.  Once again, they inducted six Performers, a trend we wish would not just continue, but increase, and it's far from a homogeneous mix.  The quirky, hard-to-peg singer/songwriter, the disco queen, a major rap act, prog, the classic rock staple, and the blues.  Perhaps the biggest news, though, was the fan vote!  It's so ingenious too: the mass amalgamation accounts for a single ballot amidst six hundred to seven hundred votes, and yet the fans flock to it to participate.  And to date, the first-place finisher in the fan vote has always gotten in, and although there is no proof of causation, the correlation is so strong that any sensible hobbyist no longer bets against it when making their predictions.  And even though the trend for the fan vote has become predictable, just pick the lowest common denominator nominee to win, we'd rather still have it than not.  It's a good feature that keeps the people caring about the Rock And Roll Hall Of Fame, and it gives us classes like this.  As for this project, the downside is, we are coming now to classes with very few inductees that I've been passionate about.  Consequently, many of the songs chosen are the more obvious choices.  There are still some exceptions, of course, but it's largely becoming predictable as the classes themselves.  Still, I hope you enjoy a good playlist consisting of:


Lou Adler:  A big name among producers in the '60's, big enough and timely enough to be mentioned in Simon And Garfunkel's "A Simple Desultory Philippic."  He's been a successful songwriter, record label founder, concert and film producer, and venue owner.  His gift for creative overseeing is limited only by his ambition, and back in the day, that was pretty boundless in its own right.  As the founder for the record label that gave us "Eve Of Destruction," and also the man who helped foist Cheech And Chong on the world, he was as big of a driving force for the counterculture in America as his recording talent, and his songwriting talents, the latter of which included Steve Barri And P.F. Sloan, a criminally overlooked songwriting duo, in my opinion.  Of course, though, no discussion about Lou Adler's accomplishments would be anywhere near complete without mentioning him as the producer of Carole King's magnum opus, Tapestry.  If his career were nothing else but that album, he would still be a strong possibility for induction.  It simply cannot be ignored, and the song to salute him does indeed come from this album.  He is recognized by the smooth track, "It's Too Late."

Heart:  If there's one inductee from this class I would not have bet on for you to predict which song I chose, it'd be this one.  I bet if I gave you ten guesses, you wouldn't guess, because the song I've chosen is not one that is remembered much either by classic rock or adult contemporary stations.  It's odd that I wouldn't go with one of the more cliche songs, because I really am not that big of a fan of Heart.  I tend to find Ann's vocals on the early songs to be a little off-putting, and the power ballads are a little schmaltzy, in my opinion.  I suspect that latter sentiment is shared by others to the extent of being the reason it took so long to get Heart inducted.  This is a band with two notable eras, much like Van Halen, Genesis, and the Drifters.  There is the era with songs that show a very strong Led Zeppelin influence, such as "Magic Man," "Barracuda," and "Crazy On You;" and the era of the power ballads that people think they can sing along to, like "Never," "Alone," and "These Dreams."  None of which are the song that I've chosen to honor them with.  After brushing up on their singles discography a little bit better, I ultimately narrowed it down to two songs.  One of them was "If Looks Could Kill," which is one of the few songs by them that I actually really love.  It's a song that comes from their later era, but it has all the bite of their earlier works.  But it charted just a little too lowly for the standards I try to use in this project.  So I went with a song that charted higher.  The song chosen definitely skews more toward the power ballad side of things, but it still contains a great guitar solo in the middle that hearkens back to the days of songs like "Straight On," though it's much more melodic so as to fit the song.  How many of you readers out there predicted that I would choose "Who Will You Run To" as the song to represent Heart?  If you raised your hand, I'm calling you out as a liar.

Quincy Jones:  Not too many people dare to create a list of major snubs in any category other than Performer, but for those who do, someone in everyone's Top 5 got crossed off their lists in 2013.  Some have suspected the reason he was snubbed for so long was because he started up a magazine that was competition to Rolling Stone.  It's not a theory I ascribe to personally, nor do I buy the notion that it's racism, though the "disco sucks" sentiment that seemed to have captivated the powers-that-be for several years could have been a factor.  Personally, I don't have a theory, and now that he's been inducted, I don't need to have one either.  Once they're inducted, it really doesn't matter what took so long--doesn't matter if you're talking about Quincy Jones, the Moody Blues, or hopefully someday the Marvelettes.  For all the hats he's worn, it seems that one song would prove insufficient to honor him, but I did indeed stick to one.  And while I'm personally grateful for the hand he had in Lesley Gore's career, I did not use a song from her.  Though he's a behind-the-scenes kind of guy, he's also had several records where he has been the artist of credit.  Finding the right one is tricky though, because he often shared label credit with other artists, something I generally try to avoid.  The song I've chosen for him is "Stuff Like That," a solid disco record with a few disco divas singing the lyrics, and Quincy being the main man providing the overall groove of the song.  I'd love to hear more of the story of how this song came to be, and how it came to be credited to Quincy alone, but for now, I'm too busy boogieing in my chair when I listen to it.

Albert King:  Following the induction of Freddie King as an Early Influence the year before, there was a lot of worry that the same fate would befall Albert King.  Thankfully that didn't come to pass, nor should it have.  The last of the major "King" bluesmen to be inducted, his music was awfully powerful and moving.  John Mayer made an interesting argument for the notion of transitive influence, which ultimately I don't lend credence to, partially because Mayer eventually found himself enraptured directly from listening to Albert King's records.  I saw a documentary about the Wattstax benefit concert, and it included King's performance of "I'll Play The Blues For You."  Absolutely spellbinding.  His sound is often imitated but has never been truly duplicated.  That's part of what made it so difficult to choose one song for him.  Eventually I had to go back to the historically venerated, and that was what ultimately led to the selection of "Born Under A Bad Sign," a song that breaks away from the traditional A-A'-B blues format, but could have easily been done that way, too.  But anything ranging from "Crosscut Saw" to "Laundromat Blues" to "Don't Throw Your Love On Me Too Strong" would have been an absolutely stellar choice.  His entire catalog is held in high esteem by any devotee of the blues, and that's how it should be.

Randy Newman:  When I first read that Randy Newman had been nominated once before, as a candidate for the Class Of 2005, I was a bit incredulous.  It's also somewhat amusing that on that ballot, among others, he lost out to Percy Sledge.  In all fairness, if it came down to choosing between Randy Newman and Percy Sledge, I'd have probably voted for Percy Sledge too, certainly back in 2005, at least.  That said, even though I'm not a dilettante of his music, I respect his selection as part of what the Hall does.  The Hall works to enshrine and honor a variety of artists, including those whose quality of work and talent greatly overshadow their commercial success and name recognition.  That was the case for Darlene Love in 2011, and Laura Nyro in 2012.  It'd be a double-standard for me to not allow the same leeway to apply to Randy Newman as part of the Class Of 2013.  As tempting as it was to use "Short People," his lone hit on the Hot 100, I went for the more acclaimed and more rocking, "I Love L.A.," which still includes his subtle and biting wit, both in the praise of Los Angeles itself, and also in the early comments about other cities.  It's a fun record that can fly over people's heads if they get lost in the instrumentation, but still has something to say.  And yes, as a child of the '80's and '90's, my introduction to Randy Newman was indeed "You've Got A Friend In Me," from the Toy Story soundtrack.

Public Enemy:  This is another one of those instances where I had to default to the one big record that everyone knows.  "Fight The Power" is the song selected not just because of its historical impact, but because it contains all the trademark elements of Public Enemy records.  First off, the message of social conscience.  The title alone is completely without nuance.  Unlike "Night Of The Living Baseheads," where you have to have enough life experience and knowledge of urban culture just to know what a "basehead" is, you only need to have taken American history in elementary school to know that "Fight The Power" doesn't mean adopting a Luddite lifestyle and eschewing electricity.  The lyrics themselves are punchy and get to the message, but are not without nuance either--"Most of my heroes don't appear on no stamp."   It's a call to action lyrically, and the arrangement gives a beat that insists you get out of your seat and march in a protest.  Terminator X's samples and deejaying, Chuck D's power of presentation, Flavor Flav's trademark hype work... I'll be honest I've never been too clear on what Professor Griff brought to the table, but I'm not leaving him out either.  These are all things that Public Enemy is known for, and it's why had to be "Fight The Power" to represent them.

Rush:  A few weeks ago I was besought with a request regarding the song used to pay tribute to Rush.  Specifically, I was asked to not make it one of the more well-known songs that get played a lot on classic rock radio.  While I didn't leak any information, one might infer from what I did say that this person would be disappointed.  I simply said that all the songs have already been chosen.  This is a project I put together years ago, and have made efforts to maintain and update.  Rush have been Hall Of Famers for five years now, so while their song could change, it's not likely to.  When the defining traits of Rush are analyzed, we have the complexity of Neil Peart, both his drumming and the lyrics he wrote for the band; we have the high soaring voice of Geddy Lee, which doesn't appeal to me personally but has captivated legions of fans, and the low pulses of his bass and the interjections from his keyboard work; and you have the underrated guitar solos, fills, and stings that Alex Lifeson brings with impeccable precision.  So even though I'm not personally a fan of Rush, I do have respect for their musicianship.  And while it may be considered cliche, I do feel all those elements culminate rather synchronously in their second-highest hit on the pop charts, "Tom Sawyer."  It's one of the songs I was asked to avoid using to pay homage to Rush, but sometimes the great unwashed get it right.  And you may have that great unwashed to thank for getting Rush inducted, as they were the act to finish in first place in the fan vote the first year it was implemented.  So, as the fan favorite among the nominees that year, maybe it's fitting to use a fan favorite song to honor the band they voted for.  Even if you don't think it's the optimal song to use, it's not a wrong call.  It's a classic for a reason, and it epitomizes the standard to which Rush elevated prog rock.

Donna Summer:  It's a terrible tragedy that Donna Summer didn't live to see her induction, a fact that was bemoaned by her presenter, Kelly Rowland, and her family that accepted the award on her behalf.  It was hoped that her induction, along with Quincy Jones, would finally eradicate the stigma against disco in the Hall, but that really doesn't seem to be the case at all.  Just another example of the Death Fairy, inducting a person after they died, which is a particular tragedy because she'd been nominated a few times before her death, but couldn't break through until afterwards.  Her induction was something of a last hurrah for the world of R&B before classic rock started dominating the conversation.  Sadly, there are still the multitude that think R&B, particularly disco, have nothing to do with rock and roll.  Think that rock and roll is music of the guitar?  Listen to her songs more closely: there are searing guitar solos that could rival some of your classic rock favorites.  The difference is that the solos are perfunctory, not self-indulgent.  It's a quality of musicianship that anyone who took band in high school understands.  It's ultimately more important to make the song sound great, not the musician.  Maybe that's part of the problem, as the Rock And Roll Hall Of Fame certainly celebrates more than its fair share of showboating egomaniacs, but a quality guitar solo that elevates the song is much preferred than a three-minute featurette that conflates virtuosity and egotism.  While I'm not a huge Donna Summer fan, it's also incredibly important to acknowledge her influence upon female musicians that followed her.  What made her stand above all the other disco divas could be production, could be luck, or more likely her talent and work ethic, but there's no denying that among the disco divas, she is their queen.  And just to prove that disco has just as much of a solid rock and roll beat, a guitar solo, and everything else that puts that bogus theory that disco ain't rock to bed, I chose "Hot Stuff," which has all that and more, and can still be danced to.  If it's not the perfect song to use for Donna Summer, it's sure a close contender, and I'm using it here.

Not much else to say after that, and no other inductees in this class, so that must complete our profile look at the Rock And Roll Hall Of Fame's Class Of 2013.  For those who want a reminder, I went 4/6 in my selections for this class.  And my #7 seed from that list made it as well, so a definite improvement over the past couple predictions.  How about you?  How'd your predictions do that year?  What songs would you have selected?  Make mention in the Comments below.  Recapping this eight-song playlist:

Lou Adler: "It's Too Late" by Carole King
Heart: "Who Will You Run To"
Quincy Jones: "Stuff Like That"
Albert King: "Born Under A Bad Sign"
Randy Newman: "I Love L.A."
Public Enemy: "Fight The Power"
Rush: "Tom Sawyer"
Donna Summer: "Hot Stuff"

Songs Of Proof: The Class Of 2012

Between the induction of the Class Of 2011 and the announcement of the nominees for the Class Of 2012, something marvelous happened, at least I call it marvelous.  Rock Hall Monitors became a reality.  With an initial post about the idea of inducting more doo-wop artists, I began writing posts about the Rock And Roll Hall of Fame that weren't specific about artists, for the most part.  But more than that, I also began posting predictions on subsequent classes, and now, you can find them all here on this blog.  Access is much simpler.  Overall, I'm happy, and consider it marvelous.

But the Class Of 2012 of the Rock And Roll Hall Of Fame was also quite marvelous.  In one of the few instances ever, the Hall made a point to rectify previous mistakes.  A special subcommittee meeting decided to induct six groups that were not inducted when the front man was inducted.  It was a stellar move on their part, and one I hope to see recur at a later date.  Even without those six groups, it's a great class, and a diverse one at that, in terms of styles.  Rap, blue-eyed soul, alternative rock, psychedelic folk, hair metal... you don't find that lineup much these days.  Sadly, even with the corrections, there are two causes for arched eyebrows.  A blues legend was inducted as an Early Influence despite not having a record before 1956, and a questionable joint induction in the British Invasion category.  A great, but sadly posthumous Ahmet Ertegun Award is bestowed, and the Award For Musical Excellence category gets a little cloudier with the induction of three engineers.  Their inductions are well-earned, just the circumstances leave questions.  The Hall loves doing that to us, but we love the celebrations every year regardless.  And in the case of this year, it is celebrated with the following songs:


The Beastie Boys:  If Run-D.M.C. wasn't proof enough of the unquestionable connection between rap and conventional post-Beatles rock, the induction of the Beastie Boys should have buried that debate down in the earth's mantle.  They started out as a hardcore punk outfit.  Now, hardcore punk itself, in my opinion, is all the proof you really need that rap is indeed a part of the rock and roll family, but because it was never a commercially successful sub-genre, at least not to the same extent that many other sub-genres were, it often gets overlooked in the discussion.  The Beastie Boys can certainly attest to that, as they didn't reach major commercial success until the samples and rhymes started flowing.  When you listen to the breadth of their work, one gets the impression that like Queen, there weren't many subject matters they wouldn't have attempted to tackle.  They are embraced as a part of nerd culture as much as they are as a part of youth culture.  Therefore, it's somewhat paradoxical that the song I've chosen to represent them is their major smash, "(You Gotta) Fight For Your Right (To Party!)," but I feel that it's a great anthem marrying rapping and rocking out.  It's a really fun song, to boot.

The Blue Caps:  Of the six groups added by special committee, this one almost seemed like the least important.  Gene Vincent was of course the main creative genius of the group's music, but more than that, the band itself was a bit of a revolving door in terms of membership.  Had the Hall been more inclusive, the induction of the Blue Caps could have easily included country superstar Buck Owens.  The Hall did induct eight members from this outfit, so they were trying to be fairly inclusive.  Vincent's guitar work is quite prominent, but the support of the Blue Caps helped give songs like "Race With The Devil" and "Bluejean Bop" a great drive, and they even provided the occasional vocal harmonies in support.  The song I'm using to represent the Blue Caps is the song I was first using for Gene Vincent, because it's my favorite song by this outfit.  I switched Gene Vincent back to "Be-Bop-A-Lula" because this song's drum line, the harmonies in the background, the bass line... it all demanded to be used for the Blue Caps instead.  And with eight members inducted, there was indeed a "Lotta Lovin'" for this band in 2012.

The Comets:  When Little Steven inducted the Rascals in 1996, he talked about them being the first true American rock and roll band.  That's a bit of a slap in the face to the Beach Boys, the Four Seasons, several instrumental bands, and most of all to the Comets who were more than just Bill Haley's entourage.  They were the band.  There was one switching out of the members at one point, around the time of the switch from Essex to Decca Records, but this was not a revolving door situation.  Especially not Rudy Pompilli, who was Haley's closest friend and confidant and whose death devastated Haley and sent him into a downward spiral until he joined Rudy in death in 1981.  They were truly one of the first American rock and roll bands, arguably the first, as they began back in 1951 under the name of the Saddlemen.  The song selected for them further enforces the fact they were a band, a single unit, who belonged together.  In the song, Haley gives a verse to highlight the guitarist, Fran Beecher at the time; the saxophonist, Rudy Pompilli; the rhythm section, and the band as a whole, highlighting their synergy.  One of their many Top 40 hits that time and the Oldies radio format seemed to have forgotten, they are honored as patron saints of rock and roll with "The Saints Rock 'N Roll."

The Crickets:  There's some confusion in the lore of the Crickets.  One version of the story has it that Buddy Holly didn't want to have a band, just be a solo act.  On his "Super Gold" live syndicated radio program, Mike Harvey even said that Buddy Holly was the only person, on multiple tracks, playing and singing on "That'll Be The Day."  That apparently isn't true after all, but it still might be true to point out that the formation of the Crickets as a cohesive unit was to sidestep Holly's contract with Decca Records and instead get "That'll Be The Day" released on the Brunswick label.  That's probably a mishmash of fact and fantasy, and the real truth is probably somewhere mixed in with that and other versions of the story.  Whatever the story, I somehow suspect that if Allsop and Jennings hadn't relinquished their seats on that ill-fated flight, the band would have been inducted together back in 1986, regardless of how the band was parting ways at the time.  If you go back to the post celebrating the inaugural class, you'll recall that I chose "Rave On" for Buddy Holly, since that was credited as a solo Buddy Holly record, and I love it so much.  For the Crickets, I decided to go with a song that was credited to the Crickets, and is almost a mirror song of "Rave On," with several similar elements, but also includes the background harmonies of the rest of the Crickets.  Listen to "Rave On" back to back with "Oh, Boy!" and tell me if you agree in the Comments below.

Donovan:  Coming back to artists that got inducted via the ballot, I was actually extremely surprised that Donovan missed the year before.  He had never been on the Previously Considered list that anybody knew of, and yet his nomination came as no surprise.  He is something of a singular artist, being the premiere innovator of psychedelic folk.  Sadly, it didn't prove to be much of a widespread phenomenon, Donovan in fact being the only psychedelic folk artist I can name off the top of my head.  "Eight Miles High" was certainly psychedelic, and "Mr. Tambourine Man" was about a drug dealer, but I'd be hard-pressed to call the Byrds or Bob Dylan "psychedelic folk," let alone in the same vein as Donovan.  Like most British artists with longevity, his music evolved over the years, and in his case, in short order.  In three years, he went from "Catch The Wind" to "Atlantis."  Despite the sub-genre not becoming too huge, his innovation in it is most certainly noteworthy, and was the driving force that led me to choose "Hurdy Gurdy Man" in this project.  I admit to liking "Wear Your Love Like Heaven" a lot more, but this is the song that I believe most aptly depicts what makes his music special and makes him worthy of induction.

Tom Dowd:  The first of three engineers inducted in this class, and in fact, pretty much ever in the Hall history.  Given that Tom Dowd was the main engineer for Atlantic Records, it might have been more fitting to give him a Non-Performer induction in the form of an Ahmet Ertegun Award.  Nevertheless, there's a lot to be said for what Robbie Robertson said about engineers: their work on the board manipulates sound, its volume, and overall balance to the point where it's akin to a musical instrument, and that engineers who work boards are almost like musicians themselves.  Working with some of the major artists in R&B on several of their wall-smashing sounds, Tom Dowd contributed to the sonic and literal architecture of the Atlantic Records empire.  The choice of song for him was partially a scramble for a recognizable song that would cement his legacy in people's minds, so they'd say, "Oh yeah, makes sense to induct him."  However, it's sometimes said that jazz is an extremely difficult style to play well, from a technical perspective, so by extension, it's probably a hard one to engineer well, making sure you catch the nuances and the artist's spirit, which is true of any style, but perhaps even more so of jazz.  And to make it even more troublesome, imagine it with a large band playing a stylistically big arrangement, making sure no one input gets too hot.  That's what makes Bobby Darin's version of "Mack The Knife" the ideal song to salute Dowd.  A big sound that shares the record for most key changes in a pop hit (tied with the Four Seasons' "Opus 17 (Don't You Worry 'Bout Me)").  It must have been a tough record for Dowd to engineer, but the results paid off in spades.  With nine weeks at #1, it was the biggest hit record for the Atlantic empire during the twentieth century.

The Faces:  And here we have the thorny situation of the joint induction.  The Small Faces and the Faces.  Are they one band, or are they two?    The Hall made efforts to justify the induction calling them a unified band that had two different lead singers, akin to Van Halen.  As this blog was up and running by the time this ballot came about, I weighed in on this conundrum in some detail.  Actually, I talked about it twice, discussing the arguments for and against the joint nomination.  An issue this complex takes a lot of thinking and deciding what to do.  In the case here, I had a couple solutions in mind.  As the first link shows, the album First Step was recorded with Rod Stewart and Ron Wood, but was in fact credited to the Small Faces.  At one point, I seriously thought about using the song "Shake! Shudder!" from that album, as it has elements that both hearken back to the Steve Marriott era and point to the direction that the band would eventually take.  In the end though, I went a different direction and decided to go with the well-known "Stay With Me" to represent the Faces and the raucous rock and roll that they gave the world.

The Famous Flames:  We've covered the three upbeat rocking backing bands already in quick order, and now we're starting the R&B vocal groups whose fronts were inducted solo.  Those who follow this blog and also see my posts on the Future Rock Legends know that I wasn't on board with this group being inducted in the first place, let alone in the Performer category.  I won't rehash my arguments, but I know I'm not really alone in my opinion either.  On the "Who Cares About the Rock Hall?" podcast, Joe Kwaczala has made utterances that strongly suggest he agrees with that position too.  And of course, you'll also recall the counterarguments by a fellow hobbyist whom I highly respect, despite the fact that we differ on this point and a couple other artists.  I don't particularly believe that keeping James Brown grounded, focused, or sober is sufficient argument for a Performer induction, nor do I accept the post hoc ergo propter hoc argument that states because James Brown was brought on as a member of the Famous Flames and got his start in the group, any and all accomplishments of James Brown are also credit for the Famous Flames.  I don't accept that argument at all, but I do respect the point of view that says James Brown could have and should have been inducted twice: once with the Famous Flames, and again solo.  In light of that position, the induction of the Famous Flames in Performer category is certainly very sensible.  I accept that if you believe that if James Brown should have been a double inductee, then you must not just accept, but practically advocate for the Famous Flames as a Performer inductee too.  And that's how they were inducted, though James Brown will never see a second induction.  As far as songs go, that really complicates the problem, because so few of the songs they were credited on can they actually be heard on.  However, "Try Me," is an exceptional piece of early soul that beautifully showcases the Famous Flames' singing.  The harmonies are exquisite and either this or "I'll Go Crazy" is my favorite song ever recorded by any endeavor of James Brown, and both feature the voices of the Famous Flames.

Guns N' Roses:  At the time of Guns N' Roses' induction, hair metal was very much a taboo with the powers-that-be of the Foundation, which makes their induction on their first year of eligibility all the more surprising.  What separates them from other hair metal acts might be something ineffable yet palpable.  Their collective persona was the pinnacle of excess, and yet they didn't seem like a band that was in it just for the drugs, money, and groupies--though they weren't going to turn down any of those either!  Like a lot of guitar rock bands, much of that persona came from their lead guitarist and their lead singer.  Slash, with his hat, shades, and guitar chops continued to signify and speak well of the band long after he left the band.  Meanwhile, Axl Rose went for the tortured genius vibe, but ultimately exuded a guano loco vibe, which is equally attractive in the world of rock and roll.  Again, it is perhaps mildly ironic that I chose the song I did.  "Welcome To The Jungle" is a song about the excess of the Hollywood lifestyle, describing it without apology, and perhaps serving as a warning against it.  The guitars, the bass solo, and even the way Axl sings out the "Sha-na-na-na-na-na-na-na" lines each time all serve as a sign that clearly warns, "Enter at your own risk."  It's a wild song from the seemingly wildest of the wild hair metal bands.

Glyn Johns:  Our second of three engineers in this class, Glyn Johns actually presented an additional opportunity to settle the whole debacle involving the joint induction of the Small Faces/Faces.  Glyn Johns did a lot of engineering for the British Invasion, and among the acts and albums he ran the board for, he was at the controls for the recording of the Small Faces' Ogdens' Nut Gone Flake.  So, at one point, I was thinking of making a compromise out of it by using the Faces' "Stay With Me" to salute the jointly inducted band, and then use "Lazy Sunday," from that album to salute Glyn Johns and also ensure that I'd used both incarnations of that induction to quell any sense of upset.  That's a kind of an odd thing to say, since by the time this induction came about, I'd pretty much abandoned hope of ever making a radio career again, let alone a program, and never planned on sharing this project with anyone, so I don't know who would be upset.  Myself, I guess.  It's said that you are your harshest critic.  Anyway, I eventually decided against going this route because a) I didn't want to drag another inductee into this mess and thus shortchange their own merits either, and b) "Lazy Sunday" is kind of an annoying song for me.  Despite doing so much engineering for the British Invasion, I ultimately chose a song by a band from this side of the pond.  And not just by any band, but by the Band.  Though it's disputed whether it was Todd Rundgren or Glyn Johns who made the final mix, I'm favoring the Glyn Johns theory, and going with "The Shape I'm In" to salute his engineering talent.

Freddie King:  He was credited both as "Freddie" and "Freddy," so don't sweat how you spell it.  This blues legend was the second of the blues triumvirate with the surname "King" to be inducted, but he was the only one to be inducted as an Early Influence.  He first recorded in 1956, but he didn't get a record deal until a few years later, so his induction as an Early Influence has been widely decried as a terrible move by the Foundation.  Like Wanda Jackson, he had been nominated as a Performer on that ballot, but received the side door treatment.  As this was more egregious a bad move by the Hall than with Wanda, I didn't bother trying to make it as early as possible.  I just looked at what songs by Freddie showcased the best of his talent.  I chose a song with fantastic singing (though some of his influential songs were instrumentals), had delicious guitar licks, utilized a recognizable blues format, and just overall struck me as a great record.  That song ended up being "I'm Tore Down," and I'm still happy I chose that song every time I listen to the CD that contains this class.

Don Kirshner:  The induction of Don Kirshner sadly follows the common story line of being inducted the year after their death.  It happens all too often, but we're still able to celebrate all that they brought to the music industry.  In the case of Don Kirshner, that includes his work as a music publisher that published several of the quintessential American rock and roll songs of the 1960's.  He had an ear for amazing music and an eye for talent.  Working with Brill building songwriters, he then moved on to greater things, particularly finding new ways to bring music to television.  Throughout the '70's, it was Don Kirshner's Rock Concert that gave audiences a new opportunity to see the latest and greatest acts of the day.  His other efforts marrying music to television included the creation of the Archies, and most famously began by turning four actors into rock stars of sorts.  And how great it was when those actors decided they wanted to be a legitimate rock and roll band more than a TV show.  Don Kirshner is the man most responsible for giving us the Monkees, and the argument of their being prefab versus being legitimate is still a fun discussion, especially when expanded beyond the scope of the Monkees.  It's a gift that keeps giving, and thus I've decided to honor the late Don Kirshner with the Monkees' "Last Train To Clarksville."

Cosimo Matassa:  Our third esteemed engineer from this class, Cosimo Matassa was the engineer who showed the rest of the world what New Orleans sounded like.  His working the boards helped finalize the way the traditions of the Big Easy contributed to the genesis and the evolution of rock and roll music.  The original "Lawdy Miss Clawdy" came out of his studio, as did Roy Brown's "Good Rockin' Tonight," and Aaron Neville's "Tell It Like It Is."  Of course, Cosimo's most faithful customer was none other than the recently departed Antoine Domino, better known as Fats Domino.  Matassa was the engineer for virtually every Fats Domino song, including the seminal hits.  One of the most rollicking and rocking songs from the Fat Man which still contained the legendary party feel of New Orleans is the widely covered "I'm Walkin'."  It's one of the most fun records from Domino, and it really serves to sum up the accomplishments and contributions of Cosimo Matassa.

The Midnighters;  It's hard to say which group I was more excited about being inducted at long last: the Comets or the Midnighters.  For starters, this vocal group started out as the Midnighters, not Hank Ballard And The Midnighters.  Actually they were first called the Royals, but the point is not only did Ballard's solo career not amount to a whole hill of beans, but the group was never meant to be a showcase for Ballard.  He was a part of the group that made foundational rock and roll that was racy, rhythmic, harmonic, euphonious, and rocking.  From "Finger Poppin' Time" to "The Hoochi Coochi Coo," their style of R&B was unmistakable, and built on the success and raunchiness of "Work With Me Annie," a song so racy that the FCC deemed it indecent for radio airplay.  The entirety of the group broke down walls and blazed new trails.  Since this is an induction for the Midnighters, I did indeed decide to go with the breakthrough smash "Work With Me Annie," which was credited to the Midnighters, without mentioning a front man on the label.  (Vocal Group Hall Of Fame Song Of Proof: "Let's Go, Let's Go, Let's Go")

The Miracles:  Of the six groups inducted by special subcommittee, the Miracles are the group that gave me the most mixed feelings.  I never doubted the necessity of inducting the Miracles into the Rock And Roll Hall Of Fame, but I also genuinely believed that Smokey Robinson's induction as a soloist was also well-earned, though perhaps a bit premature.  Smokey's solo career was something truly special in its own right, and I wanted that 1987 induction to celebrate his solo efforts, and not just be a catchall for everything he did in the Miracles, as well as in the capacity as an in-house songwriter for the Motown empire.  It was my sincere hope that the Miracles would be nominated at some point and also receive induction and give Smokey Robinson two inductions.  I felt it was justifiable.  The induction of the Miracles in this capacity quelled any hopes for that.  I worry that at some point there will be another special subcommittee that will just decide to induct the Belmonts and not give Dion a second induction that I genuinely believe he so richly deserves.  So, I would have rather had a regular nomination process happen and give Smokey a second nod.  In the context of the special subcommittee selection, it makes sense that they would only focus on the '60's lineup, but I didn't particularly agree with that decision either.  The way Billy Griffin carried on the tradition after Smokey went solo was something special too, and really, he should have been included in the induction as well.  But he wasn't.  And I chose to use "Love Machine (Part 1)" as a protest against that slight, and since this wasn't going to be a second induction for Smokey Robinson, then it was going to be a song that he wasn't on, and that would be that.  (Vocal Group Hall Of Fame Song Of Proof:  "Ooh Baby Baby")

Laura Nyro:  One of my favorite things about the induction of Laura Nyro as a member of the Class Of 2012 is that among the Rock Hall hobbyists, I was literally the only person who predicted that she would get in.  She was my fifth seed, just eking out Donna Summer, but I predicted her to make it, and I was the only one who did.  That's a little bit of ego on my part to be sure, but it also speaks to how underappreciated the work of Laura Nyro has long been by anyone not in the industry.  She's often included in the conversation of those who were the least deserving of induction, alongside Percy Sledge and Ritchie Valens.  In the Revisited fan project on the Future Rock Legends site, she was inducted as a Non-Performer, reducing her to a songwriter, and not a singing talent.  Well, she was absolutely a singing talent, and a phenomenal one at that.  From "Sexy Mama" to "And When I Die," her singing of her compositions were something spellbinding.  I've gushed before about how much I love "I Never Meant To Hurt You," a song that is very much of the style of Burt Bachrach and Hal David, and is far superior to the duo's works... she essentially beat them in their own wheelhouse with a song that evoked the imagery of singing under a streetlight along the sidewalk of a street that is normally bustling by day, and usually at night too, but this particular night, was quiet.  The song I've chosen for her in this project though, is "Wedding Bell Blues," a song better remembered as being performed by the Fifth Dimension, but there's something so charming about Laura's version.  The harmonica playing on it gives an additional Southern charm to it, and the whole arrangement is pristine blue-eyed soul.  But it's the way Laura sings it.  It's about pressuring the boy to take the plunge, and yet she delivers the message in a way that's sexy, seductive, assuring Bill that she will take it upon herself to make sure he doesn't regret taking her hand in marriage.  It's something that gets lost in the inside joke of the Fifth Dimension's version, and I'd rather salute Laura Nyro with that song than them.  So that's what I did.

Red Hot Chili Peppers:  This is another band that I use to explain the difference between respecting something and liking it.  I respect everything that this band brought to the evolution of rock and roll and acknowledge their talent.  I just hate listening to their music.  Fans of this blog will recall that I ranked them #1 in terms of merits from the entire ballot this class came from, but that I also ranked them dead last in terms of liking them.  A few years ago, Cracked.com did an article about creative geniuses that need to take a break.  Red Hot Chili Peppers were on the list.  I'll spare you all the snide comments made, but the essential gist was that this was a band that needed to go on hiatus and find a new muse.  The article contended that this band had fully and completely exhausted the theme of love for the state of California, and particularly for the city of Los Angeles.  They had become stale and needed to do something different, or so it was posited.  I'm not sure if I agree with that, because their music just can't hold my interest long enough to go deep on them.  I like "Catholic School Girls Rule" and their cover of "Higher Ground."  I can even tolerate "Give It Away."  But "Scar Tissue" is on my list of the worst songs ever recorded.  It's just so annoying.  It's a song that exemplifies what it meas for a song to be dying of thirst.  I hate it so much, I couldn't use it, even though it epitomizes their sound, in my opinion.  Another song that does that pretty well, but isn't quite as annoying, is the big hit, "Under The Bridge," and definitely is all about the love for L.A.  And that's the song I decided to use here.

The Small Faces:  Ultimately, in the end, even the Hall doesn't believe their own load of baloney about them being a single band with a contiguous history and two notable eras.  In the previous layout of the Rock And Roll Hall Of Fame's website, the biography for the Small Faces/Faces actually said that, they were ultimately a single band.  The current layout and bio on this inductee begins with saying, "It takes two.  Two bands that is."  And nowhere in the bio does it actually bring it back to call them a unified effort.  I regarded them as a single band that featured Ian MacLagan's organ as the linchpin of their sound, regardless of era.  The Hall calls them two bands, and it's now apparent that the reason they were nominated in this capacity was because they didn't believe either version could get in independently.  And if that's what they truly believe, they maybe they shouldn't have bothered nominating them at all.  As for the early era, with Steve Marriott on lead vocals, the Small Faces were considered one of the best and front runners of the mod musical movement.  They took elements of soul, but I'd be hard-pressed to call them soulful.  Like the Beatles, they started with basic pop sensibilities, and used that as a springboard to grow and evolve, be more creative.  I can't say the results always resonate with me, but it is interesting to at least look down that corridor and see where it leads.  I think the song by the Small Faces that does this best would have to be "Tin Soldier," which I use in this project as an eighteenth song, because ultimately, it was an induction of eighteen entities under the lie of only seventeen.  It's a lie to our faces (no pun intended), and I ultimately just refuse to let it go unchallenged, so there is a second song here.

And with that bold statement, we wrap up the look at the Class Of 2012.  Any thoughts about this playlist you'd care to share?  I'd love to read about it in the Comments below.  If you feel like going down memory lane and seeing my post back in 2011 on this blog, predicting this class, I've got your hookup here.  I consider myself to have gone 2.5/6 on this one, because I did predict Freddie King to get in, but as a Performer.  That's my thought on it.  Feel free to share yours.  Recapping:

the Beastie Boys: "(You Gotta) Fight For Your Right (To Party!)"
the Blue Caps: "Lotta Lovin'"
the Comets: "The Saints Rock 'N Roll"
the Crickets: "Oh, Boy!"
Donovan: "Hurdy Gurdy Man"
Tom Dowd: "Mack The Knife" by Bobby Darin
the Faces: "Stay With Me"
the Famous Flames: "Try Me"
Guns N' Roses: "Welcome To The Jungle"
Glyn Johns: "The Shape I'm In" by the Band
Freddie King: "I'm Tore Down"
Don Kirshner: "Last Train To Clarksville" by the Monkees
Cosimo Matassa: "I'm Walkin'" by Fats Domino
the Midnighters: "Work With Me Annie"
the Miracles: "Love Machine (Part 1)"
Laura Nyro: "Wedding Bell Blues"
Red Hot Chili Peppers: "Under The Bridge"
the Small Faces: "Tin Soldier"

Songs Of Proof: The Class Of 2011

From a personal standpoint, 2011 was a major year.  This is the year that I would bid farewell to my radio career, my home state, friends and family, and hike across the country to the West Coast, where I now live and work.  It's a year of major change.  For the Rock And Roll Hall Of Fame, the Class Of 2011 featured one major change: they renamed the Sideman category to the "Award For Musical Excellence" category.  At first glance and first inductee, it really seems to be just a renaming, similar to the Non-Performer category being renamed the "Ahmet Ertegun Award."  We don't know what all the Hall plans to do with it at this point, and even now in 2018, we really still have little clue as to what they're doing with it.  Another major thing that may have slipped under the radar is the continued turn toward the popular.  Two major acts that can be said to be "of the people" make it, while the industry people get three.  Our two Ahmet Ertegun Award recipients are men whose names don't ring any bells, but once you read about them, you know they're good calls. From a cataloger's standpoint, this is a class of dodged bullets.  Depending on your bent, some inductees could be filed slightly differently, alphabetically speaking, and yet, when you look at it, there ends up being no conflict at all.  It's a relatively diverse class this year, so the songs to select have the potential to run the gamut.  Truthfully, it's another celebration involving big hits, but the hits themselves are pretty spectacular and really do sum things up well, so let's see how wide a gamut is in fact run.


Alice Cooper:  Whether you file this act under "A" or "C," this is still the first act alphabetically in this class.  Since the whole band was inducted, and no member of the band was actually named "Alice Cooper" at the initial formation, I chose to file them under the letter "A."  The solo performer born Vincent Furnier may have had a much longer run, and we Michiganders like to call him "Uncle Alice," but again, the whole band was inducted, so that's the call here, even though for this class, it's moot.  The induction of Alice Cooper marks a turn toward the popular that may have slipped beneath most hobbyists' radar.  That may have been because no one from the band ever made too great a noise about it, and probably because three of the other four Performer inductees were much more industry picks, but if there had been a fan vote for this class, it probably would have been a runoff between Alice Cooper and Neil Diamond, and because Alice Cooper is classic rock, I'd wager they still would have won that fan poll.  Actually, it would have been fellow nominee Bon Jovi, but among the five who were inducted in 2011, this band would have gotten the highest fan vote.  But the other factor that slipped below the radar of most is that the lead man of the band is comparatively conservative, politically speaking.  He himself claims to be a moderate or centrist, but by comparison to the other inductees, to the powers-that-be of the Rock And Roll Hall Of Fame Foundation, and to the whole of the entertainment industry, he's considered conservative by comparison.  The Hall has inducted some relatively conservative characters: Mike Love of the Beach Boys, Frank Zappa had a strong personal discipline that came off as conservative at times, Joey Ramone, etc.  These have all been relatively few and far between, so maybe nobody thought much of Alice Cooper getting in.  But it certainly was a catering to the cross-section of humanity that the muckety-mucks of the Foundation would rather pretend didn't exist, even if they didn't realize that's whom they were catering to at the time.  Furnier's onstage persona was very much that of a scary showman who delighted in the darkness.  Even when he appeared on "The Muppet Show," his storyline was that of a pitchman for a Faustian contract, working for the devil.  It's been his calling card, and that's why the song for the whole band has to be "No More Mr. Nice Guy."

Neil Diamond:  Out of the gate, we get our two picks for the populace.  Paul Simon suggested that his mammoth, smash-hit duet with Barbra Streisand played a large part in keeping Neil Diamond out of the Hall for a long time.  There perhaps is a kernel of truth to it.  Diamond's progressively softer evolution through the '70's almost serves as the epitome of rockers going mild.  With Neil Diamond though, whether it's soft or not, it's quality, which the Hall is about, or at least claims to be.  People are quick to forget the laurels he earned as a staff songwriter early in his career, and then breaking out with songs like "Cherry, Cherry," "Kentucky Woman," and of course, "Sweet Caroline."  Neil Diamond is very much a part of the fabric of rock and roll, and I think my song selection reflects that.  The song has a strong gospel influence to it, but turns it sideways with a satirical twist to it, mocking religion, particularly charismatic traditions, but isn't mean to the point where it offends people.  That's a fine line to balance, and only speaks volumes of Diamond's songwriting chops.  My choice to salute him is "Brother Love's Traveling Salvation Show."

Dr. John:  Once again, a dodged grammatical bullet.  Whether you spell it "Doctor" or "Dr.," he still comes alphabetically after "Diamond" and before "Holzman."  This New Orleans musician has long reaches of influence, perhaps due to his wide-ranging work as a session musician.  Despite having been fired by Frank Zappa from the Mothers Of Invention for using drugs, Dr. John has gone on to have a long and lustrous career filled with some of the most original music that anyone has ever conceived, all of it steeped very heavily in the traditions of the Big Easy, whether it was Gris-Gris Gumbo, The Sun, Moon And Herbs, or Tango Palace.  The song selected for him is his biggest hit "Right Place, Wrong Time," which despite being cliche, also perfectly exemplifies both his New Orleans roots, and his penchant for experimenting with new sounds and new styles.

Jac Holzman:  The man founded Elektra Records, and that is primarily what he was inducted for.  Elektra Records was a home for many in the folk tradition, as well as some punk acts, and even Queen.  As an early home for Judy Collins, I chose to use her hit version of "Both Sides Now" to represent Jac Holzman in this project.  However, it's actually a pretty fascinating tale to read of his work after Elektra Records, working with the technical and technological side of the music industry.  He played a large part in the compact disc's rise to obsolesce the cassette tape, which is actually pretty monumental in its own right, as the first widespread, popular format of digitization of our music, which helps provide a longer playback lifespan with undiminished fidelity of sound quality, if the disc and player are properly maintained, whereas tapes, records, eight-tracks, wax cylinders... pretty much all forms of recorded sound prior relied on surface contact, friction if you will, to produce sound, which makes degradation inevitable.  It's almost ironic to use "Both Sides Now," as he really helped popularize the format that truly all but eliminated the need to flip the medium over to its other side.  But that's one of the little hilarious quirks about this thing called life.

Darlene Love:  There have been many acts inducted into the Rock And Roll Hall Of Fame that I like, but since the induction of U2, there haven't been too many that I actually love.  The Ronettes, the Dave Clark Five, the Ventures, Stevie Ray Vaughan And Double Trouble, ABBA, the Comets, the Crickets, and the more ELO I hear, the more I like, so maybe them too.  And of course, Darlene Love.  A lot of naysayers have articulated that she would have been a much better fit for Sideman or shoehorning into the newly created "Award For Musical Excellence" category, to which my response is to shoehorn those people into a box called "Award For Musical Douchebaggery."  That's right; I love Darlene Love so much, it surpasses my resolve to act like an adult.  Her singing renders me giddy as a kid.  For people who think the voice, not the guitar, is the most important instrument in rock and roll music, Darlene Love is an absolutely correct call.  Hers was a voice of such power and charisma that it rings out and says to the guitar, "Hey, try to keep up, would you?"  I have postulated before, and will now again, that Darlene Love's voice was the linchpin in Phil Spector's machine.  Hers was the cornerstone of that whole Wall Of Sound.  When she first belted it out so precisely on "He's A Rebel," it must have signaled to Spector that what he really needed and wanted was more, more from everybody.  He needed the musicians to step it up and play with enough power and energy to keep up with and complement that gorgeous, saintly voice.  And you can hear the results clearly on the follow up that Darlene and the Blossoms sang on, but was also credited to the Crystals, "He's Sure The Boy I Love."  That record was the one where you really heard the Wall Of Sound fully realized.  Choosing a song for Darlene Love in this set is a little tricky, since my rules state to make sure it's one where she is the artist of credit, and I disallowed Christmas music too.  There were still a few choices, but another song where her voice knells forth like a watchman atop a mighty strong city wall is her biggest pop hit as a solo artist, "(Today I Met) The Boy I'm Gonna Marry."  It had to be that song for her, and if you disagree with me, you're a stupid doodoohead.

Art Rupe:  As the founder of Specialty Records, he provided a home at the dawn of rock and roll for rollicking R&B artists such as Larry Williams, Lloyd Price, and Little Richard.  His label was also home to Joe Liggins.  One of the biggest hit R&B records of all time, "The Honeydripper," was on Specialty Records.  He gave a home to gospel musicians, as well as secular artists with gospel roots, like Sam Cooke and Johnnie Taylor.  He didn't back down in the face of backlash from suburban White Americans who thought the music he distributed would corrupt the youth.  In short, Art Rupe is a large part of the reason why Black culture became a part of the youth culture.  He helped change America and helped break down racial prejudices, just by proudly putting out records that were unabashedly raucous.  Not all of them were, of course, but he was a proud purveyor of that sound, and no single artist represents that better than Little Richard.  And with that, I use the wild and rocking, "Keep A Knockin'" to salute Art Rupe.

Leon Russell:  My using "Tight Rope" on this playlist doesn't do nearly enough justice to this man, one of the most multitudinous talents of the entire music industry.  The majority of his legacy is built on session work.  He worked with Phil Spector, Snuff Garrett, and so many more producers.  He was a member of the house band for the TV show "Shindig!"  I suspect part of the reason it took so long to induct this man was that every time he came up in the Sideman subcommittee, they deferred him, hoping to get him on the main ballot one of these years.  That's one possibility, anyway.  The creation of the Award For Musical Excellence category sure seemed like a renaming of the Sideman category, and inducting Leon Russell here didn't help either.  As stated already, his session work was extensive, but his records as a performing artist are also highly respected as well.  In 2008, we weren't sure what was happening with this new category.  By 2018, it sadly seems like it's little more than a "Because We Said So!" category.  Still, whatever the justification, this man absolutely deserved induction, and I'm glad they stopped wasting time and found a way to get him in.  The usage of "Tight Rope" salutes him oddly, but it also still kind of fits.  Admittedly, it was mostly about using a song by the inductee to salute the inductee, and it was his biggest hit.  But I still like it as a selection for him, so it stays.

Tom Waits:  I have to admit, I'd never heard of Tom Waits until I got to college.  His album Mule Variations was in rotation at the time, and we were playing "Big In Japan" and "Hold On."  I loved "Hold On" and didn't know what the heck to make of "Big In Japan."  And that just about sums up Tom Waits' music: you love a lot of it, and don't know what to make of a lot of it... sometimes you're describing the same song with those two sentiments.  In my selection of "Downtown Train" for Tom Waits, a little context is needed.  This is the Class Of 2011, which means the nominees were announced in 2010.  About the time the nominees were announced, my radio career was starting to advance.  I was no longer doing weekend overnights, and was now doing Friday evenings and Saturday afternoons.  So, even though I was looking to a future of moving to Washington state, I was still thinking very heavily about a radio career, trying to land in a new market despite knowing nobody and having nobody know me.  Even so, and even though my company's Oldies station had long become a Top 40 station, I was still thinking that this radio program idea could still happen on a classic rock station someday, especially with a steady increase (now a runaway) of classic rock acts getting inducted, so even though I would have loved to use "The Piano Has Been Drinkin'," there was still a sense of needing something sensible for broadcast radio.  "Downtown Train" is definitely that, as well as a tribute to his influence, as it has been widely covered.  It's a well-written song, and Waits is definitely known for his songwriting.  So, overall, this is still a good song to use.

And with those eight songs, we have come to the end of another class.  It was a class that is a hard to singularly describe.  It definitely caters to the Oldies crowd a bit, but it's still hard to call a bad class.  Maybe it's just me, since I'm a big fan of Darlene Love and also enjoy Neil Diamond and Alice Cooper quite a lot.  How about you?  What acts from this ballot did you prefer?  What songs would you use?  Make a note of it in the Comments below.  Recapping:

Alice Cooper: "No More Mr. Nice Guy"
Neil Diamond: "Brother Love's Traveling Salvation Show"
Dr. John: "Right Place, Wrong Time"
Jac Holzman: "Both Sides Now" by Judy Collins
Darlene Love: "(Today I Met) The Boy I'm Gonna Marry"
Art Rupe: "Keep A Knockin'" by Little Richard
Leon Russell: "Tight Rope"
Tom Waits: "Downtown Train"

As for this ballot, I did indeed post predictions again, but it was on a different forum than before.  I'm surprised I was able to find it.  Anyway, I went 2/5 again, but it wasn't as embarrassing this time, because only one of my bottom three seeds made it instead of all three of the bottom seeds.  So here is the unedited, copied as it was, post from 2010 for this class.  As you'll note, I somehow thought voters could choose up to eight names.  I also made predictions for the other categories this time, too.  Still waiting on Doug Morris, though.  Enjoy:

And now for my lengthy analysis... may I do better than I did last year. Trying to be in depth here. Sorry if the length bores you.

Predictions on the 2011 nominees for the Rock And Roll Hall Of Fame

Looking at this year’s ballot, we see 15 nominees: Alice Cooper, the Beastie Boys, Bon Jovi, Chic, Neil Diamond, Doctor John, Donovan, the J. Geils Band, LL Cool J, Darlene Love, Laura Nyro, Donna Summer, Joe Tex, Tom Waits, and Chuck Willis. A group of roughly 600 voters will determine the inductees, and each voter is allowed to vote for up to eight candidates. Those with a high enough percentage of the votes will get in. We’re looking at about five to eight inductees for this year. I think there will be only five, as 2005 and 2006 had fifteen and sixteen nominees respectively, with only five inductees both years.

Sixty percent of this year’s nominees are repeats, and another one-third of them are those whose names have come up before in discussion, but hadn’t yet made it to the final ballot. So let’s break them down and make some predictions:


1. Donovan

British folk troubadour whose music included psychedelic tones. The only act on this year’s ballot that had never even been seriously brought up for discussion before.

Why he might make it: He’s a clever singer/songwriter with an impressive string of commercially successful hits, some of which are still known today. Embracing both the lighter and darker sides of folk, he’s considered a pretty artsy artist overall.

Why he might not: Despite first charting in 1965, he’s considered something of a latecomer to the folk-rock game and the British Invasion scene. As well as not really considered all that influential or innovative, he’s always been seen as middling: there, but seldom really rising to the top of the heap. Also, from the very beginning, he has frequently been compared to Bob Dylan, which is always going to be a losing battle unless your name is Smokey Robinson. Despite his efforts to break away from that, he keeps getting rated side-by-side with Dylan. 

Whom he’d pave the way for: He represents both the British Invasion (the only candidate on this year’s ballot not from the U.S.A.) and folk rock. So he could open the door for other 60’s British acts not in yet, like the Moody Blues, Herman’s Hermits, Manfred Mann, and Procol Harum; as well as other folk stars, like Joan Baez, Judy Collins, the Kingston Trio, and Peter, Paul, And Mary.

Who’s his biggest threat: Tom Waits’ artier style of writing, Neil Diamond’s sheer commercial success, and Laura Nyro’s soulful endeavors, and even Dr. John’s acclaim within inner circles are all liabilities for Donovan.

If I got a ballot: Play pretend time! Whom would I pick? If I got to pick up to eight artists, Donovan would get my vote, being the fourth name I would pick.

In the end: The voters love folk-rock and the British Invasion a little too much to ignore him. Induction chances: 75% 


2. Tom Waits

A gravelly voiced singer/songwriter whose compositions have been recorded by a myriad of artists. First-time nominee.

Why he might make it: He’s a heavily influential singer and songwriter, as well as something of an icon of the independent label and underground facets of rock and roll. Additionally, he’s really the only name on the list that represents the indie/underground scene.

Why he might not: For all his acclaim, he’s never broken through as a performer in mainstream form. A number of his albums have charted on the Top 200, but no individual song charted on any chart, not even the Album Tracks chart, which doesn’t necessitate the release of a song as a single. Ergo, he doesn’t have quite the name recognition as some of the other nominees, or the popularity that goes with being known. And while he is the only real indie representative, he’s not the only singer/songwriter on the ballot.

Whom he’d pave the way for: If Waits gets in, it could be what ushers in a tidal wave of independent label and underground rockers from the ‘80s to make it in as well, such as the Replacements, the Jam, the Smiths, Joy Division, and many others.

Who’s his biggest threat? More popular singer/songwriters Neil Diamond and Donovan are his biggest competitors, and Laura Nyro may be an x-factor as well.

If I got a ballot: Play-pretend time! Whom would I pick? If I got to pick up to eight to vote for, Waits would indeed be one of them. He’d be the fifth one I’d give the check mark to.

In the end: With more freedom allowed in voting, there’s both less and more pressure to be diverse with the choices, so Waits could get overlooked, but he’s been around long enough to where he’s going to appeal to too many voters. Induction chances: 70%


3. The J. Geils Band

A good-time, good-feeling rock and roll band with blues overtones. This is their third nomination.

Why they might make it: They’re a band that you can just point to and say, “Yes, that IS rock and roll.” They have a decent list of fun hits (and non-hits) that people from a variety of walks of life can appreciate. Charting on the R&B charts once or twice doesn’t hurt either, as some of the higher-ups in the inner circle hold the belief that R&B is more true to what rock and roll really is than heavy metal. From the inside, either Geils himself or lead singer Peter Wolf is friends with the Rock And Roll Hall Of Fame Foundation President Jann S. Wenner, and if you think his opinion doesn’t carry any weight with the voting bloc, stop reading now. Seriously. Lastly, Wolf’s tribute paid to songwriter Jesse Stone last year, in addition to being memorably standout, also puts his band fresh in the mind of voters again as to why they were loved back in the day.

Why they might not: They were never considered innovative or influential. Also, Peter Wolf’s going solo put a halt on the band’s train of commercial success, and having only recently reunited, that’s still a significant loss of momentum.

Whom they’d pave the way for: Good question. They don’t really represent a camp of overlooked artists. At least none that are currently eligible. Maybe other past nominees that don’t neatly fit into one camp either like War or the Paul Butterfield Blues Band?

Who’s their biggest threat: Bon Jovi is their biggest threat, hands down, as another rock band that had major success in the 80’s. Other than that, the fact that they don’t fit neatly into any one camp is their biggest obstacle. Voters are likely to pick a diverse list by choosing which artist best represents a section of the rock and roll diaspora. Not being in a major significant section makes it difficult.

If I got a ballot: I’d mark them down. They’d just make the cut though, as my eighth selection.

In the end: It’s hard to predict in favor of a band that lost out to Percy Sledge in 2005, but they wouldn’t be the first to lose out to Percy and make it at a later time. I’m thinking they might squeak through, despite being the eighth selection on a lot of actual voters’ ballots. Induction chances: 55%


4. The Beastie Boys

Trio of white rappers that combined hip-hop with punk rock. Second-time nominee.

Why they might make it: They introduced hip-hop to the suburban audience, which paved the way for the triumph of rap as the dominant style of music on the Billboard Hot 100. Also, by blending punk rock with hip-hop, it’s pretty much impossible to say they aren’t rock and roll, even if you believe rap is not a part of rock and roll (it is). On that note, the Nominating Committee keeps pushing for more rap artists. They got one inducted in 2007, another in 2009, so we’re due for one this year.

Why they might not: The last time they were nominated, there was a second hip-hop act on the ballot, and they cancelled each other out, both failing to get in. There’s a second rapper on this year’s ballot too. Additionally, after not making the cut last time out, one member was heard to say, “We really don’t care if we get in or not.” While that isn’t the most scathing dismissal of the Rock And Roll Hall Of Fame (see Daryl Hall And John Oates, Toto, Steve Miller), it may just sway voters to cast their ballot for an act that would actually appreciate the honor just a bit more.

Whom they’d pave the way for: They could be the group that gets in so that other rap groups like Public Enemy, N.W.A., and the Sugarhill Gang can get in.

Who’s their biggest threat: LL Cool J is the other rapper on this list, and he’s the favorite of somewhat vocal Nominating Committee member Toure. Other hard rockers like Alice Cooper and Bon Jovi might be a hindrance, too.

If I got a ballot: I rank them as my second choice to vote for, so yes, they’d get my approval, as they would have the last time they were nominated.

In the end: The powers-that-be will want a rap act in this year, after not getting one last time. I think the Beastie Boys have the slight advantage, despite their indifference to the honor. Induction chances: 55%


5. Neil Diamond

A songwriting and singing legend with a career spanning over a full four decades. First time nominee.

Why he might make it: He’s a prolific songwriter who’s respected because he paid his dues as just a songwriter before finally breaking big in the late ‘60s with a successive string of pop-rock gems that people of all ages still enjoy to this day.

Why he might not: For starters, his image. His flashy and bright attire doesn’t really symbolize anything counter-cultural, nor anything about his image really paints a progressive picture. And while his songs from the 60’s and early 70’s are what build the case for him, his recordings after that almost tear down said case. “You Don’t Bring Me Flowers,” his #1 hit duet with Barbra Streisand, may just symbolize a great deal of what people say is NOT what rock and roll is about. Also not regarded as being widely innovative or influential.

Whom he’d pave the way for: Other popular singer/songwriters might be able to follow in Diamond’s steps, such as Jim Croce, Carly Simon, Don McLean, or Cat Stevens. Also, his induction might help push other soft-rock acts to get in, like Bread and the Carpenters.

Who’s his biggest threat? Fellow sixties singer/songwriter Donovan might make things tough for him, as would Tom Waits, who represents a more highbrow artistic rock.

If I got a ballot: Neil Diamond would make the cut, coming in at number six on my pecking order.

In the end: Critics do not really hate him, and he is beloved by his fellow performers, so he stands a real chance. Dead even. Induction chances: 50%


6. Donna Summer

One of the key figures of disco during the 70’s and early 80’s. Third-time nominee.

Why she might get in: She’s royalty… the “Queen Of Disco.” Other than Neil Diamond, 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 Janet Jackson, Whitney Houston running a relatively close second. However, Summer might also clear the path for female rockers Pat Benatar, Heart, and Joan Jett as well.

Who’s her biggest threat: Fellow disco act Chic appeared on the ballot with Summer in 2008 (as did the Beastie Boys), and both missed. Chic’s back and is her biggest threat. Also, returning female presences from last year such as Darlene Love and Laura Nyro could hurt, and even Joe Tex and Chuck Willis could be a block for her.

If I got a ballot: Albeit not the highest choice for me, she’s my seventh pick, and so would pass the bar this year with me.

In the end: She stands a real chance, but may fall short. While it may happen, it’s no guarantee that there will be more than five inductees in 2011. If there will be, I’d say she’s in. Otherwise, she’s my pick again for the upset special this year. Induction chances: 49%


7. Alice Cooper

Hard-rock band known for pioneering new styles of stage performance, as well as progenitors of glam. First time nominee.

Why they might make it: They were an influential band with some innovation. While fully evolving the rebellious nature that rock and roll was thought to embody in its early days, they still managed to be a well-known name in the music world, even when the name only applied to the lead singer. They’re also a band that is well beloved and touted by the public as a long-time criminal snub.

Why they might not: Their innovation was more in the stage shows they presented, which is of secondary importance to the music itself. Also, the voting bloc is comprised of musicians and critics… not the common man. Those who have the appeal with the common man usually take multiple ballots before they get in: Black Sabbath needed eight; Lynyrd Skynyrd, seven; John Cougar Mellencamp, three, and on their first try, Kiss missed last year, despite being favorites to the public. The band was not all that loved by critics, ever, and critics make up a third of the bloc, which, while not a majority, can certainly put a kink in their hopes. Politics may be a factor as well.

Whom they’d pave the way for: Other hard rock legends could soon come through, like Ted Nugent and Ozzy Osbourne (who’s in with Black Sabbath, but not as a solo artist). This could also be the pick of the hard rock/prog subcommittee this year, so it could be once they’re in, bands like Yes, Rush, Electric Light Orchestra, Slayer, Pantera, etc. will all starting getting some consideration.

Who’s their biggest threat: Bon Jovi is probably the hardest rocking act after Alice Cooper, and the Beastie Boys certainly were hard in their punk side of rap, so they might be an inhibition as well. And there’s a chance the voters will go R&B heavy this year too.

If I got a ballot: Number three pick on my list. They’d get a nod from me.

In the end: The early buzz is actually quite favorable for Alice Cooper, who’ve been nominated as a band, and not just the lead singer born Vincent Furnier, though the name “Alice Cooper” would be enshrined, so it would likely include the solo years too. Voters getting to pick up to eight this year tells me there’s room for him, but past experience tells me don’t bet on it. I think he’s a dead-even split. Induction chances: 45%


8. LL Cool J

One of hip-hop’s very first solo superstars. This is his second nomination.

Why he might make it: Hip-hop was dominated in the early days by groups: the Sugarhill Gang, Grandmaster Flash And The Furious Five, Run-D.M.C., etc. LL Cool J was one of the first solo superstars, especially in terms of crossing over to the pop charts and audience. Now, hip-hop is dominated by solo artists, because of rappers like him. He also helped create the bridge that changed R&B into the more sultry style that it became in the ‘90s and still exists to this day.

Why he might not: Despite the smaller ballot, LL Cool J couldn’t get inducted last year as the only hip-hop artist on the ballot. Also, some might resent the direction he helped R&B take.

Who he’d pave the way for: Other rap solo artists loom on the horizon: Ice-T is already eligible, and soon enough we’ll see Jay-Z, Ja Rule, and Snoop Dogg getting looks.

Who’s his biggest threat: The Beastie Boys are the most obvious threat, but don’t overlook Donna Summer as an R&B superstar, or even Chic who’ve been sampled many, many times on hip-hop records. 

If I got a ballot: If he were the only hip-hop artist on the ballot, I might consider placing the check mark by his name. As it is, I’m pulling more for the Beastie Boys, and place LL Cool J at number thirteen in my pecking order.

In the end: This is his second consecutive nomination, so someone’s pulling for him, but I think it’ll take another ballot, unless they do induct eight, in which case, he could be the shocker of the year. Induction chances: 40%


9. Bon Jovi

Hard rock group that dominated the 1980’s and still continues to have hit records. First-time nominee.

Why they might make it: The Hall Of Fame has been trying to skew younger, to attract a younger audience to what they do and to the museum, and this group fits the bill about as well as possible while still being around for at least the minimum 25 years prior to eligibility. They were also a wildly successful hair-metal band, and considered among the more talented bands in that genre. Add in Jon’s friendship with Jann Wenner, and you have possibilities.

Why they might not: Hair metal is just not artistically respected, and again, a third of the voters are music critics. Also, some voters may prefer to vote for acts who’ve been around longer, saying there’ll be plenty of time to induct this band later – basically, what may have been part of the Red Hot Chili Peppers’ failure to make the grade last year. Again, as a band that appeals more to the working man, it may backfire against them in this regard.

Whom they’d pave the way for: The big hair bands of the 80’s are knocking on the Hall’s doors. Def Leppard, Motley Crue, Twisted Sister, the not-yet eligible Guns ‘N’ Roses are all those who’d likely follow, as well as possibly other arena rock bands like Journey, Styx, and Foreigner.

Who’s their biggest threat: The J. Geils Band and Alice Cooper are definitely the biggest competition that could keep Bon Jovi out. 

If I got a ballot: Voters only get to pick up to eight candidates. It’d be heartbreaking cut, but Bon Jovi finishes ninth with me, not getting my support. This time.

In the end: The ballot as I see it right now is already pretty heavy with the classic rock and pop-rock scene, and there’s often a desire for more R&B on the ballot. They could get lost in the shuffle this time. Induction chances: 35%


10. Chic

R&B/disco group fronted by a crackerjack production team. This is their sixth appearance on the ballot.

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.

Why they might not: Hall Of Fame watchdogs like me 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 103rd Street (Rhythm) Band.

Who’s their biggest threat: 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, with LL Cool J not far behind. Fellow six-time nominee Chuck Willis may get the sympathy vote this year, too, and not Chic.

If I got a ballot: My disco vote would be for Donna Summer, not Chic, and so Chic ranks twelfth on my list of those who’d get my vote this year. No vote from me.

In the end: Chic’s gonna get in eventually, but it won’t be this year. But definitely with either their seventh or eighth nomination. Induction chances: 33.3%


11. Darlene Love

A pop-rock singer with a powerful voice, most famously recording for Phil Spector in the early ‘60s. Third-time nominee.

Why she might make it: She’s got support from both Little Steven and Dave Marsh, who represent two different ends of one spectrum used to describe the Nominating Committee and the voting bloc. With two-thirds of the voting bloc being current inductees (mostly musicians), she might be able to curry favor with those who feel professional respect for her. Musically, she was a lynchpin in the creation of Phil Spector’s legendary wall of sound, as she showed how singers were going to have to sing to keep up with the musicians who had a newfound liberty to play louder, thanks in part to Darlene Love. She’s considered a pretty well kept secret in the music of the ‘60’s.

Why she might not: She may have been a secret a little too well kept. She’s not known for innovation. Or influence. Or for any of her songs really. When the song you’re best known for is a Christmas song, you’ve got a tough road ahead for Hall Of Fame induction. She sang on a couple well-known songs—songs that were credited to the Crystals. Also, as was argued against the Ronettes, all the music artistry could be argued to belong to Phil Spector, not to any of the artists who recorded for him. Lastly, there are arguments that she was more of a session singer, and if she were to be inducted, the Side-Man category, not Performer, is the more appropriate choice.

Whom she’d pave the way for: Female pop stars of the ‘60s seem to be the most obvious choices for later nominations, including the girl groups the Crystals, the Shangri-Las, the Marvelettes, as well as solo singer and teen queen Lesley Gore.

Who’s her biggest threat: Her biggest rivals for ballot space are Donna Summer and Chuck Willis. Joe Tex might be an issue, too, as well as Laura Nyro.

If I had a ballot: I absolutely love Darlene Love’s voice and everything she’s done. She would be the first name that I would put the check mark of approval next to. I’d underline and circle her name, too.

In the end: Unfortunately, I don’t get a vote. And those who do will see her as a minor player at best, doomed to be kept out. Induction chances: 30%


12. Joe Tex

A scratchy-voiced soul singer, who wrote his own hits. This is his fourth nomination.

Why he might make it: There’s always respect for those who write their own hits, and put together a string of hits. Music historians also cite his raspy vocal delivery as being influential in the development of the vocal delivery in rap music. There’s also usually a lot of love for soul singers, and he’s the only real soul singer on this year’s ballot.

Why he might not: He’s lost out on past ballots where he’s been the only soul candidate, especially in the face of other prominent forms of R&B also represented on the ballot. Additionally, three of his four biggest hits on the Billboard Hot 100 were songs that bordered on being novelty records, which makes it hard to take his music seriously, let alone him as a candidate for the Hall Of Fame.

Whom he’d pave the way for: If they can finally get Joe Tex in, it might open the door for the “Soul Philosopher” Johnnie Taylor, but more importantly, for soul groups that debuted in the ‘60s but broke big in the ‘70s, like the Spinners, the Del-Fonics, the Chi-Lites, the Stylistics, and Harold Melvin And The Blue Notes.

Who’s his biggest threat: Darlene Love and Chuck Willis are the biggest competition, as well as Donna Summer and LL Cool J.

If I got a ballot: As much as I love soul music, Joe Tex is not someone who’d get my vote this time, as he comes in at number fourteen for me.

In the end: Historically, 1997 is the only year where an artist has gotten in on their fourth nomination, and I think it’ll remain that way for now. Induction chances: 25%


13. Chuck Willis

An R&B singer who was known as the “Stroll King” and “Sheik Of The Blues.” Sixth-time nominee.

Why he might make it: His music kicked off the stroll craze of the ‘50s, the stroll being a popular dance, and as such, makes him a progenitor of all dance music that falls under the umbrella of rock ‘n’ roll. He’s one of the R&B artists that were around before rock ‘n’ roll music really burst onto the scene in 1955, and as such, he was on hand to help usher in the new era. 

Why he might not: He died in 1958, and as such never got to realize his full potential. Consequently, his is not a name that is often remembered when naming off the founding fathers of rock ‘n’ roll. Also, though a six-time nominee, this is the first time he’s been nominated in the past 20 years. So, his nomination is a bit of a surprise. Lastly, he could just as easily be inducted as an Early Influence, since he did slightly predate rock ‘n’ roll’s becoming mainstream.

Whom he’d pave the way for: His induction might re-open the doors for others who haven’t been nominated since the ‘80s, i.e. Johnny Ace, Esther Phillips, Mary Wells, and the solo career of Ben E. King. It may also revive the efforts to induct R&B groups that were also around to help usher in the new rock era, such as the Dominoes and the “5” Royales.

Who’s his biggest threat: Darlene Love fits the pre-British Invasion era selection quite nicely too. Dance music is represented well by Donna Summer and Chic, and Joe Tex would also fill in an R&B slot Willis might otherwise be able to grab.

If I got a ballot: While he certainly is deserving, the constraints of being only allowed to choose eight would leave him out in the cold on my ballot. He finishes at number eleven in my pecking order. 

In the end: I can’t help but wonder if the only reason he’s on this year’s ballot is so that Chic won’t be alone at the top of the “most nominations without being yet inducted” list with six nominations. Induction chances: 20%


14. Dr. John

A New Orleans-based singer/songwriter who infused various styles into his sound. First-time nominee.

Why he might make it: He’s a true original, and there isn’t another performer quite like him. He also puts on quite a live performance, which Buddy Guy’s induction in 2005 shows is quite an asset. He’s also infused a lot of different styles into his New Orleans-based sound, which always draws respect.

Why he might not: You can’t tell what a good musician he is by listening to his records, as he leaves his best stuff for the live shows. There also isn’t much name recognition, as he didn’t have very many hits, and his albums were never huge sellers, either. Also as with Darlene Love, some argue he’d be a better fit as a Side-Man inductee.

Whom he’d pave the way for: Tough to decide, but I think zydeco music would start being recognized if Dr. John got in, and maybe other session men that put out records, like Ry Cooder and Leon Russell.

Who’s his biggest threat: The J. Geils Band is the next bluesiest act, Donovan has a psychedelic edge that competes with Dr. John’s funky style, and Tom Waits has the edge in terms of singer/songwriters who seldom became big news.

If I got a ballot: There’re just too many big fish on this year’s ballot. Dr. John comes in dead last for me, number fifteen.

In the end: The fact that he’s not really a threat to anyone else on the ballot may mean he could quietly slip through, but more than likely, it’s a matter of too many bigger and possibly better choices to make this year. Induction chances: 15%


15. Laura Nyro

A blue-eyed-soul singer/songwriter who has had her compositions recorded by many artists. Second-time nominee.

Why she might make it: She’s been widely covered by many artists, and is well respected as a songwriter. Also, good blue-eyed soul artists usually get in eventually. There’s another interesting factor to note: they changed the voting process this year from top five vote recipients to those who receive a certain percentage of the vote. This isn’t so interesting until you realize that four of this year’s nominees were on last year’s ballot but missed out. So maybe they changed it because it ran so close, but only five could get in? Laura Nyro is one of those four, so maybe she was a near miss last year. 

Why she might not: She had very few, very minor hits. Almost none of the artists who had the hit versions of her songs are in the Rock And Roll Hall Of Fame either. Lastly, she’s better known as a songwriter, so there’s the claim that she’d be a better fit for the Non-Performer category.

Whom she’d pave the way for: There are only a few serious blue-eyed soul candidates left such as Mitch Ryder And The Detroit Wheels, and Daryl Hall And John Oates, so they could follow after her. She might also open the door for artists that made hits out of her songs, like Three Dog Night, the Fifth Dimension, or Blood, Sweat, And Tears. She could even make it possible for Buffy Saint-Marie to garner consideration.

Who’s her biggest threat: Tom Waits, Neil Diamond, Donovan, Joe Tex, and Dr. John are all singer/songwriters, and Donna Summer and Darlene Love (as well as Chic) are a good supply of female artists that all stand in her way.

If I got a ballot: I love her voice, but she ranks number ten on my list this year, so she would be omitted by me.

In the end: She might be one of those names that there’ll always be at least five other names more popular than, and as such, will always have a struggle getting in. Unless she gets a Non-Performer nod, this won’t be the year she gets in. Induction chances: 10%


Other categories:

The Performer category is the most exciting race to watch for two reasons: one, it’s the one where the average person has the best chance at recognizing names that they relate any personal memories to; two, it’s the only category that has a selection process that occurs over a the course of months and which the public is even kept apprised of in any way. But the Performer category is not the only induction category. There are:

Non-Performers: For those whose contributions were more as songwriter, producer, record label owner, publicist, etc. than any actual musical contribution. Last year, Roger Friedman of Fox News reported that David Geffen would be inducted in 2010 and Doug Morris in 2011. Since David Geffen was indeed inducted in 2010, Friedman’s prophecy about Doug Morris is forefront in the minds of Rock Hall monitors like myself. With the inductions of so many of the great songwriters this past year, it’s unlikely they’ll go with another songwriter for a year or two, unless it’s Laura Nyro, who might be inducted as a Non-Performer if she misses again on this ballot.

Early Influences: For those that predate the Rock era and so weren’t really rock and roll in their music, but the music they did put out was influential in the development of rock and roll. There hasn’t been a legitimate induction in this category since 2000, though in 2009 they inducted Wanda Jackson, whose music did not predate the Rock era, and was definitely rock and roll. This year, Chuck Willis stands a chance of being inducted as an Early Influence if he doesn’t get in as a Performer. Since the greater part of his career did predate the rock era, this would actually be a somewhat legitimate induction, but there are still hopes out there that we’ll soon see the Ravens and Django Reinhardt inducted as an Early Influence.

Side-Man: Session musicians who made a profound impact get inducted here. Earlier this year, Elton John was pushing to get Leon Russell as a nominee for Performer, but he didn’t make the cut. However, Leon Russell’s probably one of the best choices for the Side-Man category. As with last year, Darlene Love is a possible choice for her work as a back-up singer, but they have yet to induct anyone as a Side-Man for back-up vocal work, and if they were to do it, the Jordanaires would probably be the most solid pick. Still, other possibilities range from members of the Wrecking Crew to members of the Funk Brothers, to members of the E Street Band.