Songs Of Proof: Past Nominees

Whenever someone loses out on an award, like an Oscar or an Emmy, they try to be gracious about it by saying something like, "It's an honor just to be nominated."  Sadly, though, they are seldom remembered by the next year's awards season.  This, of course, is because awards like those are about that specific year's accomplishments, unless it's a Lifetime Achievement award.

However, awards like induction into the Rock And Roll Hall Of Fame are by very definition, lifetime achievement awards of a sort.  Missing out one year does not mean an inductee has to continue to perform at a stellar level to be considered for nomination the next year.  That's good too, because with the Rock And Roll Hall Of Fame, many nominations and inductions are posthumous.  And when one considers the bottleneck of artists that have never even been nominated--and if you haven't noticed that before, just do a cursory search for it: you'll be inundated--it is indeed substantially meaningful to be nominated for the Rock Hall, even if you believe the Foundation is corrupt and cronyistic through and through.

Which brings us to this song list.  Because being nominated is such an honor in and of itself, all the past nominees for the Rock And Roll Hall Of Fame have also been awarded songs for the great playlist.  And at one time, I was indeed updating the list by burning new CDs as new artists were added to it, and other ones got off the list by being inducted.  I may take that up again; however, as the digital age renders the CD-R less profitable a product, there may come a time when I have to reserve all my stock just for continuing classes.  As of right now, the songs for past nominees comprise two discs, and since they were last burned in 2012, they include some artists that have since been inducted.  This list, though, will be current and focus on those that have not been inducted as of 2018.  This is useful to me for two reasons: one, as a hobbyist, it's a great way to help remember all of the past nominees; two, if and when they are inducted, they already have a song selected for them for when they are inducted.  The Songs Of Proof seldom change, after all.

And it is with that, that I announce we will indeed look at all of the Past Nominees.  However, since I don't wish to write over forty lengthy paragraphs as I have done for the inductees, and I'm sure you don't want to read that many either, the format will be much simpler.  Artist, song, short sentence or two about why that particular song was chosen.  Less challenging for us all that way.  So now, let's honor those who've only received the lesser honor of just being nominated.


Johnny Ace: "Pledging My Love"  In addition to being his signature song, it's a powerful crossover R&B ballad that a lot of other enduring R&B ballads took a cue from.

Bad Brains: "I Against I"  A fast, punk-like driving number with rap-like lyrical delivery, it captures a lot of the features that made them influential.

Afrika Bambaataa: "Planet Rock"  Also a signature song that showcases pioneering hip-hop turntable wizardry, showing the block party roots that hip-hop emerged from.

Kate Bush: "Love And Anger"  It showcases her bohemian lyricizing, and frames it within a song structure close enough to the more conventional definitions of rock and roll music.

The Chantels: "Maybe"  This song was a milestone for girl group records, and has a rhythmic structure that isn't too unlike later songs by the Shirelles, Crystals, or Angels.  (Vocal Group Hall OF Fame Song Of Proof: "Look In My Eyes")

Chic: "Good Times"  Even before I chose "Le Freak" for Nile Rodgers, I was using this song because this is a landmark record for hip-hop, dance, and R&B music.  Its importance is monumental.

The Cure: "Friday I'm In Love"  Post-punk is unusually melodic, and the beauty of how hooky this song is, combined with Robert Smith's vocals that are somewhat abstract, and yet very attainable to workaday people, sums up a good chunk of their influence.

Depeche Mode: "Just Can't Get Enough"  Sorry liquidmuse, even in the Past Nominees list, there are still some songs that are used because they are my favorite by the artist.

The Dominoes: "Sixty Minute Man"  Not only infectiously catchy, but overtly sexual, and massively successful, crossing over to the pop charts... back in 1951!  (Vocal Group Hall Of Fame Song Of Proof: "Have Mercy Baby")

Eric B. And Rakim: "Let The Rhythm Hit 'Em"  This is a serious jam, where Rakim showed his full potential as an emcee, and Eric B.'s work was immaculate.

Eurythmics:  "Sweet Dreams (Are Made Of This)"  Annie Lennox is described as having an androgynous beauty to her, and songs like this one definitely heighten that feeling of robotic androgyny.

The '5' Royales: "Baby, Don't Do It"  As the '5' Royales were inducted in the Early Influence category, this song carried over for them, as it was the song chosen for them when they were languishing in this column. This song will be removed from the "Past Nominees" song list next time I burn CDs for this group.

The J. Geils Band: "Love Stinks"  It may not be their most bluesy song, but it's a staunch rocker that you can tell just from listening to the studio version that it's an awful lot of fun to perform live.

Janet Jackson: "Nasty"  It's a quintessential song of new jack swing and is also surprisingly empowering.  One of her biggest hits too, it shows Janet at her best.

Wanda Jackson: "Let's Have A Party"  This song has since been removed from the Past Nominees list, but it was her song throughout the whole project and remains so for her now.

Elmore James:  "Dust My Broom"  Elmore was inducted before I even knew the Hall existed.  For some reason, he was nominated once for a Performer, then later inducted as an Early Influence.  But it's the same song chosen either way.

Jane's Addiction: "Been Caught Stealing"  One of their best-known songs and biggest hits, and given they have such a relatively small catalog, it's safe to say this one really does capture their general spirit as a band.

The J.B.'s: "Doing It To Death"  Though credited to "Fred Wesley And The J.B.'s," it doesn't violate the sole credit rule, as Wesley was a member and not an outside artist, and this is just how they were billed for this masterfully funky song that showcases their talent and why James Brown wanted them behind him.

Judas Priest: "You've Got Another Thing Coming"  It might piss off metalheads to use the hit song over the preferred album cuts, but this song is still a good one and does them justice, and is a good song to introduce newcomers to Judas Priest and original stylings of heavy metal in general.

Chaka Khan: "I'm Every Woman"  A feminist anthem, this song lets her cut loose and sing with great power, allowing her to stand out.

Ben E. King: "Stand By Me"  It's sad that some people think it's the song and not the singer, and though King didn't play an instrument creating this immortal rhythm line, his lyrics are just as legendary for the way it peals out, giving it an earnest feel, lauding the mutualism that could be found in standing by him.

Carole King was inducted as part of a songwriting duo, though there is much clamoring for her to be nominated again as a Performer.  If she is, I will swap out "I Feel The Earth Move" and make it her Performer Song Of Proof, and make "It Might As Well Rain Until September" her Non-Performer Song Of Proof, as that song captures that Brill Building quality to a tee.  However, I intentionally am waiting to make that swap until she's nominated again due to the number of "Small Hall" thinkers who think that induction wraps up her solo career too.

Freddie King: "I'm Tore Down"  This song serves brilliantly to honor his blues chops.  It would've been an even better selection had he been correctly inducted as a Performer, and since his Early Influence induction was an intentional sidestep, I see no reason to swap it out for an earlier song.

King Curtis right now has no Song Of Proof for his Performer nominations, as he was inducted before I created this list.  He was nominated the first six years, disappeared, and suddenly reappeared to receive a Sideman induction.  It'd be nice to seem him given another shot as a Performer nominee, this time including his Noble Knights, and if that happens, I have "Memphis Soul Stew" on standby for that very purpose.

Kraftwerk: "Autobahn"  This twenty-two minute gem clearly and wonderfully demonstrates their importance to modern music, particularly in Europe, both in terms of sonic architecture, and in the image that musicians often choose to project.

LL Cool J: "Mama Said Knock You Out"  The man really helped make rap an emcee's game, and hard-landing lyrics from him packed the full punch to do just that.

Los Lobos: "Will The Wolf Survive"  Since "La Bamba" is already used for Ritchie Valens, and since this song epitomizes their influences and their style much more perfunctorily, this is definitely a solid choice to use for this band of musicians' musicians.

The Marvelettes: "Please Mr. Postman"  Make no mistake: the Marvelettes are so much more than this song, but the song is also of such historical importance that it couldn't be ignored.  (Vocal Group Hall Of Fame Song Of Proof: "Beechwood-45789")

The MC5: "Kick Out The Jams"  Again, another group that is much more than the one big song, but this song captures a lot of punk's youthful and rebellious spirit, while also still being incredibly fun.  Perfect song to use.

The Meters: "Cissy Strut"  This song showcases more of their funky side than their New Orleans roots, but there are still sightings of the Big Easy's musical DNA.  Plus, just has a nasty groove to it that will not be denied.

The New York Dolls: "Personality Crisis"  Considered a classic proto-punk song, I just love the antic lunacy that this jam just seems to embrace.  I've never looked for one, but I hope there's a music video for this song that predates MTV.

Nine Inch Nails: "Into The Void"  I'm admittedly not as knowledgeable about industrial music, but when I binge-listen to Nine Inch Nails, this song seems to most adequately represent the overall feel and mood of the catalog of this act.

Gram Parsons: "In My Hour Of Darkness"  Such a sweet, sweet piece of music, this song not only is a shining example of the beginnings of alternative-country, I think it also epitomizes what I mean when I say "country gospel," though Parsons was definitely not in that box either.

Esther Phillips: "Release Me"  This one was tricky.  Much of her fame came as the chanteuse for Johnny Otis's ensemble, but this take on a country classic really reaches out to show what she was capable of, too.

Procol Harum: "Whiter Shade Of Pale"  Since I have no plans to honor the Singles category at this time, there's no reason to swap out this important song that lays the foundation for progressive rock.

Radiohead: "Paranoid Android"  Radiohead is not of band of "eras," but continually evolves; nevertheless, showcasing the transition from "Creep" to OK Computer seems to cover the most important bases for a lot of casual listeners, and even some of the fans.  I think this song does that.

Rage Against The Machine: "Bulls On Parade"  Hatred for Republicans and their platform, nearly screamed lyrics, guitar playing that enhances that anger... this song has it all for them.

The Replacements: "I'll Be You"  I'll be honest, I'm not too familiar with their discography, but I love this song so much, I don't think I'd swap it out even it proved to be wholly aberrant of their general work.

Rufus with Chaka Khan: "Ain't Nobody"  An amazingly funky jam with solid backup vocals, it really captures the bulk of the commercially successful music and even hints and some of what wasn't or wouldn't be.

The Sir Douglas Quintet: "Mendocino"  I hate "She's About A Mover," and this song is a better example of Tex-Mex music anyway.  It was between this one and "Dynamite Woman."

The Smiths: "Heaven Knows I'm Miserable Now"  The almost hypnotic combination of Marr's guitar and Morrissey's voice, plus all the melancholy that Morrissey is known for.  Perfect fit, more perfect than a hand in glove.

The Spinners: "I'll Be Around"  Proof that Philly soul could be funky as well.  Great vocals, great harmony, great beat, great arrangement.  (Vocal Group Hall Of Fame Song Of Proof: "It's A Shame")

Steppenwolf: "Born To Be Wild"  This is still an iconic song that young people even today have heard of, and it's a good example of the kind of rock and roll that would eventually evolve into heavy metal.

Sting: "If You Love Somebody Set Them Free"  Not only is it his biggest hit as a soloist, but it also captures that ethereal feel that much of his solo efforts strove for.

Joe Tex: "Show Me"  It's a rollicking soul song that exemplifies that proto-rap vocal delivery that Tex is often credited for, and also features the message for both men and women, something he did with several of his songs.

Sister Rosetta Tharpe: "Strange Things Happening Every Day"  While it's unlikely for a person to be inducted in two different categories, it's even more unlikely that those two categories would be Performer and Early Influence, especially under their own name, and not part of another effort.  So, there's no impetus to include her in the updated Past Nominees set list in the future.

Conway Twitty: "It's Only Make Believe"  Since rock and roll's definition was even more nebulous at the time that Conway Twitty first broke through than it is now, I guess it makes sense that he was considered a teen idol rocker at one point.  This song is the biggest example of that time before he went on to country superstardom, and even foreshadows his future career, I would say.

War: "Low Rider"  War may be the epitome of what constitutes "cool funk," and no other song captures that spirit better than this one.  So funky, and still popular with the rockist crowd.

Mary Wells: "My Guy"  As with the Marvelettes, this woman is so much more than the big #1 hit, but the landmark accomplishment, as well as the enduring popularity of this song makes it the obvious selection.

Chuck Willis: "Betty And Dupree"  Since Ma Rainey is honored with "See See Rider Blues," that disqualified it being used for this man.  Fortunately, my selection is almost a carbon copy and exemplifies his work as the Stroll King.

Steve Winwood: "Roll With It"  Even though this song is incredibly bright and upbeat, it still manages to capture that easygoing and optimistic feeling that pervades some of this man's other solo hits.

Link Wray: "Rumble"  Once again, it's a monumental record that sadly has overshadowed the entire artist's achievements, but is still a great song and a benchmark of rock and roll.  So let's go with that.

The Zombies: "Time Of The Season"  So, yeah, I went with the obvious choice again, though I could have easily have gone with "Tell Her No" or "She's Not There" as they both contain that moody, jazzy, baroque feeling that this band was known for.  Add a pinch of psychedelia, and you have the reason they should be inducted.


And with that, we have completed our look at those that have been nominated for the Performer category, but did not make it.  Since each entry is short and formatted, no need for a recap.  What I will say though is that we are STILL not done with our look at representative songs for acts.  Stay tuned for the next installment!  And as always, feel free to comment below with your take on any of these.