Now that we've taken a look at the merits of the 2019 nominees for the Rock And Roll Hall Of Fame, we also have to look at the tacit piece of the puzzle, which is personal taste. Whether we like to admit it or not, personal tastes affect how we vote. Whether it's for the Rock And Roll Hall Of Fame or congressional candidates, if we like what we hear from them, they're that much more likely to get our vote. For the Rock And Roll Hall Of Fame, personal preference for an artist's music is an influencing factor for whether or not they pass the bar for "unquestionable musical excellence." So, now that I've tried to measure them objectively, let's lay that list aside momentarily and just look at how much I enjoy listening to each of the nominees. Music apps for smartphones have been a major blessing in this regard, as they have allowed me to really grasp each nominee's catalog and overall gestalt a lot more. So, if you notice inconsistency between the list this year and previous years' lists, it's a combination of getting to know discographies a lot more, plus the effects of time and life themselves upon this weary and frail frame. I'll also include my favorite songs from each artist, and the averages of the two rankings' lists.
It's also worth mentioning, that like the merits' list, coming in near the bottom isn't nearly as insulting as it may appear. It was a tough decision trying to figure out who should finish first, even. Everyday, whichever nominee I was listening to, I was certain that that artist would top the list. Then I'd listen to a different one the next day. It's a tough but pleasant series of choices to make. Besides, a list of fifteen versus the entirety of the musical world, well, that just requires proper perspective. So don't be too heartbroken if your favorite act comes in a bit lower for me than it would for you. Binge-listening to all these artists didn't really give me too many negative listening experiences overall. Maybe that's why they're all nominees too. Let's sort them out, shall we?
1. Janet Jackson
What made me ultimately choose the baby of nine as the top finisher here, was when I was trying to decide on a favorite song for her and discovering how much trouble this really was. I realized I had way too many songs in contention for mentioning as the favorite. That made me conclude that she had to be put at the top of this list. Between "Black Cat," "Escapade," "So Excited," and so many other great songs, every time it's her turn to be binged on, I'm happy.
Favorite song: "Feedback"
Merit Rank: 4
Average of ranks: 2.5
2. The Zombies
Last year, they were ranked a few notches lower. All but one of the acts higher than them on last year's list were inducted last year, and the one that wasn't, isn't nominated again this year. Last year though, the music app service didn't include any of their reunited studio material, only live performances. When you include the newer studio albums, you realize that they've still got it and the music is just as fantastic.
Favorite song: "Imagine The Swan"
Merit Rank: 13
Average of ranks: 7.5
3. Def Leppard
I said previously that their music hasn't aged well, but growing up with Hysteria and Adrenalize, I still hear them with the ears of the pre-teen I was during their heyday. I love their ability to harmonize and their overall sound. The major downside though, is hearing some of their ballads, especially the live performances of them, made me wonder if I was listening to Def Leppard or Bryan Adams.
Favorite song: "Photograph"
Merit Rank: 10
Average of ranks: 6.5
4. LL Cool J
He jumps up a few places from last year's list, so maybe it's just a matter of his music growing on me, or being able to pay a little more attention to it. Some people just don't like rap music. To me, it's in the mix. And if the mood's just right, I'm really into it. Honorable mention to the amazing track "Time For War."
Favorite song: "The Do Wop"
Merit Rank: 1
Average of ranks: 2.5
5. John Prine
On paper, when using my I-Five at least, Prine's hardly the kind of artist that should even be considered, except maybe in the Influence category. When you listen to his music, though, it becomes clear why he just might be able to pull it off. Don't enjoy everything from him. His debut album has been hailed as a masterpiece, but aside from one song, I really didn't dig it that much. I'm not a huge country person, but his country-flavored stuff is quite good.
Favorite song: "Egg And Daughter Nite, Lincoln Nebraska, 1967 (Crazy Bone)"
Merit Rank: 14
Average of ranks: 9.5
6. Radiohead
Even after the shock of realizing how much I actually liked their stuff last year, it still kind of surprises me how much I like the songs I do like. Some of them I still don't, but a lot of it just grew on me a little bit more this go-around. The only song I really remember back when I was in college spinning their stuff on the campus station is "Idioteque," which I still really like, despite it not being the favorite. But there really is just an ineffable loveliness to their music that it just draws you in, even if it leads you down some psychologically dark corridors.
Favorite song: "No Surprises"
Merit Rank: 7
Average of ranks: 6.5
7. Kraftwerk
Kraftwerk's place on this list really benefited from my getting a smartphone last year. The problem with trying to binge-listen to them, though, is that most of what I find via music apps are the remastered versions of their works. I feel that to properly evaluate them, I need to hear how their albums sounded the first time, the '70's and '80's releases, not the post-2000 reworkings. I have to wonder if this is how Starwoids and general cinephiles felt when George Lucas "updated" the original Star Wars trilogy. Nevertheless, getting to really dive into their stuff has proven very helpful. Despite their innovations, the White Anglo-Saxon Protestant side of me is really drawn to the pastoral-sounding songs, like "Ohm Sweet Ohm," which kind of reminds me of the old hymn, "My Faith Looks Up To Thee," or that "Oh Maria" song you hear in the movie Sister Act. Still, when you really listen and get an appreciation for how meticulous they were and how their methods were so effectively executed, I have to say that OCD has never sounded so beautiful before or after.
Favorite song: "Morgenspaziergang"
Merit Rank: 3
Average of ranks: 5
8. Todd Rundgren
This is one I didn't expect to fare this well. Despite how much I love "Bang The Drum All Day," I really expected the majority of his work to be more reminiscent of "Hello It's Me" and "I Saw The Light," which I don't like all that much. I underestimated the man's versatility, and while I'm not crazy about the songs that sound like he's trying to be blue-eyed soul, perhaps leading Daryl Hall And John Oates by example, I do enjoy the more sideways kinds of songs like "Zen Archer" and "Buy My T."
Favorite song: "Mountaintop"
Merit Rank: 8
Average of ranks: 8
9. Rufus Featuring Chaka Khan
Maybe I just got a little tired of listening to their brand of funk. I'm not sure what caused both Radiohead and LL Cool J to jump them in relative rankings from last year, but I still enjoy this band quite a bit. And with such versatility, it's hard to go wrong. I think the problem this year is the app just kept ramming the same songs down my ear canals repeatedly, jumping between the studio and live versions. I like "Hollywood," I just don't want to hear it for a few months now.
Favorite song: "Take It To The Top"
Merit Rank: 12
Average of ranks: 10.5
10. The MC5
Another act that just grew on me this year, though perhaps not enough to greatly affect their relative position on a ballot with only fifteen nominees, instead of nineteen. All the same, listening to the roots and foundations of punk rock music is a good time, whether you're on the job or off.
Favorite song: "The American Ruse"
Merit Rank: 11
Average of ranks: 10.5
11. Devo
They're weird. I like them.
Favorite song: "Are You Ready"
Merit Rank: 9
Average of ranks: 10
12. The Cure
For the 2012 ballot, they were ranked fifth of fifteen in personal tastes. This time they're twelfth. What a difference a smartphone makes. That's not to say I won't listen to them again. They have several songs that definitely make the Cut Here with me, but they also have several songs that I personally Never want to hear again.
Favorite song: "Friday I'm In Love"
Merit Rank: 2
Average of ranks: 7
13. Stevie Nicks
As I said in her merits write-up, her solo stuff is a lot more synth-driven than the work of Fleetwood Mac. That's just the way of the '80's. Still, most of her stuff works a lot better than others who used the synth as a crutch (I'm looking at you, A Flock Of Seagulls)
Favorite song: "Stand Back"
Merit Rank: 15
Average of ranks: 14
14. Roxy Music
As with Kraftwerk, they recorded a lot of pastoral-sounding songs that are quite lovely, such as "Psalm," a lot of odd stuff that's riveting, like "Pyjamarama," commercial stuff like "Love Is The Drug" and "Oh Yeah," that I dug as well. Unfortunately, I just cannot rid my memory of the horror of the realization of what "In Every Dreamhome A Heartache" is about, or just how that song seemed to drag on.
Favorite song: "Flesh And Blood"
Merit Rank: 5
Average of ranks: 9.5
15. Rage Against The Machine
It's important to remember, that I don't dislike any of the nominees. Despite some of the less-than-flattering things mentioned, I've loved delving into every artist on this ballot. But with every artist, there'll be songs you like and some you don't. As for Rage Against The Machine, it's just a matter of me enjoying euphony more than cacophony, and they wouldn't be able to justify the "Rage" part of their name if they didn't have rough edges to their sound. I don't hate them; if someone wants to listen them badly enough, I can get into it. Just not my first choice.
Favorite song: "People Of The Sun"
Merit Rank: 6
Average of ranks: 10.5
So ultimately, when you rank the nominees by the averages of their ranks, you theoretically should get a list of likelihood that I'd be voting for them for the fan ballot. That list looks like:
1. Janet Jackson
1. LL Cool J
3. Kraftwerk
4. Def Leppard
4. Radiohead
6. The Cure
7. The Zombies
8. Todd Rundgren
9. John Prine
9. Roxy Music
11. Devo
12. The MC5
12. Roxy Music
12. Rufus Featuring Chaka Khan
15. Stevie Nicks
So, logically, my five daily votes should be going to Janet Jackson, LL Cool J, Kraftwerk, Def Leppard, and Radiohead. And in fact, the first three of those five have been getting my vote every time. Def Leppard was getting my vote for awhile, until they secured a comfortable lead over Stevie Nicks, then I switched. My other two votes now have been going for Rufus Featuring Chaka Khan, because we really need to get that lady in twice, and my fellow Michiganders, the MC5. Sadly, at the time of typing this, the bottom four in the fan ballot standings are LL Cool J, Kraftwerk, Rufus Featuring Chaka Khan, and the MC5, with Janet Jackson in a solid sixth, but probably too far behind to catch up and make the final and formal five for the fan vote.
So that's where I stand on what I like. The nice thing about this list is because it's passion-driven, it's a quicker one to type up, and because it's completely subjective, anyone who tries to tell me my ranking is wrong is just being a pedantic ass. Don't be a pedantic ass, but do feel free to post your favorite songs or lists of personal preferences in the Comments below. And it may or may not be the next entry, but coming soon will be my seeds and predictions in the Performer category for the Class Of 2019.
Where we keep an eye on the goings-on in the Rock And Roll Hall Of Fame Foundation: what is, what isn't, what could be, what should be, what oughtn't be, etc.
Tuesday, November 20, 2018
Monday, November 12, 2018
Merits Of The 2019 Nominees
After having had time to digest the nominees, and time to binge-listen to all of them, it is time now to try and come to some sort of pecking order for the 2019 nominees. This is something we do, because when the list comes out, we look for three things off the bat: how many did we correctly predict, who are we really excited to see on the ballot, and who does not deserve to be nominated. That, in a way, also describes the three ways we like to rank our nominees: predicting to make them, liking them, and deserving to be there. The personal taste one is the easiest to make; and for the past three years, predictions have been fairly easy to make. But ranking the nominees by merits is often the trickiest. At least for me.
5. ROXY MUSIC
Innovation: With Brian Eno at the helm in their early work, they are among the biggest pioneers of art-rock, both growing it and differentiating it from prog-rock.
Influence: Tremendous, particularly in the art-rock world, a sub-genre in the rock and roll world that still has a strong heartbeat, though it's not always noticed.
Impact: Commercial success was pretty decent in the albums category. Only a few hit singles, but a few others that are considered classics despite not having charted. Their name recognition factor is pretty high overall.
Intangibles: As the springboard for the production and solo careers of Brian Eno, plus the subsequent solo career of Bryan Ferry, they are regarded as being rife with collective talent, along with flawless production.
Issues: With limited commercial success, some might argue that Roxy Music is better known for giving the world Brian Eno than for their actual music and influence. Also, they did a song about a sex doll. There's art, and then there's bad art.
Song Of Proof: "Love Is The Drug" is the choice, and while it may be cliche, it's also a fun song with a great rock beat and exemplary production.
Part of that may simply be because I make this list first. Once I've got the first one made, it stands to reason that the others will be easier. A second reason is because the candidates are all over the map. The past few ballots were rife with classic rock staples, and once you put those acts in order, it's a matter of working the rest in the mix somewhere. Or in my case, using the rankings from previous entries as a template. If six of the nine return nominees weren't from last year's ballot, that would be a lot harder. But stylistically, it's a different ball of wax, so making a coherent order out of things will be a difficult deck to shuffle properly. Another big reason is because this list requires the effort to be as free from bias as possible. Ranking by personal taste is by definition based on bias, and making predictions requires interpreting other people's biases. But this requires an attempted objective ranking based on merits. The merits themselves, though, can be subjective, but overall, I try to make my list of criteria as universally acceptable as possible, in terms of what does in fact matter, whether we like to admit it or not.
And those criteria, for me, boil down to the five things, which I've given names all beginning with I. Four of them are case builders, and the fifth is the negative aspect. Where and when did they break new ground? Who followed in their footsteps? How big were they or is their name recognition factor? What other aspects are there to consider? Why are some opposed to their nomination? These are the big questions that surround every nominee for the Rock And Roll Hall Of Fame, and my method tries to address and assess with the categories of Innovation, Influence, Impact, Intangibles, and Issues. And since revealing my Songs Of Proof project, and the fact that I add my favorite songs with the personal tastes ranking, I figured I'd start adding the potential Song Of Proof for the nominees with the merit rankings. Since binge-listening to these artists though, I'm tempted to change some of them. Maybe you'd care to weigh in using the Comments section below. So with that in mind, let's get pissed off at my calling certain acts worthier than others!
1. LL COOL J
Influence: Hip-hop music grew out of block parties and was largely borne of DJ culture. LL Cool J is a seminal figure for what made it an emcee’s game.
Impact: The man’s had a steady stream of hit singles in both the R&B and pop scenes. A respectable album chart showing, too. Plus, with his acting career, he also has a substantial name recognition factor. One of the most commercially successful R&B acts on the ballot.
Innovation: His innovation and influence pretty much complement each other to the point of blurring the lines. In addition to virtually obsolescing the DJ from rap music, he helped make it a solo braggadocio show, replacing rap outfits. Additionally, he’s recognized for both making rap more accessible in smaller bites (shorter songs, meaning more likely radio play) and for creating the bridge of R&B stylings that we still see today in non-rap R&B music.
Intangibles: LL Cool J didn't just make it an emcee's game, his image is also what helped make rap the game for the ladies' man.
Issues: Between his acting career eating up more of his time later in his career, and the embarrassment of "Accidental Racist," which he contributed to, his most recent flavor is sour. Additionally, his reign of influence has since seemingly come to an end, despite the incredible "Time For War" track.
Song Of Proof: "Mama Said Knock You Out" is the perfect song to show how he changed the world of hip-hop.
2. THE CURE
Innovation: They may not have been inventors of new wave per se, but they’ve been around since its genesis, and its exodus to the U.S. airwaves. They’re a band whose sound is unique.
Influence: A unique sound but one that others still attempt to duplicate. Their influence expands even beyond the new wave genre, to all facets and subgenres of the non-mainstream music scene. You might say they’re the Leviticus AND the Deuteronomy of indie-label rock. The numbers don’t lie, and it shouldn’t come as much of a revelation. Ok, enough Bible puns, before I get the Acts… er, ax.
Impact: They’re a name you know no matter what you listen to. And for being indie gods (no pun intended I swear), they actually had a respectable run of mainstream success.
Intangibles: Ever since Robert Smith took down Mecha-Streisand on South Park, the coolness perception of the Cure has only gone up, and really hasn’t come back down…and that’s considering it was already pretty high up to begin with. Also, they stand for a segment of the rock world that seems to be in pretty sore need of recognition.
Issues: The artistic value of emo, a genre the Cure helped influence, is not terribly high, so it's a matter of blaming the original genius for the knockoffs that followed.
Song Of Proof: "Friday I'm In Love" has some of that emotional detachment in Robert Smith's tone and a bit of the melodic beauty of some of their later work.
3. KRAFTWERK
Innovation: As a group, they pioneered what is now known as electronica.
Influence: Again, electronica artists that have come since all tip their hat to Kraftwerk, particularly those from the European scene.
Impact: How big they were in Europe has not been fully measured yet. In North America, their heyday was strongest in the disco/dance music scene, as odd as that may seem, given what the artists of that scene during that time were putting out. Overall, they have two songs that are quasi-known by the general public: "Autobahn" and "Trans-Europe Express."
Intangibles: Only in the recent years has electronica music been getting taken seriously as an art form, at least in terms of coverage from the trade publications, and most point to Kraftwerk as a major point of genesis.
Issues: Rock and roll is generally defined as a blending of traditions from the blues and from country music. Even with the teutonic, danceable beats, the connection from those traditions to Kraftwerk isn't exactly a straight line, and some might argue non-existent.
Song Of Proof: "Autobahn" is a stellar example of pioneering sounds and the primordial beats of what would become EDM.
4. JANET JACKSON
Impact: The biggest singles artist on the ballot in terms of pop, R&B, and dance music, and one of the biggest of the whole rock era. Ranked as the second biggest artist in the realm of dance music, behind Madonna.
Influence: One of the most influential female singers of the past 30 years, paving the way for a lot of starlets of R&B and dance music.
Innovation: While some give more credit to her producers in this regard, her New Jack Swing sound became something of a template for 80's and early 90's dance-R&B.
Intangibles: It really does say something to her talent, ethic, and overall credit that in a family of nine kids, all of whom vied for success as solo artists, she's only one of two that can rightfully claim the label of "superstar." Additionally, had a bigger hand in the creation of her music than she is often remembered for.
Impact: The biggest singles artist on the ballot in terms of pop, R&B, and dance music, and one of the biggest of the whole rock era. Ranked as the second biggest artist in the realm of dance music, behind Madonna.
Influence: One of the most influential female singers of the past 30 years, paving the way for a lot of starlets of R&B and dance music.
Innovation: While some give more credit to her producers in this regard, her New Jack Swing sound became something of a template for 80's and early 90's dance-R&B.
Intangibles: It really does say something to her talent, ethic, and overall credit that in a family of nine kids, all of whom vied for success as solo artists, she's only one of two that can rightfully claim the label of "superstar." Additionally, had a bigger hand in the creation of her music than she is often remembered for.
Issues: Let's get this out the way: "Nipplegate" is a bullshit excuse. Some will still try to point to it as a reason, but it's stupid at best, hypocritical at worst. I've called the roster of inductees a "rogues' gallery" to the point of self-parody, but it's still true: when one considers the crimes, taboos, other iniquities that other inductees have committed, the Rock And Roll Hall Of Fame doesn't even have enough moral high ground at this point to blackball Afrika Bambaataa, let alone Janet Jackson. So if you want to put that in the Comments, don't bother. I'm just gonna tell you to STFU. No, any realistic objection is going to stem from the fact that the light and airy timbre and tone color of her voice often caused it to get buried underneath the arrangements and production values, thus inviting floccinaucinihilipilification of her vocal and all-around musical talents. Also, she's been widely panned as simply riding her family's coattails to fame, all the way through until now.
Song Of Proof: "Nasty" is an iconic song that captures New Jack Swing while remaining fierce in the attitude that is lauded in rock and roll.
Innovation: With Brian Eno at the helm in their early work, they are among the biggest pioneers of art-rock, both growing it and differentiating it from prog-rock.
Influence: Tremendous, particularly in the art-rock world, a sub-genre in the rock and roll world that still has a strong heartbeat, though it's not always noticed.
Impact: Commercial success was pretty decent in the albums category. Only a few hit singles, but a few others that are considered classics despite not having charted. Their name recognition factor is pretty high overall.
Intangibles: As the springboard for the production and solo careers of Brian Eno, plus the subsequent solo career of Bryan Ferry, they are regarded as being rife with collective talent, along with flawless production.
Issues: With limited commercial success, some might argue that Roxy Music is better known for giving the world Brian Eno than for their actual music and influence. Also, they did a song about a sex doll. There's art, and then there's bad art.
Song Of Proof: "Love Is The Drug" is the choice, and while it may be cliche, it's also a fun song with a great rock beat and exemplary production.
6. RAGE AGAINST THE MACHINE
Innovation: Since this isn't my strongest area, I'll defer to the expertise of others, but my research shows incredible combinations of elements of metal, rap, punk, and even reggae. Apparently they're considered among the pioneers of Nu Metal, or at least brought it as close to mainstream as can be while not being called sellouts.
Influence: Because they resonated with underground circles, this is harder to measure, but there are a lot of rock bands that took their lead from them. Though, even now, some mainstream acts are once again starting to get political.
Impact: A few hits on the pop and rock charts, with charting albums.
Intangibles: A very politically charged outfit, they brought their message strong and hard.
Issues: It's sometimes hard to grasp their message because you can't always discern what Zach De La Rocha is saying. Additionally, they received a blow to their ego and perhaps their credibility when former vice-presidential nominee Paul Ryan called them his favorite band of all time. Lastly, a short lifespan leaves question about what could have been.
Song Of Proof: "Bulls On Parade" is an easy example of their politics, and the rage that drove them to push against the machine.
7. RADIOHEAD
Influence: Among the chief torch-bearers of the ethereal rock sound, their influence is still felt when listening to non-mainstream rock.
Innovation: While they didn't invent the ethereal rock sound, what they did with it is unique and easily identifiable to them.
Impact: About as big with the general public as a band can be without being lowest common denominator. A respectable number of hit songs and albums.
Intangibles: With songs like "Creep," "No Surprises," "Idioteque," and "Knives Out;" Radiohead is no slouch when it comes to versatility, and even though "versatile" is an adjective that applies to several nominees this year, it's still meaningful when it applies.
Issues: Thom Yorke's voice does not sit well with everyone; additionally, their love/hate relationship with their own fame has caused a few hiatuses that make them occasionally inconsistent. Also, not everyone is that fond or respectful of their most recent works.
Song Of Proof: "Paranoid Android" is a perfect segue between the original fame of "Creep" and the esteem that OK Computer brought them, being musically between the two.
8. TODD RUNDGREN
Innovation: As a man who's done a lot of work in the control booth, he's been able to forge new sonic sounds and make them his own. One of the most experimental artists on this ballot.
Influence: As a singer/songwriter with versatile style, he's been able to influence a lot of musicians.
Impact: His work has met with quite a bit of critical acclaim, and has enjoyed a decent amount of commercial success, both in terms of singles and albums. Additionally, because of his work as a producer and musician, his name recognition factor is quite high.
Intangibles: He's one of the most versatile musicians on this ballot, not sticking to one style only. He can change the way he sings to accommodate a song. He's also a pioneer of music exhibition media, changing not only what we listen to, but how we listen to it.
Issues: The idea of possibly inducting him as a Performer is supposed to be about the songs where he's the artist, and not necessarily the producer, so separating that production legacy might leave him wanting in the minds of some voters.
Song Of Proof: "Bang The Drum All Day" is still just an incredibly fun record that shows that even rock and roll doesn't always take itself so seriously, and even Todd Rundgren let his sense of humor show through at times.
9. DEVO
Innovation: They were them. As a band that began in the late '70's, they were at the forefront of post-punk, and really tested unfamiliar sonic waters.
Influence: As one of those bands that are really only "got" by other bands (compared to the general public), they proved to be a lot more influential to post-punk than they get credit for.
Impact: One major, iconic song, but several hits across the major trade publications, and even a few multi-song chart entries on the Dance Music charts. Several charted albums as well.
Intangibles: They have the iconic outfits that stick out in people's minds, but they also have a reputation for their commitment to high art and trying to capture highbrow concepts in new and inventive ways.
Issues: Still considered a one-trick pony to way too many people.
Song Of Proof: "Whip It" is the all-too-obvious pick, but the back-and-forth keyboard fills during the chorus almost crack the door open to let people get a glimpse of their full quirkiness and unapologetic forging ahead.
11. THE MC5
Innovation: As a man who's done a lot of work in the control booth, he's been able to forge new sonic sounds and make them his own. One of the most experimental artists on this ballot.
Influence: As a singer/songwriter with versatile style, he's been able to influence a lot of musicians.
Impact: His work has met with quite a bit of critical acclaim, and has enjoyed a decent amount of commercial success, both in terms of singles and albums. Additionally, because of his work as a producer and musician, his name recognition factor is quite high.
Intangibles: He's one of the most versatile musicians on this ballot, not sticking to one style only. He can change the way he sings to accommodate a song. He's also a pioneer of music exhibition media, changing not only what we listen to, but how we listen to it.
Issues: The idea of possibly inducting him as a Performer is supposed to be about the songs where he's the artist, and not necessarily the producer, so separating that production legacy might leave him wanting in the minds of some voters.
Song Of Proof: "Bang The Drum All Day" is still just an incredibly fun record that shows that even rock and roll doesn't always take itself so seriously, and even Todd Rundgren let his sense of humor show through at times.
9. DEVO
Innovation: They were them. As a band that began in the late '70's, they were at the forefront of post-punk, and really tested unfamiliar sonic waters.
Influence: As one of those bands that are really only "got" by other bands (compared to the general public), they proved to be a lot more influential to post-punk than they get credit for.
Impact: One major, iconic song, but several hits across the major trade publications, and even a few multi-song chart entries on the Dance Music charts. Several charted albums as well.
Intangibles: They have the iconic outfits that stick out in people's minds, but they also have a reputation for their commitment to high art and trying to capture highbrow concepts in new and inventive ways.
Issues: Still considered a one-trick pony to way too many people.
Song Of Proof: "Whip It" is the all-too-obvious pick, but the back-and-forth keyboard fills during the chorus almost crack the door open to let people get a glimpse of their full quirkiness and unapologetic forging ahead.
10. DEF LEPPARD
Impact: The biggest albums act on the ballot, and one that had a very strong run of hits throughout the '80's and early '90's.
Influence: From an American perspective, this is harder to measure, as it took a year or two for them to cross over to this side, where hair metal was much bigger. Still, one of the earlier bands of that style, they helped pave the way for a lot of hair metal bands.
Innovation: Again, because they started out of England, rather than being in America, people tend to forget that they were near the beginning of that era of rock and roll and helped shape it, but there they were.
Intangibles: A lot of people like to point to the fact that they have a one-armed drummer, but that's really more of an answer in Trivial Pursuit than a legacy. When it comes to hair metal ballads and rockers, they were pretty well-balanced between the two and even knew how to harmonize on occasion.
Issues: Their music has not aged well. Of all the acts on this ballot, they're the only one that really has this problem, or at least as noticeably as they do. And when you combine the hard and fast twenty-five year rule with the concept of "unquestionable musical excellence" as the Polaris by which the Hall tries to navigate, music that has aged badly seems like exactly the kind of thing the Hall is charged with prohibiting the entry of.
Song Of Proof: "Photograph" is still a hair metal classic, and is a mix of their best qualities.
11. THE MC5
Innovation: Possibly the first to intentionally and regularly use distortion as a key component of their sound, they are also credited as one of the pioneers of punk rock.
Influence: Tremendously so, again, especially in the worlds of punk and hard rock.
Impact: One hit single, two charted albums, both of which at one point were on Rolling Stone's list of most important albums of all time.
Intangibles: They're a strong example of attitude that some say is more important than the actual music when defining "rock and roll." On top of that, given the breadth of artists, including Rock And Roll Hall Of Fame Inductees that have come out of the Great Lake State, simply the fact that they came from Michigan, especially from Detroit, almost kind of adds an extra layer of credibility to them, much as being British in the '60s might also be considered a bonus.
Issues: Between a limited commercial run, and often incomprehensible lyrics due to the use of distortion, they might not pass a few people's bars for "Unquestionable musical excellence."
Song Of Proof: "Kick Out The Jams" has the brevity of punk, the raucousness of punk, and a message that really targets the youth of that day. It's a solid and obvious choice.
12. RUFUS FEATURING CHAKA KHAN
Impact: In its own right Rufus struck big a few times with great and funky R&B songs like “Ain’t Nobody”, “Once You Get Started”, and of course, “Tell Me Something Good.”
Innovation: The sounds they made with their rhythm section were seldom, if ever, heard before, and their insistence on vocal harmonies with funk in a way that even Sly And The Family Stone didn’t do as consistently makes their sound something somewhat new and creative.
Influence: Really helped bring funk to the disco scene, which was later carried on by the GAP Band and Chic.
Intangibles: They've done funk, roots, disco, and ballads. They were really a versatile group.
Issues: Because their best-known hits were big hits in the discotheques, they are often pigenoholed as a disco band, rather than the eclectic outfit they were.
Song Of Proof: "Ain't Nobody" is a fantastic and funky song, that hints at the popularity they enjoyed in the disco circles, while also showcasing some tight harmonies.
13. THE ZOMBIES
Impact: Despite only having seven hits on the pop charts (including the Bubbling Under), their big three are really well remembered, and so powerfully symbolic of the ‘60s that it overshadows the short-lived life of the group. Also, with an album in Rolling Stone’s upper fifth of Top 500 albums of all-time, it’s a critical respect thing, too.
Innovation: When you first hear them, it’s almost indescribable. It’s moody and haunting, but not really blues, or even jazz, though there may be elements of those styles in there. But it’s unique, and infectious.
Influence: Somewhat limited, perhaps due to their short-lived first run as a group, but every now and then, some hint of their style creeps up, the most well-known of which might be the Guess Who’s “Undun.”
Intangibles: Their periodic reunions and resurgences all still maintain a high level of quality throughout the years.
Issues: They were very short-lived, before breaking up the first time and are as much being derided as a pet pick of Little Steven as they are being hailed as a Hall-worthy act from the '60's.
Song Of Proof: "Time Of The Season" contains both their trademark keyboards and the mood of psychedelia that is of their time.
14. JOHN PRINE
Influence: His songs have been covered fairly widely, so his original recordings have gained some traction.
Innovation: He effortlessly combined his folk beginnings with other styles in a way that was uniquely his.
Impact: Absolutely no hit singles, and no non-charted classics (as recognized by Record Research, Inc.), but a couple handfuls of charted albums.
Intangibles: His cache with industry insiders is extremely high, including a lot of critical respect. He's arguably the most artistic musician on this ballot. Furthermore, the crowd he was taken under the wing of, the "Outlaws of Country Music," are a highly respected group of musicians, so that association helps him.
Issues: He may have been taken under the wing of the Outlaws, but it seems like he never really emerged out from under that wing, at least not in terms of the public consciousness. Easily the most obscure artist on this ballot, and with the possible exception of Bad Brains, maybe that the Hall has ever nominated, he doesn't have any songs that are instantly associated with him, or at least not his recordings of.
Song Of Proof: "Bear Creek Blues" is from one of his later albums, but it's about as basic as original rock and roll gets: folksy lyrics with a country-flavored arrangement that utilizes the classic A-A'-B blues structure.
15. STEVIE NICKS
Impact: As a solo artist, she's had several charted singles and several charted albums, never near the top in either column among these nominees, but never that close to the bottom either. Also, with "After The Glitter Fades," she's the only nominee this year that charted on the Country And Western charts. Not even outlaw country's foster child John Prine can claim that.
Influence: As a solo artist, her brand of femininity arguably had an influence on upcoming female artists that her image as part of Fleetwood Mac didn't fully flesh out, thus influencing attitude.
Innovation: Next.
Intangibles: With the duets she's done, plus her cache as a member of Fleetwood Mac, she has strong ties to the industry.
Issues: The question keeps coming up, did she really do anything that distinguishes her from Fleetwood Mac? Her solo stuff is synthier, but is that a good thing? It really is hilarious to me to see everyone who hated the idea of inducting Ringo Starr solo defending her as being at least semi-worthy of nomination. Also, some of her best-known songs are duets, which hurts the perception of her standing on her own.
Song Of Proof: "Stand Back" is probably the best example of what displays her solo efforts as a strong female typifying strong womanhood.
And with that, we have our pecking order complete, in terms of merit. Admittedly, my list is but one of a myriad. I've seen at least one list that puts LL Cool J dead last. We all have our own lists based on our own criteria. As a matter of perspective, remember that coming in near the bottom here still beats out literally thousands of eligible artists that didn't make the ballot, most that never will. Overall, I'd say there's only one that is undeserving of nomination. In the past, I've been accused of giving Impact a too much say in the ranks. I think it's safe to say I did not do that this time, though maybe some will still see it that way. Let me know what you think in the Comments below. But no "Nipplegate" arguments, it just makes you Les Moonves's unwitting puppet.
Issues: He may have been taken under the wing of the Outlaws, but it seems like he never really emerged out from under that wing, at least not in terms of the public consciousness. Easily the most obscure artist on this ballot, and with the possible exception of Bad Brains, maybe that the Hall has ever nominated, he doesn't have any songs that are instantly associated with him, or at least not his recordings of.
Song Of Proof: "Bear Creek Blues" is from one of his later albums, but it's about as basic as original rock and roll gets: folksy lyrics with a country-flavored arrangement that utilizes the classic A-A'-B blues structure.
15. STEVIE NICKS
Impact: As a solo artist, she's had several charted singles and several charted albums, never near the top in either column among these nominees, but never that close to the bottom either. Also, with "After The Glitter Fades," she's the only nominee this year that charted on the Country And Western charts. Not even outlaw country's foster child John Prine can claim that.
Influence: As a solo artist, her brand of femininity arguably had an influence on upcoming female artists that her image as part of Fleetwood Mac didn't fully flesh out, thus influencing attitude.
Innovation: Next.
Intangibles: With the duets she's done, plus her cache as a member of Fleetwood Mac, she has strong ties to the industry.
Issues: The question keeps coming up, did she really do anything that distinguishes her from Fleetwood Mac? Her solo stuff is synthier, but is that a good thing? It really is hilarious to me to see everyone who hated the idea of inducting Ringo Starr solo defending her as being at least semi-worthy of nomination. Also, some of her best-known songs are duets, which hurts the perception of her standing on her own.
Song Of Proof: "Stand Back" is probably the best example of what displays her solo efforts as a strong female typifying strong womanhood.
And with that, we have our pecking order complete, in terms of merit. Admittedly, my list is but one of a myriad. I've seen at least one list that puts LL Cool J dead last. We all have our own lists based on our own criteria. As a matter of perspective, remember that coming in near the bottom here still beats out literally thousands of eligible artists that didn't make the ballot, most that never will. Overall, I'd say there's only one that is undeserving of nomination. In the past, I've been accused of giving Impact a too much say in the ranks. I think it's safe to say I did not do that this time, though maybe some will still see it that way. Let me know what you think in the Comments below. But no "Nipplegate" arguments, it just makes you Les Moonves's unwitting puppet.